Telegram-herald., 1888-09-08

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ere ssfsfs . sofi . sflLten. Ias laeiss4ls
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hs eAss tasE tAs Pi9t " yood pay r1a BE-
<escfi see 1n aas saeet u aote ssper, sa4 re-
l.ses the siot - fss LADY of Lyons -
a. szAapie. Iais faculty - seeing p.4y
IA is sat'ress 4as II .maglalas ir iH ectisa
IS aecessars 40 zlgat aaTe sdas1. sss s1.Y
/ - ras a0taoF Dat ~ tas efItl1 or manager
wno - called ugea . IudEe 81 g Ia nsznu-
sef.Et IB t1e fenEl2a- IA sxce-ea1
actps par. Vas deellse - tAs .s2alng
as4a4sers ~ New 1orz and LoEd0n BE-
cause la tae reading u it nothing struck
thea a. extraordinary This was . defect
"a sa-T part u0s 50 a. 1eh ~ judgment IS u
I imsgi4atios The eomPlaint that = lre-
Qleutiy aAads tBat 40 correct estimate can
Je formed - pay antl 10 j. acted =
meF~lY confession q the inability of tns
SPEAKER tQ azur7 = ~ The min4 eYe on ths
soarcs. Pays are often accepted for their
Iae lahsuage aad prove extremely tedious
% tAe boards While others that offsr Little
stlrae5lsn . the reader are 10 tie spectator
of @os3roink interest Literary men are
seldom nsenslsIe % tEs Insldioas battery
+ o. slnerE4ols elrtioa.
ia mod az . story lnto scenes. says Nr.
I Roueicaalr. not oaly aust tae simple con
tinglfy - preserved. bat opportunity must
I be a1srde1 f3r the Development of ch2rao-
ters. Now cozaes In tho greatest faculty
O. the arAmatist Not 0nly must these
sc-ncs D. nslfhsr teo long n0r too short, be
I ing in proportion ia length 70 their impor-
tznce. sut posture Ia the action may arse
wnere the situation IS Sd interesting that
tae story should pause while the passions
/ elected D. lt are developed THIS attitude
/ occurs Ia the third at Of The Lady of
/ ITsas.' where Claude Brings Pauline 70
4 his hSne and confesses the truth Of her
I POSITION Tae arzmatlst hslds this attitude
/ for two entire acts" Hs also Instances
/ the third and fourth acts OF "OthellO' "
/ where th- Moor's passion is the scene sad
/ is progress taxes the place OF Incidents.
/ . Thus 80 perceive that an inciceat IS not
/ imDortsct or valuable of itself. but by rea-
sea of fhe suffering ID produces 10 the per-
son wh0rnay ~ Affected bylt Asituation IS
= confluence OF incidents which combine 10
cause tAis aniictien. AL the precedent
matters-tAs elopement ana marriage Of
/ Desseuons. the romantic and noble love Of
I the Moor, tas inf4taation OF Rsderlgo and
tae schemes Sf IagO. the deeonsir and reck-
less nature q Cassi0-are ali canningly
contrived aad directly conducted 10 tho
situation, where Iag0 plays upon the seasi-
tive mind of his victim"
II Sardou's method which is 20 invent
the eliminating situation and then work
back % coEllneucemenL IS justly CEN
slred. By this scheme the dramatist is
I likely 70 and MS character subOrdinated 10
2
/ ceslgs Ar Boucicault does not refer par
/ ticui4rly TO a. sardou's plays, bat .'Theo-
dora" and ia Tosca1 may be taken as IL
lustrati0ns OF the argument nc makes. The
situations in both plays overshadow the
characters. and the spectator experiences 4
shock az sensational occurrences instead OF
feehng profound sympathy with human
/ suffering
~ AL dramatic plots saws the writer,
with a condensation which IA admirable,
"are composed Of . complication and res
oluti0n. The complication includes the at
I ttudc with which the plot begins ana all
I the incidents which follow until the cause
Of suffering il complete. This il the ca
tastrophs The resolution Is composed of
the remaining incidents by means OF whieh
toe su1erings are brought - an end-oY
death. as IN tragedy. or by 8 discovery, as
10 comedy But the dramatist should re-
member that the plot must occur naturally
ard the Incidents happen 70 the persons
/ TIE persons must not be curlOyed in max
ing the incidents. Nor is the Importance of
drama due 10 the variety Of incidents u
contains cut by the importance OF each in
cident"
he gDes on 70 describe simple plots, the
double plot. a. IN The Merchant Of Ven
tee. the triple plos. az in Tbs Rivals. and
concludes that. although Ingenuity is pretty.
tas silspls pot il The best. II is perspicu-
ous. proDorti iorate, and has perfect contis-
uitv and cohesion. What incident tho
aramatist shall select 70 start the action.
and how much inpnision shsN se gwen q
each iacidcat 50 that IL shall occupy iSs duo
Z proportion 20 the whole. are matters that
test tie szill Of tae playwright. and are As
important ss the questions tast pTeseat
themselves to = painter in beginning work
81 = large canvss Z" If nc drsmatist ~ The
early part 81 hss play ands IL necessary
/ fhaf one of his characters Should tell a long
st-~v % accouat Tor what j. going on the
author has nos a good dot Or ha has com
usenced his subject badly. Where the spec
7 tst0rs end one Of the charscters taking q
chair and beginning. Twenty years aro.
- etc. why Do they begin 70 look around
{ - shfsafer - recognizes their fricndsf Is
is q tarif crif'cismf Thew want % know
what is corning. not WHIST IS past
7. is high srt b. thc way. 20 maSs an So
r,dsntal r.ri.ssl 20 dramatic that & will hold
F the attention If the audience more POWERFUL
F ir fhan he er-asl scene described Two in
stances m point sre Gems description 4
T tta FOX hant ia The ShaaEraan. and the
starry af he kiliDz of LoriS Ipsnod IN S&r.
dou Fedora
Tne nexf paper frcu Mr Boucicsuif's peu
+ wil nrebsalv - 90 he s1aiec1 q ceuiell =,
vhch wili be cor genial tcnic Readers
vil ~ disappointed if he fsiis - carr q
eonpie56on ris contemplated series of sTte
ties en- the stage. FOR 70 is a wer< thar VII
ong sarvive hirn end pay more lr'portsR;
rart n dransfc e,iiscaaen than the Qaix-
ssio scheme for = aoai IN wsich he and Ar.
An Palmer zsvr r~ceatir embarked