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In the works of Sir Arthur Pinero I recall two cases in which the lack of a finger-post impairs the desired effect: slightly, in the one instance, in the other, very considerably. The third act of that delightful comedy The Princess and the Butterfly contains no sufficient indication of Fay Zuliani's jealousy of the friendship between Sir George Lamorant and the Princess Pannonia.
Pinero, is a thoroughly English type of woman, the nice, slightly morbid, somewhat unintelligently capricious woman who has "gone wrong," and who finds it quite easy, though a little dull, to go right when the chance is offered to her. She is observed from the outside, very keenly observed; her ways, her surface tricks of emotion, are caught; she is a person whom we know or remember.
"You see," she went on, tossing aside her half-consumed cigarette, "some years ago Flavia would not have deemed me worthy to open the pages of your thesis nor to be one of her house party of the chosen, for that matter. I've Pinero to thank for both pleasures. It all depends on the class of business I'm playing whether I'm in favor or not.
Some playwrights have of late years adopted the device of dropping their curtain once, or even twice, in the middle of an act, to indicate an interval of a few minutes, or even of an hour for instance, of the time between "going in to dinner" and the return of the ladies to the drawing-room. Sir Arthur Pinero employs this device with good effect in Iris; so does Mr.
Many of the dramas by Dumas fils show an ingenious combination of this subdivision with the anecdotal play. And Pinero our exception how would "Percival" classify His House in Order, which has a strong story? In reality it is a very adroit mixture of story, idea, and comedy of character, this is the case with the other works of our leading dramatist.
Fortunately, however, the influence of a large proportion of the plays is pure and wholesome. In this class may be included the dramas of the Irish school and of Barrie, the majority by Galsworthy, and a number by Phillips and Shaw. Jones and Pinero.
And they talk in poor English. Mr. Pinero has no sense of style, of the beauty or expressiveness of words. His joking is forced and without ideas; his serious writing is common. In "The Gay Lord Quex" he is continually trying to impress upon his audience that he is very audacious and distinctly improper.
The works of Sir Arthur Pinero afford many examples of interest very skilfully carried forward. In his farces let no one despise the technical lessons to be learnt from a good farce there is always an adventure afoot, whose development we eagerly anticipate.
Similarly, in The Profligate, Sir Arthur Pinero no doubt intended us to reflect upon the question whether, in entering upon marriage, a woman has a right to assume in her husband the same purity of antecedent conduct which he demands of her.
In The Benefit of the Doubt, by Sir Arthur Pinero, we have a crisply dramatic opening of the very best type. A few words from a contemporary criticism may serve to indicate the effect it produced on a first-night audience
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