I have had a heavy case of conscience of the same kind about my Braxfield story. Braxfield--only his name is Hermiston--has a son who is condemned to death; plainly there is a fine tempting fitness about this; and I meant he was to hang. But now, on considering my minor characters, I saw there were five people who would--in a sense who must--break prison and attempt his rescue. They are capable, hardy folks, too, who might very well succeed. Why should they not, then? Why should not young Hermiston escape clear out of the country? and be happy if he could with his--But soft! I will betray my secret or my heroine.[12]
When a scene clogs, don't hold the pen waiting for the impulse to write: don't try to write at all. Study the situation, not for itself, but for the people in it. "The Dramatist who depends his characters to his plot," says Mr. Galsworthy, worthy, "instead of his plot to his characters, ought himself to be depended."[13] If a thorough knowledge of the characters in the particular situation does not bring a solution, study them as the scene relates itself to what must precede in characterization. More than once a dramatist has found that he could not compose some scene satisfactorily till he had written carefully the previous history of the important character or characters. The detailed knowledge thus gained revealed whether or not the characters could enter the desired situation, and if so, how. Pailleron, author of _Le Monde où l'on s'ennuie_ declared that, in his early drafts, he always had three or four times the material in regard to his _dramatis personæ_ ultimately used by him.
Intimate knowledge of his characters is the only safe foundation for the ambitious playwright. It is well-nigh useless to ask managers and actors to pass finally on a mere statement of a situation or group of situations, without characterization. All they can say is: "Bring me this again as an amplified scenario, or a play, which shows me to what extent the people you have in mind give freshness of interest to this story, which has been used again and again in the drama of different nations, and I will tell you what I will do for you." Reduce any dramatic masterpiece to simple statement of its plot and the story will seem so trite as hardly to be worth dramatization. For instance: a man of jealous nature, passionately in love with his young wife, is made by the lies and trickery of a friend to believe that his wife has been intriguing with another of his friends. The fact is that the calumniator slanders because he thinks his abilities have not been properly recognized by the husband and he has been repulsed by the wife. In a fury of jealousy the husband kills his innocent wife and then himself. That might be recognized as the story of any one of fifty French, German, Italian, English, or American plays of the last hundred years. It is, of course, the story of _Othello_--a masterpiece because Shakespeare knew Othello, Iago, Desdemona, and Cassio so intimately that by their interplay of character upon character they shape every scene perfectly. In other words, though a striking dramatic situation is undoubtedly dramatic treasure trove, whether it can be developed into anything fresh and contributive depends on a careful study of the people involved. What must they be to give rise to such a situation--not each by himself, but when brought together under the conditions of the scene? Even if a writer knows this, he must work backward into the earlier history of his people before he can either move through the particular scene or go forward into other scenes which should properly result from it.
