Though the unities of time and place are long ago
exploded as binding principles—indeed,
they never had any authority in English drama—yet
it is true that a broken-backed action, whether in
time or space, ought, so far as possible, to be avoided.
An action with a gap of twenty years in it may be
all very well in melodrama or romance, but scarcely
in higher and more serious types of drama.[4] Especially
is it to be desired that interest should be concentrated
on one set of characters, and should not be frittered
away on subsidiary or preliminary personages.
Take, for instance, the case of The Second Mrs.
Tanqueray. It would have been theoretically
possible for Sir Arthur Pinero to have given us either
(or both) of two preliminary scenes: he might
have shown us the first Mrs. Tanqueray at home, and
at the same time have introduced us more at large
to the characters of Aubrey and Ellean; or he might
have depicted for us one of the previous associations
of Paula Ray—might perhaps have let us
see her “keeping house” with Hugh Ardale.
But either of these openings would have been disproportionate
and superfluous. It would have excited, or tried
to excite, our interest in something that was not the
real theme of the play, and in characters which were
to drop out before the real theme—the Aubrey-Paula
marriage—was reached. Therefore the
author, in all probability, never thought of beginning
at either of these points. He passed instinctively
to the point at which the two lines of causation converged,
and from which the action could be carried continuously
forward by one set of characters. He knew that
we could learn in retrospect all that it was necessary
for us to know of the first Mrs. Tanqueray, and that
to introduce her in the flesh would be merely to lead
the interest of the audience into a blind alley, and
to break the back of his action. Again, in His
House in Order it may seem that the intrigue between
Maurewarde and the immaculate Annabel, with its tragic
conclusion, would have made a stirring introductory
act. But to have presented such an act would
have been to destroy the unity of the play, which
centres in the character of Nina. Annabel is “another
story”; and to have told, or rather shown us,
more of it than was absolutely necessary, would have
been to distract our attention from the real theme
of the play, while at the same time fatally curtailing
the all-too-brief time available for the working-out
of that theme. There are cases, no doubt, when
verbal exposition may advantageously be avoided by
means of a dramatized “Prologue”—a
single act, constituting a little drama in itself,
and generally separated by a considerable space of
time from the action proper. But this method is
scarcely to be commended, except, as aforesaid, for
purposes of melodrama and romance. A “Prologue”
is for such plays as The Prisoner of Zenda and
The Only Way, not for such plays as His
House in Order.