HOW
TO SEE A PLAY

BY
RICHARD BURTON

New York
THE MACMILLAN COMPANY
1914

Now here are twenty criticks ... and yet every one is a critick after his own way; that is, such a play is best because I like it. A very familiar argument, methinks, to prove the excellence of a play, and to which an author would be very unwilling to appeal for his success.
—From Farquhar's A Discourse Upon Comedy.

Copyright, 1914 by THE MACMILLAN COMPANY
Set up and Electrotyped. Published November, 1914

THE MACMILLAN COMPANY
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MACMILLAN & CO., Limited
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THE MACMILLAN CO. OF CANADA, Ltd.
TORONTO

Preface
Chapter: I, II, III, IV, V, VI, VII, VIII, IX, X, XI
Notes

PREFACE

THIS book is aimed squarely at the theater-goer. It hopes to offer a concise general treatment upon the use of the theater, so that the person in the seat may get the most for his money; may choose his entertainment wisely, avoid that which is not worth while, and appreciate the values artistic and intellectual of what he is seeing and hearing.

This purpose should be borne in mind, in reading the book, for while I trust the critic and the playwright may find the discussion not without interest and sane in principle, the desire is primarily to put into the hands of the many who attend the playhouse a manual that will prove helpful and, so far as it goes, be an influence toward creating in this country that body of alert theater auditors without which good drama will not flourish. The obligation of the theater-goer to insist on sound plays is one too long overlooked; and just in so far as he does insist in ever-growing numbers upon drama that has technical skill, literary quality and interpretive insight into life, will that better theater come which must be the hope of all who realize the great social and educative powers of the playhouse. The words of that veteran actor-manager and playwright of the past, Colley Cibber, are apposite here: "It is not to the actor therefore, but to the vitiated and low taste of the spectator, that the corruptions of the stage (of what kind soever) have been owing. If the publick, by whom they must live, had spirit enough to discountenance and declare against all the trash and fopperies they have been so frequently fond of, both the actors and the authors, to the best of their power, must naturally have served their daily table with sound and wholesome diet." And again he remarks: "For as their hearers are, so will actors be; worse or better, as the false or true taste applauds or discommends them. Hence only can our theaters improve, or must degenerate." Not for a moment is it implied that this book, or any book of the kind, can make playwrights. Playwrights as well as actors are born, not made—at least, in the sense that seeing life dramatically and having a feeling for situation and climax is a gift and nothing else. The wise Cibber may be heard also upon this. "To excel in either art," he declares, "is a self-born happiness, which something more than good sense must be mother of." But this may be granted, while it is maintained stoutly that there remains to the dramatist a technic to be acquired, and that practice therein and reflection upon it makes perfect. The would-be playwright can learn his trade, even as another, and must, to succeed. And the spectator (our main point of attack, as was said), the necessary coadjutor with player and playwright in theater success, can also become an adept in his part of this coöperative result. This book is written to assist him in such coöperation.

HOW TO SEE A PLAY

CHAPTER I

THE PLAY, A FORM OF STORY TELLING

THE play is a form of story telling, among several such forms: the short story, or tale; the novel; and in verse, the epic and that abbreviated version of it called the ballad. All of them, each in its own fashion, is trying to do pretty much the same thing, to tell a story. And by story, as the word is used in this book, it will be well to say that I mean such a manipulation of human happenings as to give a sense of unity and growth to a definite end. A story implies a connection of characters and events so as to suggest a rounding out and completion, which, looked back upon, shall satisfy man's desire to discover some meaning and significance in what is called Life. A child begging at the mother's knee for "the end of the story," before bedtime, really represents the race; the instinct behind the request is a sound one. A story, then, has a beginning, middle and end, and in the right hands is seen to have proportion, organic cohesion and development. Its parts dovetail, and what at first appeared to lack direction and connective significance finally is seen to possess that wholeness which makes it a work of art. A story, therefore, is not a chance medley of incidents and characters; but an artistic texture so woven as to quicken our feeling that a universe which often seems disordered and chance-wise is in reality ordered and pre-arranged. Art in its story-making does this service for life, even if life does not do it for us. And herein lies one of the differences between art and life; art, as it were, going life one better in this rearrangement of material.

Of the various ways referred to of telling a story, the play has its distinctive method and characteristics, to separate it from the others. The story is told on a stage, through the impersonation of character by human beings; in word and action,