New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-07-01
The DRAMArIo VALUE or Virtue.

| TIKI URdMIilC IALUE Of FihIO E'
"The dramatic value of sin has been greatly
over-rated,' said a critic once in reviewing
| novel and claiming that the necessary climax
would have been quite as effective without the
| immoral catastrophe on which the author had
relied to give interest TO the story. The remark
is suggestive of reflection, not only as TO what
is the dramatic value of sin, but as to what may
be the dramatic value of virtue In Mr. Edgar
Fawcett's novel, An Ambitious Woman perhaps
the most striking scene is one when the reader
is completely taken by surprise with a situation
| hackneyed in plot but original in treatment,
and We venture to say far more dramatic in
| the turn it takes toward right conduct than
| the expected denouement would have been. The
ambitious woman is giving an elaborate luncheon
party Her social enemy has planned bitter
modification for her, in inducing to come to the
house while the luncheon is in progress the dis
reputable mother with whom the hostess has
had no association for years. The summons
| comes: the lady leaves the table, to find herself
| confronted in her reception-rOom with the ignobe
| creature who had cast her of as child, and who
now threatens TO walk into the dining-room and
put her TO shame by the revelation Of her pebeian
| birth. The reader expects a clever deneation OF
the humiliation and downfall of n naughty woman,
or of the crinying hopclessy ignominiOus efforts
at bribery TO which she may be reduced.
But she draws herself up to her full height, and
pushing aside curtain. says: You wish to
Join my friends in the dinirgroom? This. then,
is the wayl" The readers surprise is only
cqualed by his admiration. SO good does the
situation finally appear that he almost hopes that
the brutal mother will fulfil her purpose and en-
ter sure is he that the heroine will carry off
the palm of victory whatever happens. But the
point is, that the situation is not only fine but
dramatic. On the stage it might he made very
strong; FIR so than many Of the usual less
honorable devices.
This scene suggests that in novels and on the
stage virtue might be made effective as in real
life it is commendable. We are wont to think
there is a spice in naughtiness which will make
a tale interesting that is not edifying; but have
we ever fairly estimated the dramatic as well as
moral, value of goodness? When you come to
think Of it, it is the virtue of almost any story
that produces the effect; virtue tempted, virtue
triumphant, virtue defeated how virtue will be-
have under given circumstances is the really inter
esh9g point the difference lying in the degree Of
viciousness which an author is willing to put into
the given circumstances. Take. for example, that
novel which was not very long ago the type of
all that is dangerously and immorally fascinating
-" Jane Eyre Docs any one suppose for an in
if Jane had been as bad as Rochester, Suppose
that at the tragic moment of the interruption to
the marriage ceremony Jane had told them to go
on with the ceremony, agreeing with Mr.. ROches-
ter that the situation had extenuatng crcum-
Stances The least scrupulous novel reader would
exclaim, Oh, pshawl" and throw the book down
as quickly as he would an nsipid goody goody one.
No; there must be virtue somewhere or the novel
and the drama fall fat.
IT, then, virtue is necessary, as well as
desirable, somewhere in literary work,
is it not possible that it may be
made of use in the most important parts May
it not be made effective as well excellent,
dramatic as well as moral the source of the best
points" in novel or drama, instead Of subordi-
nate groundwork? An instance in point is found
in little book called " A Moral Sinner" published
year or ago. The story is that of young
girl married to man she does not love and in
love with another man. The novelty in treat
ment lies in the sclfcontrol Of the young wife,
and the way in which she prevents the hero from
the slightest suspicion Of her feelings. Here
are none of those morbid. sckly interviews be-
tween highly heroic lovers who meet to say that
they must not can not, will not, shall not, but
do, love each other; and the point is made the
more impressive by one scene where the ordinary
|
10 stand the test. The young wife hears of a
terrible accident which has bcfallen and probably
killed both her husband and her lover. Tortured
with agony for the fate of the man she loves, she
PUSHES out into the storm to the place of accident,
and is suddenly confronted by the lover safe and
sound. lie reads her face manlilke springs for
ward to take advantage of tie situation, and ex-
claims You have been anxious?" in tones not
to be misunderstood. Instantly the young woman
gathers herself together, and exclams a little
| haughtily Anxious? Have / not a right to be
anxious? Is not my husband all l have in the
world ?"
Here again the situation is dramatic, and is
so without the Of any of the conventional de-
vices of the novelist and the dramatist. Isn't
the point worth considering? Let us have little
more OF virtue and little less of vice in our
stories and PLAYS.