The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1912-03-25
~ ESTHER GRIFFIN WHITE.
More plays like "Everywoman."

ov 60 v06 VVsue
More plays like "Everywoman."
Although a stage given over entire
ly to productions of this character
would soon decline in interest.
For no art can be devoted to the ex-
%ploitation of one phase of life.
1t falls by the weight of it's own bur-
den.
pendulum between what is called real
ism and nat which is termed roman
ticism. inc the infinite variety" of
their subdivisions.
Morality plays are, however, a dra.
matte diversion. If it could so be put,
which the public should have the privi-
lege of passing judgment upon oftener
than 1t does.
For. in the end, as has been said be-
fore in many places, there is no
medium through which effects can be
achieved with such clarity and driven
home with such force as that of the
stage.
of "Everywoman"-which Is really a
vizualization and recital of the tragedy
of woman-the meaning is SO obvious
that the fastest runner may easily
read.
And he has no less difficulty in read
ing because, in the last analysis, the
play is not written with the idea Of
teaching a lesson" but constructed as
a work OF art-Or an alleged or at
tempted one-relying for it's hold on
the attention by its spectacular pro-
p~erties. spectacular IN the more catho-
lie use of the word.
In a morality play. too, the object is
not confused with the plot, since the
most unsophist!cated understands that
its characters are symbols of ideas n
passions and are put into concrete
form merely to illustrate the authors
theme or his discourse.
The confusion of theme with plot is
one of the commonest error which
both public and critics fall into.
Mr.. Arnold DAILY. a finished and dis
tinguished actor of this country, says
as to this. in al admirable article con-
corning the present state of the stage
which appeared in a recent number
OF THE Dramatic Mirror"
Everybody a that The Return
From Je~rusalem'-(a play which has
recently had vogue in New York)-is
about the return of the Jews, where
Is the subject has nothing to do with
the Jews. The drama simply shows
that a man cannot carry his life's work
and his passion in one hand. When he
tries he drops n or both. The author
chose a Jewish heroine, because the
race has a stronger socialistic instinct
than others. The hero objects to the
Jews, not on account of nationality,
but because he IA brought up to be-
lieve differently from them. Whatever
a man believes he is limited by his
training and his Inheritance. and can
not emancipate himself from tradition.
He says SO in practically these words"
In the frankly avOwed symbolic
play, this is mo- apt to occur. because
the subject is understood. 1t is mapp-
ed out on the program. Therefore the
least complex mentality can compre-
bend the idea and follow it's drift
through the maZeS OF action.
Therefore the moral effect-if there
is such a thing as moral Effect
sinks deeply into the consciousness as
the play progresses. No climax is
needed to rub it in"
But no matter how fine the ethical
aspect. it is nullified. if not entirely
lost. unless the art through which it is
filtered Is not perfect of its sort, or at
least, the'mechanics not skillful and
adroit.
In "Everywoman" this is dominant.
The exceeding occultness with
which the author and producer have
played, or worked out, the presenta-
ton OF the theme commands the ad.
miratiOn.