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+The Project Gutenberg EBook of How to Write a Play, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: How to Write a Play
+       Letters from Augier, Banville, Dennery, Dumas, Gondinet,
+       Labiche, Legouvé, Pailleron, Sardou, Zola
+
+Author: Various
+
+Editor: James Brander Matthews
+
+Release Date: April 22, 2006 [EBook #18230]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO WRITE A PLAY ***
+
+
+
+
+Produced by Chuck Greif
+
+
+
+
+
+
+
+
+
+                         How to Write a Play
+
+                             CONTENTS
+
+Introduction by William Gillette
+Letter from Émile Augier
+Letter from Théodore de Banville
+Letter from Adolphe Dennery
+Letter from Alexandre Dumas Fils
+Letter from Edmond Gondinet
+Letter by Eugène Labiche
+Letter by Ernest Legouvé
+Letter from Édouard Pailleron
+Letter from Victorien Sardou
+Letter from Émile Zola
+Notes by B.M.
+
+1916 By Dramatic Museum of Columbia University
+
+
+
+                           INTRODUCTION
+
+The impression has always prevailed with me that one who might properly
+be classed as a genius is not precisely the person best fitted to
+expound rules and methods for the carrying on of his particular branch
+of endeavor. I have rather avoided looking the matter up for fear it
+might not turn out to be so after all. But doesn't it sound as if it
+ought to be? And isn't a superficial glance about rather confirmatory?
+We do not--so far as I know--find that Shakspere or Milton or Tennyson
+or Whitman ever gave out rules and regulations for the writing of
+poetry; that Michael Angelo or Raphael was addicted to formulating
+instructive matter as to the accomplishment of paintings and frescoes;
+that Thackeray or Dickens or Meredith or George Sand were known to have
+answered inquiries as to 'How to write a Novel'; or that Beethoven or
+Wagner or Chopin or Mendelsohn paused in the midst of their careers in
+order to tell newspaper men what they considered the true method of
+composing music. These fortunate people--as well as others of their
+time--could so easily be silent and thus avoid disclosing the fact that
+they could not--for the lives of them--tell about these things; but in
+our unhappy day even geniuses are prodded and teased and tortured into
+speech. In this case we may be more than grateful that they are, for the
+result is most delightful reading--even tho it falls a trifle short of
+its purpose as indicated by the rather far-reaching title.
+
+There are no workable rules for play-writing to be found here--nor,
+indeed, any particular light of any kind on the subject, so the letters
+may be approacht with a mind arranged for enjoyment. I would be sorry
+indeed for the trying-to-be dramatist who flew to this volume for
+consolation and guidance. I'm sorry for him any way, but this additional
+catastrophe would accelerate my sympathy, making it fast and furious.
+Any one sufficiently inexperienced to consult books in order to find out
+how to write a play will certainly undergo a severe touch of confusion
+in this case, for four of the letter-writers confess quite frankly that
+they do not know--two of these thereupon proceeding to tell us, thus
+forcibly illustrating their first statement. One author exclaims, "Have
+instinct!"--another, "Have genius!" Where these two necessaries are to
+be obtained is not revealed. Equally discouraging is the Dumas
+declaration that "Some from birth know how to write a play and the
+others do not and never will." That would have killed off a lot of
+us--if we had seen it in time.
+
+One approaches the practical when he counsels us to "Take an
+interesting theme." Certainly a workable proposition. Many dramatists
+have done that--wherever they could find it. The method is not
+altogether modern. Two insist upon the necessity of a carefully
+considered plan, while two others announce that it is a matter of no
+consequence what one does; and another still wants us to be sure and
+begin work at the end instead of the beginning. Gondinet--most
+delightful of all--tells us that his method of working is simply
+atrocious, for all he asks when he contemplates writing a play is
+whether the subject will be amusing to him. Tho that scarcely touches
+the question of how to write it, it is a practical hint on favoring
+conditions, for no one will dispute that one's best work is likely to be
+preformed when he him self enjoys it. Sardou comes nearest to projecting
+a faint ray of practical light on the subject when he avers that there
+is no one necessary way to write a play, but that a dramatist must know
+where he is going and take the best road that leads there. He omits,
+however, to give instructions about finding that road--which some might
+think important.
+
+The foregoing indicates to some extent the buffeting about which a
+searcher for practical advice on play-writing may find himself subject
+in this collection of letters. He had better go for mere instruction to
+those of a lower order of intellect, whose imaginative or creative
+faculties do not monopolize their entire mental area.
+
+But that will hardly serve him better, for the truth is that no one can
+convey to him--whether by written words or orally--or even by signs and
+miracles--the right and proper method of constructing a play. A few
+people know, but they are utterly unable to communicate that knowledge
+to others. In one place and one only can this unfortunate person team
+how to proceed, and that is the theatre; and the people to see about it
+there are situated in front of the foot-lights and not behind them.
