The Daily times. [volume] (Richmond, Va.) 1886-1889, 1889-07-28
ROUND ABOUT GOTHAM
STEELE MACKAiE TELLS HOW THE
PLAYWRIGHT WORKS.
difference Between rlay aud n Piece
one Delights Active. and the Other
Idle brains Unusual Occu-
pation- FOR Womcs.

20. where IT Nill be first produced.
asked him She other day how hs writes
a play.
PLAYS arc not Wriitop, said he.
" hey are 10 written. In this lies the
advantage OF the creative. as distinct
from the critical literature of the
stage
1.-The dramatic author writes at
leisure and regrets in haste. The dra-
matte critic writes 90 haste. aud regrets
at leisure-a leisure. SO lengthy that ms
repentance rarely appears.
The declaration Of the unprcton-
tious toiis0mcuoss essential to good
work in tbs dramatic held-which 1
msks-is sure to shock aud outrage that
cotcrie OF artistic Cd who regard study
aud endeaVOr ar evidences of the aD
s,uce Of genius.
If we listen 20 the rant and cant Of
the chronic amateurs. who pose as pro
fes.i0nals 'on the ltialto, where they
meet the money-chaugers and swap
drinks across the bars-we soon DIS
cover why 10 is so difficult 10 obfais the
talent essential for the Interpretation Of
any work above merctriciOus medioc-
rity.,
The dissertations that flow from
these iquOr loaded brains proclaim
dramatic genius Co ID distinct and op-
posiie i'm ils nature from another genius
IN art According % thee deeply IN
itiated youngsters. the theatrical god
dess Is a waywsrd wcncn who scorns
culture aud luyishes her greatest faVors
upon the greatest fools.
These oracles of ignorance assure Va
that thov know by intu.lons deeper
than logic that the less me thinks the
more intelligent the actors works bo-
comes. aud the more hc feels, @o losB
III. the feeling IS irrational. thomoro sur.
pricing will be- che natural unfolding OF
his artistic form.
"A good play has oftenbcon srHtcn Do
five DAYS. But mark this
Honest study OF dramatic art; months
Of evolution and revolution Of plot;
constant subjective ASSOCIATION with the
character of the play. during which
each has lived. spoken and acted with
intense reality. All this must preceds
and prepare the mind for the compare
lively trivial work of the band.
The longer the dramauat walks. eats,
sleeps. and lives with his character. the
more readily obey will sprug from hs
pen and live in ms work.
Think what % good play implies.
knowledge Of human nature. expoil-
ence a. hic and nrt in general. and the
stage in pafticular
"Philos0phic insight. mechanical in-
stiuct, poetic fancy. sensitive sympa-
thies. passionate ferVor and vivid imagl
nation, thoIoughnt-8 in preparation. in-
dustry in elaboration. conscience in
revision. courage iu excelsior and dOwl-
mating ala this. that breadth OF mind
which breeds humility, and that depth
OF heart whose understanding love goes
out in charity To- all mankind.
How rarely We ever see play
IL is generally supposed that the stage
Is devoted to the production of plays.
How Muehsblc Another general
suppOsilion gone nsiray.
The stage presents about one hundred
pieces 60 one play.
A piece j. no moro like play than %
maniku is like man.
A play /. "a creation resulting from
hat succession oi processes by winch
nature converts concept INTO organ
izatiou. and, through paugs OF labor,
accOmphsno- birth.
the more OF less clever conjunction Of
amusing, bnl generally Irrelevant.
parts.
Piav.. like lives. ars evolved. Pieces.
like toys. ans manufactured.
A play IS the natural gr00th of "a
rational theme into dramatic form, dc.
veioping situations that are the cone
sisient consequence, of the clntac, of
certain legitimate possible Turns Of car.
Cumstance-.
A piece is the artificial putting too
E,ther' of individuals aud incidents.
without reference % reason or ptoba.
biIty.
The aim of piece is 90 tltilate and
astonish Che general ignorance oi the
mass.
Tue purpose of play is 90 illustrate
human life in such IA manner as to
CHARM, touch, enighien end enlarge
human hearts.
Pieces amuseidle brains, plays delight
active ones.
No play can possess the fundamental
requisilie- OF unity. conference aud CON
sis,ency, unless 81 has some one distinct
and lOc0i purpose. Tins local purpOse.
about winch all the other elements of
the play must adjust themselves with
due regard for their respective impor
lance. may bee either the presentation of
some great event taken from life on
literature. or the illustration OF some
typical personality. whose characters
iics are of supreme importance. or the
demonstration OF some uhiiosupMc idea.
the truth at winch 90 IS Cine aim of every
action 90 expose.
A PRETTY BLACKSMITH.
Thus shalt thou go and no farther
is not a command TO be laid on the
modern woman. SO sooner have son
fixed Oh au industry or particular
Inc of occupation a. manlieetly im-
practicable for her, than presto. change
Oyeu your eyes aud behold her, driven
by the eNigeucIes OF the daily struggle
for bread aud butter. aaveuturmg
boldly. yet shrevdiy, ami making
euccess Of that very thing.
Perhaps the last business in which
YOU would expect to find a woman is
blacksmithing. aud vet Miss BOle, The
pretty gitl blacksmith. who is said 90
be- making quite "a Pile OF money pa
Frisco. has already "a rival ln ABIDE
Wilder a tall and NOT unatuactye bru-
ucttc. vino makes very creditable horse
shoes in little shop under an elm tiee
la the suburbs Of Brooklyn. Miss VII
der is twenty-tix years old, ami has
been accustomed 10 help her father in
the smithy in preference % donS
household duties ever since she
was child. one secret OF
the attraction which the occupation has
for her is her love for horses. tho most
FESTIVE brute submitting quietly 90 her
control. Miss Wilder wears sA1f.
gown of dark serge about her work
with rather coquettishly shaped
leather apron and Two or three knots of
scarlet ribbon. 10 rs surprising what
number of horses al once seem 10 need
shOeing when her figure Is noticed
against the light Of the forge fires. She
has become her fathers partner rather
than assistant. and says she means TO
continue IN the business.
A FEMALE UNDERTAKEN