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Updated: June 8, 2025
The most obvious resemblance between the Greek tragedy and the Scandinavian social drama is in their technic, in that the two austere playwrights have set before us the consequences of an action, rather than the action itself.
Man becomes boy; today is interwoven with the day before yesterday. The freedom of the mind has triumphed over the unalterable law of the outer world. It is interesting to watch how playwrights nowadays try to steal the thunder of the photoplay and experiment with time reversals on the legitimate stage.
Of all the Irish playwrights who have arisen in recent years, Lady Gregory has produced most and W.B. Yeats is the most poetic. He is more a lyric poet than a dramatist, and is never satisfied with his work for the stage, but keeps eternally chopping and changing it. His Kathleen-Ni-Houlihan, though a dream-play, always appeals to an audience of Irish people.
The other instance of comment on the case was in England. It is one which shows that playwrights were quite as eager then as now to be abreast of current topics.
According to the novelists and playwrights, shrewd fellows who knew what was what, if you talked to your wife about your business she said you had no soul; if you didn't, she said you didn't think enough of her to let her share your life.
The same play was to be reacted a week afterwards to a fresh audience it was proposed that Vivian should play Lothario, and that Lady Julia should play Calista: Miss Bateman saw no objection to this proposal: Lord Glistonbury might, perhaps, have had the parental prudence to object to his daughter's appearing in public at her age, in such a character, before a mixed audience: but, unfortunately, Lady Glistonbury bursting from her silence at this critical moment, said so much, and in such a prosing and puritanical manner, not only against her daughter's acting in this play, and in these circumstances, but against all stage plays, playwrights, actors, and actresses whatsoever, denouncing and anathematizing them all indiscriminately; that immediately Lord Glistonbury laughed Miss Bateman took fire and it became a trial of power between the contending parties.
He forced himself in among the greatest of playwrights without having once entered that region in which Michael Angelo, Beethoven, Goethe, and the antique Athenian stage poets are great. He would really not be great at all if it were not that he had religion enough to be aware that his religionless condition was one of despair.
Thomas Hardy also appears to have wearied of the novel and to be seeking relief, if not in real drama, at least in a form borrowed from it, a sort of epic in dialog. Nor is it without significance that the professional playwrights seem to feel little or no temptation to turn story-tellers.
A critic says that this ordinance is "one of the steps on which the greatness of the Elizabethan stage was built, and through which its actors grew up." Introduction of the Comic Element in the Miracle Plays. While the old drama generally confined itself to religious subjects, the comic element occasionally crept in, made its power felt, and disclosed a new path for future playwrights.
Have you no water from the well?" An answer diametrically opposed to the tendencies of the sack-guzzling, roistering, madcap playwrights of that early period! On the whole the representation was well-balanced, with few weak spots in the acting for fault finding, even from a more captious gathering.
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