A very austere criticism might even call it the one
thing worth consideration. But, as a matter of fact, when we speak of
plausibility, it is almost always the second plane--the plane of
uncharacteristic circumstance--that we have in mind. To plausibility of
the third order we give a more imposing name--we call it truth. We say
that Nora's action is true--or untrue--to nature. We speak of the truth
with which the madness of Lear, the malignity of Iago, the race hatred
of Shylock, is portrayed. Truth, in fact, is the term which we use in
cases where the tests to be applied are those of introspection,
intuition, or knowledge sub-consciously garnered from spiritual
experience. Where the tests are external, and matters of common
knowledge or tangible evidence, we speak of plausibility.
It would be a mistake, however, to imagine that because plausibility of
the third degree, or truth, is the noblest attribute of drama, it is
therefore the one thing needful. In some forms of drama it is greatly
impaired, or absolutely nullified, if plausibility of the second degree,
its necessary preliminary, be not carefully secured.
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