+
+A play or drama is not a simple and straight-told story; it is a
+device--an invention--a carefully adjusted series of more or less
+ingenious traps, independent yet inter-dependent, and so arranged that
+while yet trapping they carry forward the plot or theme without a break.
+These traps of scene, of situation, of climax, of acts and tableaux or
+of whatever they are, require to be set and adjusted with the utmost
+nicety and skill so that they will spring at the precise
+instant and in the precise manner to seize and hold the
+admiration--sympathy--interest--or whatever they may be intended to
+capture, of an audience. Their construction and adjustment--once one of
+the simplest--is now of necessity most complicated and intricate. They
+must operate precisely and effectively, otherwise the play--no matter
+how admirable its basic idea--no matter how well the author knows life
+and humanity, will fail of its appeal and be worthless--for a play is
+worthless that is unable to provide itself with people to play _to_.
+The admiration of a few librarians on account of certain arrangements
+of the words and phrases which it may contain can give it no value as
+drama. Such enthusiasm is not altogether unlike what a barber might
+feel over the exquisite way in which the hair has been arranges on
+a corpse; despite his approval it becomes quite necessary to bury it.
+
+The play-writer's or playwright's work, then, supposing that he
+possesses the requisite knowledge of life as it is lived to go on with,
+is to select or evolve from that knowledge the basic idea, plot or
+theme, which, skillfully displayed, will attract; and then to invent,
+plan, devise, and construct the trap wherein it is to be used to snare
+the sympathies, etc., of audiences.
+
+But audiences are a most undependable and unusual species of game. From
+time immemorial their tastes, requirements, habits, appetites,
+sentiments and general characteristics have undergone constant change
+and modification; and thus continues without pause to the present day.
+The dramatic trap that would work like a charm not long ago may not work
+at all to-day; the successful trap of to-day may be useless junk
+tomorrow.
+
+It must be obvious, then, that for light and instruction on the
+judicious selection of the bait, and on the best method or methods of
+devising the trap wherein that bait is to be displayed (that is to say
+the play) but one thing can avail; and that one thing is a most diligent
+and constant study of the habits and tastes of this game which it is our
+business to capture--if we can. To go for information about these things
+to people sitting by their firesides dreaming of bygone days, or,
+indeed, to go to anyone sitting anywhere, is merely humorous. The
+information which the dramatist seeks cannot be told--even by those who
+know. For the gaining of such knowledge is the acquirement of an
+instinct which enables its possessor automatically to make use of the
+effective in play-writing and construction and devising, and
+automatically to shun the ineffective. This instinct must be planted and
+nourisht by more or less (more if possible) _living_ with audiences,
+until it becomes a part of the system--yet constantly alert for the
+necessary modifications which correspond to the changes which the tastes
+and requirements of these audiences undergo.
+
+An education like this is likely to take the dramatist a great deal of
+time--unless he is so fortunate as to be a genius. Perhaps the main
+difference between the play-writing genius and the rest of us is that he
+can associate but briefly with audiences and know it all, whereas we
+must spend our lives at it and know but little. I have never happened to
+hear of a genius of this description; but that is no argument against
+the possibility of his existence.
+
+As to the talented authors of these letters, they know excellently
+well--every one of them--how to write a play--or did while still
+alive--even tho some of them see fit to deny it; but they cannot tell
+_us_ how to do it for the very good reason that it cannot be told.
+Their charming efforts to find a way out when cornered by such an
+inquiry as appears to have been made to them are surely worth all
+their trouble and annoyance--not to speak of their highly
+probable exasperation.
+
+                                    William Gillette
+(May, 1916)
+
+       *       *       *       *       *
+
+
+
+
+                     How to Write a Play
+
+
+
+
+                              I.
+
+                      From Émile Augier.
+
+
+My dear Dreyfus:
+
+You ask me the recipe for making comedies. I don't know it; but I
+suppose it should resemble somewhat the one given by the sergeant to the
+conscript for making cannon:
+
+"You take a hole and you pour bronze around it."
+
+If this is not the only recipe, it is at least the one most followed.
+Perhaps there should be another which would consist in taking bronze and
+making a hole thru the center and an opening for light at the end. In
+cannon this hole is called the core. What should it be called in
+dramatic work? Find another name, if you don't like that one.
+
+These are the only directions I can give you. Add to them, if you wish,
+this counsel of a wise man to a dramatist in a difficulty:
+
+"Soak your fifth act in gentle tears, and salt the other four with
+dashes of wit."
+
+I do not think that the author followed this advice.
+
+                     Cordially yours,
+
+                                    E. Augier
+
+       *       *       *       *       *
+
+
+
+
+                               II.
+
+                    From Théodore de Banville.
