This is a collection of one-act plays chosen both because their appeal seems not to be limited to the adult audiences for which they were originally written, and because they may well serve the purpose of introducing the student to contemporary dramatists of standing. Some of them, it is true, make use of old stories and traditions, but the treatment is in all cases modern.
ingle climax. In the case of Fortune and Men's Eyes, it is the ballad-monger, who in crying his wares,
"Plays, Play not Fair, Or how a gentlewoman's heart was took By a player, that was King in a stage-play,"
gives us in the first few minutes of the play his ironical clue to the theme. And this theme is worked out in Mary Fytton's shallow intrigue with William Herbert, which culminates in the shattering of the Player's dream on that autumn day in South London at "The Bear and the Angel."
The single situation exemplifying the theme of The Intruder is found in the repeatedly expressed premonitions of the blind Grandfather, stationary in his armchair, whose heightened senses detect the presence of the Mysterious Stranger. The unity of effect secured in this play is only rivaled, not surpassed, by the wonderful totality of impression experienced by the reader of The Fall of the House of Usher. The unity of effect in The Intruder is secured also by
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