LITMIR.BIZ

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and professes to bring down a dramatic decalogue from the Sinai of some lecture-room in the University of Weissnichtwo. The quack, on the other hand, is he who generalizes from the worst practices of the most vulgar theatrical journeymen, and has no higher ambition than to interpret the oracles of the box-office. If he succeeded in so doing, his function would not be wholly despicable; but as he is generally devoid of insight, and as, moreover, the oracles of the box-office vary from season to season, if not from month to month, his lucubrations are about as valuable as those of Zadkiel or Old Moore.^[1]

      What, then, is the excuse for such a discussion as is here attempted? Having admitted that there are no rules for dramatic composition, and that the quest of such rules is apt to result either in pedantry or quackery, why should I myself set forth upon so fruitless and foolhardy an enterprise? It is precisely because I am alive to its dangers that I have some hope of avoiding them. Rules there are none; but it does not follow that some of the thousands who are fascinated by the art of the playwright may not profit by having their attention called, in a plain and practical way, to some of its problems and possibilities. I have myself felt the need of some such handbook, when would-be dramatists have come to me for advice and guidance. It is easy to name excellent treatises on the drama; but the aim of such books is to guide the judgment of the critic rather than the creative impulse of the playwright. There are also valuable collections of dramatic criticisms; but any practical hints that they may contain are scattered and unsystematic. On the other hand, the advice one is apt to give to beginners--"Go to the theatre; study its conditions and mechanism for yourself"--is, in fact, of very doubtful value. It might, in many cases, be wiser to warn the aspirant to keep himself unspotted from the playhouse. To send him there is to imperil, on the one hand, his originality of vision, on the other, his individuality of method. He may fall under the influence of some great master, and see life only through his eyes; or he may become so habituated to the current tricks of the theatrical trade as to lose all sense of their conventionality and falsity, and find himself, in the end, better fitted to write what I have called a quack handbook than a living play. It would be ridiculous, of course, to urge an aspirant positively to avoid the theatre; but the common advice to steep himself in it is beset with dangers.

      It may be asked why, if I have any guidance and help to give, I do not take it myself, and write plays instead of instructing others in the art. This is a variant of an ancient and fallacious jibe against criticism in general. It is quite true that almost all critics who are worth their salt are "stickit" artists. Assuredly, if I had the power, I should write plays instead of writing about them; but one may have a great love for an art, and some insight into its principles and methods, without the innate faculty required for actual production. On the other hand, there is nothing to show that, if I were a creative artist, I should be a good mentor for beginners. An accomplished painter may be the best teacher of painters; but an accomplished dramatist is scarcely the best guide for dramatists. He cannot analyse his own practice, and discriminate between that in it which is of universal validity, and that which may be good for him, but would be bad for any one else. If he happened to be a great man, he would inevitably, even if unconsciously, seek to impose upon his disciples his individual attitude towards life; if he were a lesser man, he would teach them only his tricks. But dramatists do not, as a matter of fact, take pupils or write handbooks.^[2] When they expound their principles of art, it is generally in answer to, or in anticipation of, criticism--with a view, in short, not to helping others, but to defending themselves. If beginners, then, are to find any systematic guidance, they must turn to the critics, not to the dramatists; and no person of common sense holds it a reproach to a critic to tell him that he is a "stickit" playwright.

      If questions are worth discussing at all, they are worth discussing gravely. When, in the following pages, I am found treating with all solemnity matters of apparently trivial detail, I beg the reader to believe that very possibly I do not in my heart overrate their importance. One thing is certain, and must be emphasized from the outset: namely, that if any part of the dramatist's art can be taught, it is only a comparatively mechanical and formal part--the art of structure. One may learn how to tell a story in good dramatic form: how to develop and marshal it in such a way as best to seize and retain the interest of a theatrical audience. But no teaching or study can enable a man to choose or invent a good story, and much less to do that which alone lends dignity to dramatic story-telling--to observe and portray human character. This is the aim and end of all serious drama; and it will be apt to appear as though, in the following pages, this aim and end were ignored. In reality it is not so. If I hold comparatively mechanical questions of pure craftsmanship to be worth discussing, it is because I believe that only by aid of competent craftsmanship can the greatest genius enable his creations to live and breathe upon the stage. The profoundest insight into human nature and destiny cannot find valid expression through the medium of the theatre without some understanding of the peculiar art of dramatic construction. Some people are born with such an instinct for this art, that a very little practice renders them masters of it. Some people are born with a hollow in their cranium where the bump of drama ought to be. But between these extremes, as I said before, there are many people with moderately developed and cultivable faculty; and it is these who, I trust, may find some profit in the following discussions.^[3] Let them not forget, however, that the topics treated of are merely the indispensable rudiments of the art, and are not for a moment to be mistaken for its ultimate and incommunicable secrets. Beethoven could not have composed the Ninth Symphony without a mastery of harmony and counterpoint; but there are thousands of masters of harmony and counterpoint who could not compose the Ninth Symphony.

      The art of theatrical story-telling is necessarily relative to the audience to whom the story is to be told. One must assume an audience of a certain status and characteristics before one can rationally discuss the best methods of appealing to its intelligence and its sympathies. The audience I have throughout assumed is drawn from what may be called the ordinary educated public of London and New York. It is not an ideal or a specially selected audience; but it is somewhat above the average of the theatre-going public, that average being sadly pulled down by the myriad frequenters of musical farce and absolutely worthless melodrama. It is such an audience as assembles every night at, say, the half-dozen best theatres of each city. A peculiarly intellectual audience it certainly is not. I gladly admit that theatrical art owes much, in both countries, to voluntary organizations of intelligent or would-be intelligent^[4] playgoers, who have combined to provide themselves with forms of drama which specially interest them, and do not attract the great public. But I am entirely convinced that the drama renounces its chief privilege and glory when it waives its claim to be a popular art, and is content to address itself to coteries, however "high-browed." Shakespeare did not write for a coterie: yet he produced some works of considerable subtlety and profundity. Molière was popular with the ordinary parterre of his day: yet his plays have endured for over two centuries, and the end of their vitality does not seem to be in sight. Ibsen did not write for a coterie, though special and regrettable circumstances have made him, in England, something of a coterie-poet. In Scandinavia, in Germany, even in America, he casts his spell over great audiences, if not through long runs (which are a vice of the merely commercial theatre), at any rate through frequently-repeated representations. So far as I know, history records no instance of a playwright failing to gain the ear of his contemporaries, and then being recognized and appreciated by posterity. Alfred de Musset might, perhaps, be cited as a case in point; but he did not write with a view to the stage, and made no bid for contemporary popularity. As soon as it occurred to people to produce his plays, they were found to be delightful. Let no playwright, then, make it his boast that he cannot disburden his soul within the three hours' limit, and cannot produce plays intelligible or endurable to any audience but a band of adepts. A popular audience, however, does not necessarily mean the mere riff-raff of the theatrical public. There is a large class of playgoers, both in England and America, which is capable of appreciating work of a high intellectual order, if only it does not ignore the fundamental conditions of theatrical presentation. It is an audience of this class that I have in mind throughout the following pages; and I believe that a playwright who despises such an audience will do so to the detriment, not only of his popularity and profits, but of the artistic quality of his work.

      Some people may exclaim: "Why should the dramatist concern himself about his audience? That may be all very well for the mere journeymen of the theatre, the hacks

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