+
+
+My dear friend:
+
+Like all questions, the question of the theater is infinitely more
+simple than is imagined. All poetics, all dramatic criticism is
+contained in the admirable dictum of Adolphe Dennery: "It is not hard to
+succeed in the theater, but it is extremely hard to gain success there
+with a fine play."
+
+To see this clearly you must consider two questions which have no
+relation to each other:
+
+1. How should one set about composing a dramatic work which shall
+succeed and make money?
+
+2. How shall one set about composing a dramatic work which shall be fine
+and shall have some hope of survival?
+
+Reply to the first question: Nothing is known about it; for if anything
+were known every theater would earn six thousand francs every evening.
+Nevertheless, a play has some chance of succeeding and earning money if,
+when read to a naïf person, it moves him, amuses him, makes him laugh or
+weep; if it falls into the hands of actors who play it in the proper
+spirit; and if at the public performance the leader of the _claque_ sees
+no hitch in it.
+
+Reply to the second question: To compose a dramatic work which shall be
+fine and shall live, have genius! There is no other way. In art talent
+is nothing. Genius alone lives. A poet of genius combines in himself all
+poets past and future, just as the first person you meet combines in
+himself all humanity past and present. A man of genius will create for
+his theater a form which has not existed before him and which after him
+will suit no one else.
+
+That, my friend, is all that I know, and I believe that anything further
+is a delusion. Those who are called "men of the theater" (that is, in
+plain words, unlettered men who have not studied anywhere but on the
+stage) have decreed that a man knows the theater when he composes
+comedies according to the particular formula invented by M. Scribe. You
+might as well say that humanity began and ended with M. Scribe, that it
+is he who ate the apple with Eve and who wrote the 'Legendes des
+Siècles,' Good Luck!
+
+                                    Yours truly,
+
+                                    Théodore de Banville
+
+       *       *       *       *       *
+
+
+
+
+                              III.
+
+                       From Adolphe Dennery.
+
+
+Take an interesting theme, a subject neither too new nor too old,
+neither too commonplace or too original,--so as to avoid shocking either
+the vulgar-minded or the delicate-souled.
+
+                                    Adolphe Dennery.
+
+       *       *       *       *       *
+
+
+
+
+                              IV.
+
+                     From Alexandre Dumas Fils.
+
+
+My dear fellow-craftsman and friend:
+
+You ask me how a play is written. You honor me greatly, but you also
+greatly embarrass me.
+
+With study, work, patience, memory, energy, a man can gain a reputation
+as a painter, or a sculptor, or a musician. In those arts there are
+material and mechanical procedures that he can make his own, thanks to
+ability, and can attain to success. The public to whom these works are
+submitted, having none of the technical knowledge involved, from the
+beginning regard the makers of these works as their superiors: They feel
+that the artist can always reply to any criticism: "Have you learned
+painting, sculpture, music? No? Then don't talk so vainly. You cannot
+judge. You must be of the craft to understand the beauties," and so on.
+It is thus that the good-natured public is frequently imposed on, in
+painting, in sculpture, in music, by certain schools and celebrities. It
+does not dare to protest. But with regard to drama and comedy the
+situation is altered. The public is an interested party to the
+proceedings and appears, so to speak, for the prosecution in the case.
+
+The language that we use in our play is the language used by the
+spectators every day; the sentiments that we depict are theirs; the
+persons whom we set to acting are the spectators themselves in instantly
+recognized passions and familiar situations. No preparatory studies are
+necessary; no initiation in a studio or school is indispensable; eyes to
+see, ears to hear--that's all they need. The moment we depart, I will
+not say from the truth, but from what they think is truth, they stop
+listening. For in the theater, as in life, of which the theater is the
+reflexion, there are two kinds of truth; first, the absolute truth,
+which always in the end prevails, and secondly, if not the false, at
+least the superficial truth, which consists of customs, manners, social
+conventions; the uncompromising truth which revolts, and the pliant
+truth which yields to human weakness; in short, the truth of Alceste and
+that of Philinte.
+
+It is only by making every kind of concession to the second that we can
+succeed in ending with the first. The spectators, like all
+sovereigns--like kings, nations, and women--do not like to be told the
+truth, all the truth. Let me add quickly that they have an excuse, which
+is that they do not know the truth;--they have rarely been told it. They
+therefore wish to be flattered, pitied, consoled, taken away from their
+preoccupations and their worries, which are nearly all due to ignorance,
+but which they consider the greatest and most unmerited to be found
+anywhere, because their own.
+
+This is not all; by a curious optical effect, the spectators always see
+themselves in the personages who are good, tender, generous, heroic whom
+we place on the boards; and in the personages who are vicious or
+ridiculous they never see anyone but their neighbors. How can you expect
+then that the truth we tell them can do them any good?
+
+But I see that I am not answering your question at all.
+
+You ask me to tell you how a play is made, and I tell you, or rather I
+try to tell you, what must be put into it.
