Part 50 (1/2)

[43] Act I. Tr. Gilbert Murray. Geo. Allen & Sons, London.

[44] The Macmillan Co., N.Y.

[45] Mermaid Series. Vol. I, Act. I, Scene 1. Chas. Scribner's Sons, New York.

[46] _Vittoria Corambona_, Act III, Sc. 2. Webster. Belles-Lettres Series. M. W. Sampson, ed. D. C. Heath & Co., Boston and New York.

[47] See pp. 154-161.

[48] _Chief European Dramatists._ Brander Matthews, ed. Houghton Mifflin Co., Boston.

[49] Act I, Scene 1. Mermaid Series, vol. III, of Everyman's Library.

[50] _Hamburg Dramaturgy_, pp. 367-368. Bohn ed.

[51] Samuel French, New York; W. Heinemann, London.

[52] _Plays._ Vol. I. J. Tonson, London, 1730.

[53] _Plays Pleasant and Unpleasant._ Brentano, New York.

[54] P. V. Stock, Paris.

[55] _The d.u.c.h.ess of Malfi_, Act I, Sc. 2. Webster. Belles-Lettres Series. M. W. Sampson, ed. D. C. Heath & Co., Boston and New York.

[56] _Colombe's Birthday_, Act IV Scene 1. Robert Browning.

Belles-Lettres Series A. Bates, ed. D. C. Heath & Co., Boston and New York.

CHAPTER VIII

DIALOGUE

Modern dramatic dialogue had beginnings far from realistic. It originated, as the Latin tropes show, in speeches given in unison and to music--a kind of recitative. What was the aim of this earliest dramatic dialogue? It sought to convey, first, last, and always, the facts of the episode or incident represented: ”Whom seek ye here, O Christians? Jesus of Nazareth, the Crucified, O Heavenly Ones.” And that is what good dramatic dialogue has always done, is doing, and must always do as its chief work--state clearly the facts which an auditor must understand if the play is to move ahead steadily and clearly. Already enough has been said (chapter VI, pp. 154-183) as to the need of clear preliminary and later exposition to show how axiomatic is the statement that the chief purpose of good dialogue is to convey necessary information clearly.

Even, however, when dialogue is clear in its statement of needed information, it may still be confusing for reader or hearer. What is the trouble with the text in the left-hand column--from an early draft of a play dealing with John Brown and his fortunes?

SCENE: _The Prison at Harper's Ferry_

_Brown._ Mary! I'm glad to _Brown._ Mary! I'm glad to see you, Mary. see you, Mary.

(_For a few seconds, silence._) (_For a few seconds, silence._)

_Mrs. Brown._ (_Crying out._) _Mrs. Brown._ (_Crying out._) Oh, my dear husband, it is a Oh, my dear husband, it is a hard hard fate. fate. It's been so long since I heard your voice.

_Brown._ (_Strong in his _Brown._ (_Strong in his composure._) Well, well, Mary, compposture._) Well, well, Mary, let us be cheerful. We must all let us be cheerful. We must all bear it the best we can. bear it the best we can.

(_Stroking her hair._) (_Stroking her hair._)

_Mrs. Brown._ Oh! You to go _Mrs. Brown._ Oh! You to go from me forever. from me forever.

(_Sinks her head on his breast (_Sinks her head on his breast again._) again._)

_Brown._ It must be,--and all _Brown._ It must be,--and all is for the best. There, there. is for the best. There, there.

(_Pats her head in an effort (_Pats her head in an effort to comfort her._) to comfort her._)

_Mrs. Brown._ But our poor _Mrs. Brown._ (_After a moment's children, John. silence._) Do they treat you well here John?