The "mashers" and "crutch and toothpick brigade" of the stage were rather the progenitors than imitators of the type, and the Gibson girls were more numerous after the appearance of Miss Camille Clifford than before she came to London. It might be indiscreet to go further into details and cite more modern instances on the topic.
One can hardly call this, holding the mirror up to Nature, yet, in a curious roundabout way, the stage seems to justify itself and become true after the event. There was a rather bitter discussion some time ago between an author and a critic; the latter had remarked that the language of the dramatist's people did not sound true, that it seemed composed of scraps from the stage, that he generally could guess from the cue the words of the answering speech.
This, of course, is very often the case; probably to the simple-minded playgoer when it happens there seems to be evidence that the dialogue is true. The characters say what he expects them to say--therefore, that which to him it seems natural for them to say. Perhaps the judgment of the simple-minded playgoer is sounder on this point than that of the critic, who is hoping that the characters will utter something that he does not expect them to say. Probably a large number of the stereotyped phrases of our actual speech come from the novel or stage, and although when they were first spoken the truth was not in them, they have come to be truly representative of the characters.
Novelists of standing are more nicely squeamish on the subject than dramatists of similar rank; they endeavour to avoid--in dialogue--the ready-made article; at the same time one notes that the important dramatist is very anxious to keep clear of the stage-worn phrases.
We know that to some extent people do accept the judgments in plays as judgments on life, and mould their conduct on that of the characters. Even the daughter in _Alice Sit-by-the-Fire_, with her views based on melodrama concerning her mother, was not wholly extravagant. Of course this puts a rather heavy responsibility upon dramatists. The _Jack Sheppard_ and _Dick Turpin_ plays are said to have fired many youths with a desire to become romantic criminals, and even caused them to make efforts to carry out their desires. Nowadays--at least in the theatres within our province--such pieces are not presented; nor would one quarrel with the Censor if he were to prohibit one of them. There is little peril in a work like _Raffles_; for though it would not be difficult to exhibit skill in crime as great as that of the hero, a capacity for being a first-class cricketer and an education at Eton seem to be essential elements of the character, and these serve as insurmountable stumbling-blocks to many. Yet a Raffles may set a fashion and have humble imitators, so far as personal style is concerned, among the professors of the fine art of crib-cracking.