+
+Well, my dear friend, if you want me to be quite frank, I'll own up
+that I don't know how to write a play. One day a long time ago, when I
+was scarcely out of school, I asked my father the same question. He
+answered: "It's very simple; the first act clear, the last act short,
+and all the acts interesting."
+
+The recipe is in reality very simple. The only thing that is needed in
+addition is to know how to carry it out. There the difficulty begins.
+The man to whom this recipe is given is somewhat like the cat that has
+found a nut. He turns it in every direction with his paw because he
+hears something moving in the shell--but he can't open it. In other
+words, there are those whom from their birth know how to write a play (I
+do not say that the gift is hereditary); and there are those who do not
+know at once--and these will never know. You are a dramatist, or you are
+not; neither will-power nor work has anything to do with it. The gift is
+indispensable. I think that every one whom you may ask how to write a
+play will reply, if he really can write one, that he doesn't know how it
+is done. It is a little as if you were to ask Romeo what he did to fall
+in love with Juliet and to make her love him; he would reply that he did
+not know, that it simply happened.
+
+                               Truly yours,
+
+                                    A. Dumas _fils_.
+
+       *       *       *       *       *
+
+
+
+
+                                  V.
+
+                          From Edmond Gondinet.
+
+
+My dear friend:
+
+What is my way of working? It is deplorable. Do not recommend it to any
+one. When the idea for a play occurs to me, I never ask myself whether
+it will be possible to make a masterpiece out of it; I ask whether the
+subject will be amusing to treat. A little pleasure in this life tempts
+me a great deal more than a bust, even of marble, after I am gone. With
+such sentiments one never accomplishes anything great.
+
+Besides, I have the capital defect for a man of the theater of never
+being able to beat it into my head that the public will be interested in
+the marriage of Arthur and Colombe; and nevertheless that is the key to
+the whole situation. You simply must suppose the public a trifle
+naïf,--and be so yourself.
+
+I should be so willingly, but I can't bring myself to admit that others
+are.
+
+For a long time I imagined that the details, if they were ingenious,
+would please the public as much as an intrigue of which the ultimate
+result is usually given in the first scene. I was absolutely wrong, and
+I have suffered for it more than once. But at my age one doesn't reform.
+When I have drawn up the plan, I no longer want to write the piece. You
+see that I am a detestable collaborator. Say so, if you speak to me, but
+don't hold me up as a model.
+
+                                    Edmond Gondinet.
+
+       *       *       *       *       *
+
+
+
+
+                                VI.
+
+                         FROM Eugène Labiche.
+
+
+Everyone writes in accordance with his inspiration and his temperament.
+Some sing a gay note, others find more pleasure in making people weep.
+
+As for me, this is my procedure:
+
+When I have no idea, I gnaw my nails and invoke the aid of Providence.
+
+When I have an idea, I still invoke the aid of Providence,--but with
+less fervor, because I think I can get along without it.
+
+It is quite human, but quite ungrateful.
+
+I have then an idea, or I think I have one.
+
+I take a quire of white paper, linen paper--on any other kind I can
+imagine nothing--and I write on the first page:
+
+                                PLAN.
+
+By the plan I mean the developed succession, scene by scene, of the
+whole piece, from the beginning to the end.
+
+So long as one has not reached the end of his play he has neither the
+beginning nor the middle. This part of the work is obviously the most
+laborious. It is the creation, the parturition.
+
+As soon as my plan is complete, I go over it and ask concerning each
+scene its purpose, whether it prepares for or develops a character or
+situation, and then whether it advances the action. A play is a
+thousand-legged creature which must keep on going. If it slows up, the
+public yawns; if it stops, the public hisses.
+
+To write a sprightly play you must have a good digestion. Sprightliness
+resides in the stomach.
+
+                                    Eugène Labiche.
+
+       *       *       *       *       *
+
+
+
+
+                               VII.
+
+                       From Ernest Legouvé.
+
+
+You ask me how a play is made.
+
+By beginning at the end.
+
+A novel is quite a different matter.
+
+Walter Scott, the great Walter Scott, sat down of a morning at his
+study-table, took six sheets of paper and wrote 'Chapter One,' without
+knowing anything else about his story than the first chapter. He set
+forth his characters, he indicated the situation; then situation and
+characters got out of the affair as best they could. They were left to
+create themselves by the logic of events.
+
+Eugène Sue often told me that it was impossible for him to draw up a
+plan. It benumbed him. His imagination needed the shock of the
+unforeseen; to surprize the public he had to be surprized himself. More
+than once at the end of an instalment of one of his serial stories he
+left his characters in an inextricable situation of which he himself did
+not know the outcome.
+
+George Sand frequently started a novel on the strength of a phrase, a
+thought, a page, a landscape. It was not she who guided her pen, but her
+pen which guided her. She started out with the intention of writing one
+volume and she wrote ten. She might intend to write ten and she wrote
+only one. She dreamed of a happy ending, and then she concluded with a
+suicide.
