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Updated: June 24, 2025
His explanation is that, "with one exception Pinero the English playwright invents a plot and then writes in characters to carry that plot out. Your French playwright does not do this.... He takes an idea and works it out with dramatic action instead of taking a dramatic action and working it out with such incident ideas as may happen along.
He was always reading, or busy in the greenroom studying by turns the pictures of past actor-humanity with which the walls were peopled, or the present realities of actors who came in and out of the room. Although he was so much younger then, Mr. Pinero looked much as he does now. He played Rosencrantz very neatly.
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.
Pinero over Lord Lytton even as a stylist, as a master of English, tense, nervous, and flexible, adjusting itself to the thought, never protruding itself on our vision, and yet withstanding verbal criticism when we take time afterward to subject it to that test also.
Since everybody knows already who Sir Arthur Wing Pinero is and what may be expected of him, the only question for the critic, in considering a new play from his practiced pen, is whether or not the author has succeeded in advancing or maintaining the standard of his earlier and remembered efforts.
In "Fédora" we have a sheer, undisguised piece of stagecraft, without even the amount of psychological intention of Mr. Pinero, much less of Sudermann. It is a detective story with horrors, and it is far too positive and finished a thing to be transformed into something not itself. Sardou is a hard taskmaster; he chains his slaves.
Despite brilliant exhibitions of the art of stage management by people such as Pinero and Mr Granville Barker, there have been more bad performances in modern times than of old. The matter is one into which it is needless to go at large upon the present occasion; yet there is one vice that should be mentioned.
But what is skin-deep in Paula as conceived by Mr. Pinero becomes a real human being, a human being with a soul, in the Paula conceived by Duse. Paula as played by Duse is sad and sincere, where the Englishwoman is only irritable; she has the Italian simplicity and directness in place of that terrible English capacity for uncertainty in emotion and huffiness in manner.
The most distinctive work of recent times has been in the field of the drama. Pinero has improved its technique; Shaw has given it remarkable conversational brilliancy; Barrie has brought to it fancy and humor and sweetness; Galsworthy has used it to present social problems; Phillips has tried to restore to it the Elizabethan poetic spirit. The Celtic dramatists form a separate school.
And just when Ibsen and Pinero were giving place to Sudermann, and vague personal ambitions were crystallizing into definite plans, the family interfered. The causes of their condemnation were as varied as they were numerous.
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