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Updated: June 24, 2025
It would be foolish to expect of every work of art an absolutely austere economy of means. Sometimes, however, Sir Arthur Pinero injudiciously emphasizes the artifices employed to bring about an exposition.
Galsworthy, rather to my surprise, disdains, and even condemns, the scenario, holding that a theme becomes lifeless when you put down its skeleton on paper. Sir Arthur Pinero says: "Before beginning to write a play, I always make sure, by means of a definite scheme, that there is a way of doing it; but whether I ultimately follow that way is a totally different matter." Mr.
Pinero described it, "the problem of disclosing the workings of the human heart by methods which shall not destroy the illusion which a modern audience expects to enjoy in the modern theater." Stevenson was here making the mistake which so many men of letters make when they turn to the theater.
Of the two, Pinero is the better craftsman, since Jones, in his endeavor to paint a moral, sometimes weakens his dramatic effect. George Bernard Shaw. Shaw was born in Dublin, Ireland, in 1856. He was willful and took "refuge in idleness" at school. His education consisted mainly in studying music with his talented mother, in haunting picture galleries, and in wide reading.
Sir Arthur Pinero, a character-drawer of great versatility, becomes a psychologist in some of his studies of feminine types in Iris, in Letty, in the luckless heroine of Mid-Channel. Mr. Clyde Fitch had, at least, laudable ambitions in the direction of psychology.
Assuming that the critic has formed what he considers a true judgment, and flatters himself that he is able to find language in which to express it accurately, the question arises how far he ought to tell the whole truth and nothing but the truth. "Praise, praise, praise," said Mr Pinero; and there is a fine maxim of Vauvenargues "C'est un grand signe de médiocrité de louer toujours modérément."
Added to these startling figures is a vast amount of material, dramatic and literary, further elucidating this subject. Robert Herrick, in Together; Pinero, in Mid-Channel; Eugene Walter, in Paid in Full, and scores of other writers are discussing the barrenness, the monotony, the sordidness, the inadequacy of marriage as a factor for harmony and understanding.
Sir Arthur Pinero goes the length of saying: "I can never go on to page 2 until I am sure that page 1 is as right as I can make it. Indeed, when an act is finished, I send it at once to the printers, confident that I shall not have to go back upon it." Mr. Alfred Sutro says: "I write a play straight ahead from beginning to end, taking practically as long over the first act as over the last three."
Dane's Defence , are among his best works. Sir Arthur Wing Pinero, born in 1855 in London, began his career as an actor. His real ambition, however, was to write for the stage. More than forty works, including farces, comedies of sentiment, and serious dramas of English life, attest his zeal as a dramatist.
Pinero has discust Robert Louis Stevenson as a dramatist, and his lecture contained passages which every man of letters should ponder. He showed that Stevenson had in him the true dramatic stuff, but that he refused to serve the severe apprenticeship to play-making that he gladly gave to novel-writing. Mr.
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