+
+But never have Scribe, or Dumas _père_, or Dumas _fils_, or Augier, or
+Labiche, or Sardou, written "Scene One" without knowing what they were
+going to put into the last scene. A point of departure was for them
+nothing but an interrogation point. "Where are you going to lead me?"
+they would ask it; and they would accept it only if it led them to a
+final point, or to the central point which determined all the stages of
+the route, including the first.
+
+The novel is a journey in a carriage. You make stops, you spend a night
+at the inn, you get out to look at the country, you turn aside to take
+breakfast in some charming spot. What difference does it make to you as
+a traveler? You are in no hurry. Your object is not to arrive anywhere,
+but to find amusement while on the road. Your true goal is the trip
+itself.
+
+A play is a railway journey by an express train--forty miles an hour,
+and from time to time ten minutes stop for the intermissions; and if the
+locomotive ceases rushing and hissing you hiss.
+
+All this does not mean that there are no dramatic masterpieces which do
+not run so fast or that there was not an author of great talent,
+Molière, who often brought about his ending by the grace of God. Only,
+let me add that to secure absolution for the last act of 'Tartuffe' you
+must have written the first four.
+
+                                    Ernest Legouvé.
+
+       *       *       *       *       *
+
+
+
+
+                              VIII.
+
+                     From Édouard Pailleron.
+
+
+You ask me how a play is made, my dear Dreyfus. I may well astonish you,
+perhaps, but on my soul and honor, before God and man, I assure to you
+that I know nothing about it, that you know nothing, that nobody knows
+anything, and that the author of a play knows less about it than any one
+else.
+
+You don't believe me?
+
+Let us see.
+
+Here is a capable gentleman, a man of the theater, a dramatist acclaimed
+a score of times, at the height of his powers, in full success. He has
+written a comedy. He has bestowed upon it all his care, all his time,
+all his ability. He has left nothing to chance.
+
+He has just finisht it, and is content. According to the consecrated
+expression, it is "certain to go." But as he is cautious, he does not
+rely entirely upon his own opinion. He consults his
+friends--fellow-workers, skillful as he, successful as he. He reads to
+them his piece. I will not say that they are satisfied--another word is
+needed--but at any rate, with more reason than ever, it is "certain to
+go."
+
+He seeks out a manager, an old stager who has every opportunity for
+being clear-headed, because of his experience, and every reason for
+being exacting, because of his self-interest. He gives him the
+manuscript, and as soon as the manager gets a fair notion of the piece,
+this Napoleon of the stage, this strategist of success, is seized by a
+profound emotion, but one easy to comprehend in the case of a man who is
+convinced that five hundred thousand francs have just been placed in his
+hand. He exults, he shouts, he presses the author in his arms, he rains
+upon him the most flattering adjectives, beginning with "sublime" and
+mounting upward. He calls him the most honied names: Shakspere, Duvert
+and Lauzanne, Rossini, Offenbach--according to the kind of theater he
+directs. He is not only satisfied, he is delighted, he is radiant--it is
+"certain to go."
+
+Wait! That is not all. It is read to the actors--the same enthusiasm!
+All are satisfied, if not with the play--they have not heard it yet--at
+least with their parts. All are satisfied! It is "certain to go."
+
+Thereupon rehearsals are held for two months before those who have the
+freedom of the theater, who sit successively in the depths of the dark
+hall and show the same delirium. Even the sixty firemen on duty who,
+during these sixty rehearsals, have invariably laught and wept at the
+same passages. Yet it is well known that the fireman is the modern
+Laforêt of our modern Molières, as M. Prud'homme would say, and that
+when the fireman is satisfied--it is "certain to go!"
+
+The dress rehearsal arrives. A triumph! Bravos! Encores! Shouts!
+Recalls! All of the signs of success--and note that the public on this
+evening of rehearsal with the exception of a small and insignificant
+contingent, will be the public of the first performance the next night.
+It is "certain to go," I tell you! Certain! Absolutely certain!
+
+On this next night the piece is presented. It falls flat! Well, then?
+
+If the author knows what he is doing, if he is the master of his
+method, explain to me then why, after having written twenty good pieces,
+he writes a bad one?
+
+And don't tell me that failure proves nothing--you would pain me, my
+friend.
+
+I do not intend to deny, you must understand, the value of talent and
+skill and experience. They are, philosophically speaking, important
+elements. But in what proportions do they contribute to the result?
+That's what, let me repeat, nobody knows, the author as little as
+anybody else.
+
+The author in travail with a play is an unconscious being, whatever he
+may think about himself; and his piece is the product of instinct rather
+than of intention.
+
+Believe me, my dear Dreyfus, in this as in everything, the cleverest of
+us does what he can, and if he succeeds, he says that he has done
+exactly what he tried to do. That's the truth. In reality an author
+knows sometimes what he has tried to do, rarely what he has done;--and
+as to knowing how he did it, I defy him!
+
+Then if it is good, let him try again! I cannot recede from this view.
+
+In our craft, you see, there is an element of unrebeginnable which
+makes it an art, something of genius which ennobles it, something of the
+fatally uncertain which renders it both charming and redoubtable. To try
+to pick the masterpiece to pieces, to unscrew the ideal, to pluck the
+heart out of the mystery, after the fashion of the baby who looks for
+the little insect in the watch, is to attempt a vain and puerile thing.
+
+Ah! if I had the time--but I haven't the time. So it's just as well, or
+better, that I stop. To talk too much about art is not a good sign in an
+artist. It is like a lover's talking too much about love; if I were a
+woman I should have my doubts.
+
+Well, do you wish me to disengage the philosophy of this garrulity? It
+is found whole and entire in an apolog of my son--he too a philosopher
+without knowing it. He was then seven. As a result of learning fables he
+was seized with the ambition of writing one, which he brought to me one
+fine day. It is called the 'Donkey and the Canary.' The verses are
+perhaps a trifle long, but there are only two. That's the compensation.
+Here they are.
+
+The canary once sang; and the ass askt him how he could learn this to
+do?
+
+"I open my bill," said the bird; "and I say you, you, you!"
+
+Well, the ass, that's you--don't get angry. The canary, that's I. When I
+sing I open my bill and I say, "you, you, you!"
+
+That's all that I can tell you.
+
+                                    Édouard Pailleron.
+
+       *       *       *       *       *
+
+
+
+
+                               IX.
+
+                       From Victorien Sardou.
+
+
+My dear friend:
+
+It's not so easy to answer you as you think. ...There is no one
+necessary way of writing a play for the theater. Everyone has his own,
+according to his temperament, his type of intellect, and his habits of
+work. If you ask me for mine, I should tell you that it is not so easy
+to formulate as the recipe for duck _à la rouennaise_ or spring chicken
+_au gros sel_. Not fifty lines are needed, but two or three hundred, and
+even then I should have told you only my way of working, which has no
+general significance and makes no pretense to being the best. It's
+natural with _me_, that's all. Besides, you will find it indicated in
+part in the preface to 'La Haine' and in a letter which I wrote to La
+Pommeraye about 'Fédora.'
+
+In brief, my dear friend, tho there are rules, and rules that are
+invariable, precise, and eternal for the dramatic art, rules which only
+the impotent, the ignorant, blockheads, and fools misunderstand, and
+from which only they wish to be freed, yet there is only one true method
+for the conception and parturition of a play--which is, to know quite
+exactly where you are going and to take the best road that leads there.
+However, some walk, others ride in a carriage, some go by train, X
+hobbles along, Hugo sails in a balloon. Some drop behind on the way,
+others run past the goal. This one rolls in the ditch, that one wanders
+along a cross-road.
+
+In short, that one goes straight to the mark who has the most common
+sense. It is the gift which I wish for you--and myself also.
+
+                                    Victorien Sardou.
+
+       *       *       *       *       *
+
+
+
+
+                               X.
+
+                        From Émile Zola.
+
+
+My dear Comrade:
+
+You ask how I write my plays. Alas! I should rather tell you how I do
+not write them.
+
+Have you noticed the small number of new writers who take their chances
+in the theater? The explanation is that in reality, for our generation
+of free artists, the theater is repugnant, with its cookery, its
+hobbles, its demand for immediate and brutal success, its army of
+collaborators, to which one must submit, from the imposing leading man
+down to the prompter. How much more independent are we in the novel! And
+that's why, when the glamor of the footlights makes the blood dance, we
+prefer to exercise it by keeping aloof and to remain the absolute
+masters of our works. In the theater we are asked to submit to too much.
+
+Let me add that in my own case I have harnessed myself to a group of
+novels which will take twenty-five years of my life. The theater is a
+dissipation which I shall doubtless not permit myself until I am very
+old.
+
+After all, if I could indulge in the theater. I should try to _make_
+plays much less than is the custom. In literature truth is always in
+inverse proportion to the construction. I mean this: The comedies of
+Molière are sometimes of a structure hardly adequate, while those of
+Scribe are often Parisian articles of marvellous manufacture.
+
+                        Very cordially yours,
+
+                                    Émile Zola.
+
+       *       *       *       *       *
+
+
+
+
+                                NOTES
+
+
+ABRAHAM DREYFUS (1847-) was the author of half a dozen ingenious little
+plays, mostly confined to a single act. One of them, 'Un Crane sans un
+Tempête,' adapted into English as the 'Silent System,' was acted in New
+York by Coquelin and Agnes Booth. Dreyfus was also the author of two
+volumes of lively sketches lightly satirizing different aspects of the
+French stage,--'Scènes de la vie de théâtre' (1880) and 'L'Incendie des
+Folies-Plastiques' (1886).
+
+In the Spring of 1884 he delivered an address on the art of playmaking
+before the Cercle Artistique et Littéraire of Brussels. This lecture was
+entitled 'Comment se fait une pièce de théâtre;' and it was printed
+privately in an edition limited to fifty copies, (Paris: A. Quantin,
+1884). In the course of this address he read letters received by him
+from ten or twelve of the most distinguisht dramatists of France in
+response to his request for information as to their methods of
+composition. It was to these letters that the lecture owed its interest
+and its value. What M. Dreyfus contributed himself was little more than
+a running commentary on the correspondence that he had collected. This
+commentary was characteristically clever, brisk, bright and amusing; but
+its interest was partly personal, partly local, and partly contemporary.
+The interest of the letters themselves is permanent; and this is the
+reason why it has seemed advisable to select the most significant of
+them and to present them here unincumbered by the less useful remarks of
+the lecturer.
+
+Émile Augier (1820-1889) disputes with Alexandre Dumas the foremost
+place among the French dramatists of the second half of the nineteenth
+century. The 'Gendre de M. Poirier' (which he wrote in collaboration
+with Jules Sandeau) is the masterpiece of modern comedy, a worthy
+successor to the 'Tartuffe' of Molière and the 'Marriage of Figaro' of
+Beaumarchais.
+
+Théodore de Banville (1823-1891) was a poet rather than a playwright.
+Altho he composed half-a-dozen little pieces in verse, the only one of
+his dramatic efforts which really succeeded in establishing itself on
+the stage, was 'Gringoire,' a one-act comedy in prose; and this met with
+a more fortunate fate than its more fantastic companions only because
+Banville revised and strengthened his plot in accordance with the
+skilful suggestions of Coquelin, who "created" the part of the starving
+poet.
+
+Adolphe Dennery (1811-1899) was the most adroit and fertile of
+melodramatists in the midyears of the nineteenth century. Perhaps his
+best play was 'Don César de Bazan'; and perhaps his most popular play
+was the 'Two Orphans.'
+
+Alexandre Dumas _fils_ (1824-1895) was the son of the author of the
+'Three Guardsmen'; and he inherited from his father the native gift of
+playmaking, which he declared in this letter to be the indispensable
+qualification of the successful dramatist. His 'Dame aux Camélias' has
+held the stage for more than sixty years and has been performed hundreds
+of times in every modern language.
+
+Edmond Gondinet (1828-1888) was the author of a host of pleasant pieces,
+mostly comedies in from one to three acts, and mostly written in
+collaboration. He believed that he preferred to write alone and that
+only his good nature kept tempting him into working with others. It was
+probably to warn away those who wanted to bring him their manuscripts
+for expert revision that led him to assert in this letter that he was "a
+detestable collaborator."
+
+Ernest Legouvé (1807-1903) was the collaborator of Scribe in the
+composition of 'Bataille de Dames' and 'Adrienne Lecouvreur.' In his
+delightful recollections, 'Soixante Ans de Souvenirs' he has a chapter
+on Scribe in which he describes the methods of that master-craftsman in
+dramatic construction; and in one of his 'Conférences Parisiennes' he
+sets forth the successive steps by which another dramatist, Bouilly, was
+able to compound his pathetic piece, the 'Abbé de l'Epée';--two papers
+which deserve careful study by all who wish to apprehend the principles
+of playmaking.
+
+Eugène Labiche (1815-1888) was the most prolific of the comic dramatists
+of France in the nineteenth century and the most richly endowed with
+comic force. Most of his pieces are frankly farcical, but not a few of
+them rise to the level of true comedy. The solid merit of his best work
+is cordially recognized in the luminous preface written by Augier for
+the complete collection of Labiche's comedies.
+
+Édouard Pailleron (1834-1899) was a comic dramatist of more aspiration
+than inspiration; and yet he succeeded in writing one of the most
+popular pieces of his time;--the 'Monde où l'on s'énnuie.'
+
+Victorien Sardou (1831-1908) was probably the French playwright who was
+most widely known outside of France. In the course of fifty years he was
+successful in almost every kind of playwriting, from lively farce to
+historic drama. His first indisputable triumph was with 'Pattes de
+Mouche,' known in English as the 'Scrap of Paper' and as widely popular
+in our language as in the original.
+
+Émile Zola (1840-1902) was a novelist who repeatedly sought for success
+as a dramatist, attaining it only in the adaptations of his stories made
+by professional playwrights. Yet one of his earlier pieces, 'Thérèse
+Raquin' is evidence that he might have mastered the art of the
+playwright, if he had not allowed himself to be misled by his own
+unfortunate theory of the theatre as set forth in his severe studies of
+'Nos Auteurs Dramatiques' (1881).
+
+In the 'Année Psychologique' for 1894 the distinguisht physiological
+psychologist, the late Alfred Binet,--to whom we are indebted for the
+useful Binet tests--publisht a series of papers dealing with the
+psychology of the playwright, in the preparation of which he was aided
+by M.J. Passy. The two investigators had a series of interviews with
+Sardou, Dumas _fils_, Pailleron, Meilhac, Daudet, and Edmond de
+Goncourt. Altho Daudet and Goncourt had written plays they were
+essentially novelists with no instinctive understanding of the drama as
+a specific art. Nor did either Pailleron and Meilhac make any
+contribution of importance. But Dumas and Sardou were both of them born
+playwrights of keen intelligence, having a definite understanding of the
+principles of playmaking; and what they said to M. Binet and his
+associate was interesting and significant.
+
+Dumas declared that he made no notes for any of his plays and that he
+never composed a detailed scenario. He thought of only one piece at a
+time, brooding over it for long months sometimes, and then throwing it
+on paper almost at white heat, if it dealt with passion. If, on the
+other hand, it was a comedy of character, a study of social conditions,
+the actual composition was necessarily more leisurely and protracted. He
+had carried in mind for six or seven years the theme of 'Monsieur
+Alphonse;' and he had actually put it on paper in seventeen days. He had
+written the 'Princesse Georges' in three weeks and the 'Etrangère' in a
+month; and the second act of the 'Dame aux Camélias' had been penned in
+a single session of four hours. But he had toiled seven or eight hours a
+day for eleven months over the 'Demi-Monde,' the second act alone
+costing him two months labor. He rarely modified what he had written by
+minor corrections; but sometimes, when his play was completed, he
+discovered that it was weak in its structure or inadequate in its
+motivation, in which case he reconstructed one or more acts, or even the
+whole play, writing it all over again.
+
+M. Dumas admitted that he took little interest in the setting of his
+plays or in the manifold details of stage-management. He indicated
+summarily the kind of room that he desired; and he put down in his
+manuscript only the absolutely necessary movements of his characters.
+The rest he left to the manager and the stage-manager.
+
+Here--as indeed everywhere,--Dumas revealed himself in the sharpest
+contrast with Sardou, who designed his sets himself and placed his
+furniture precisely where he needed it for the action of his play,
+sometimes finding that a given scene seemed to him to lose half its
+effect if it was acted on the left side of the stage instead of the
+right. He was a constant note-taker, putting down suggestions for single
+scenes or for striking suggestions, as these might occur to him; and as
+a result of this incessant cerebral activity he had always on hand more
+or less complete plots for at least fifty plays. When he decided to
+write one of these pieces, he assembled his scattered notes, set them in
+order, amplified and strengthened them; and when at last he saw his way
+clear he made out an elaborate and detailed scenario, containing the
+whole story, with ample indication of all the changes of feeling which
+might take place in any of the characters in any scene.
+
+Then when he felt himself in the right mood, he feverishly improvized
+the play, laughing over the jokes, weeping over the pathetic moments and
+objurgating the evil deeds of the more despicable characters. But this
+was only a first draft of the play; and it had to be gone over three or
+four times, altered, condensed, sharpened, tightened in effect. The
+first version was always too long; and the successive revisions reduced
+it to scarcely more than a half of its original length. Sometimes he was
+able to compact into a single pregnant phrase the substance of a speech
+of many lines. And as the play slowly took on its final form Sardou not
+only heard every word which every character had to speak, he also saw
+every one of the movements which would animate the action. M. Binet
+reminded him that when Scribe and Legouvé were collaborating on
+'Adrienne Lecouvreur,' Scribe asserted that he visualized all that the
+actors would do, while Legouvé heard all that they would say; and Sardou
+then claimed that he was fortunate in possessing the double faculty of
+both seeing and hearing.
+
+Of course, Sardou stage-managed his plays himself, teaching the
+performers carefully, and going upon the stage, if need be, to act the
+scene as he wanted it to be acted, indicating the expression, the
+intonation and the gesture which he felt to be demanded by the
+situation.
+
+He was equally meticulous in designing the scenery and the costumes; and
+he was inexorable in insisting on the carrying out of his wishes. He had
+a lively interest in painting, in sculpture and in architecture; and, in
+fact, he confest, that if he had not been a playwright he would like to
+have been an architect. This, it may be noted, is conformation of the
+statement that there is a strong similarity between the art of
+architecture and the art of the drama, due to the fact that both arts
+are under the necessity of providing a solid structure to sustain the
+fabric and to support the decoration.
+
+                                    B.M.
+
+       *       *       *       *       *
+
+OF THIS BOOK THREE HUNDRED AND THIRTY-THREE COPIES WERE PRINTED FROM
+TYPE BY CORLIES, MACY AND COMPANY IN SEPTEMBER; MCMXVI
+
+
+
+
+
+
+
+
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+
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