When you meet a man whom you have never met before, you carry away with you a somewhat complete impression.  Even though he has spoken but a word or two, his appearance first of all, the cut of his clothes, his human twinkle, the way he lights his cigar, the courteous way in which he gives precedence to another, or his rough way of “butting into” a conversation, all combine to give him a personality distinct from every other man’s.  What he does not disclose of himself by actions, you read into his personality yourself.  “First impressions are the strongest,” is a common saying—­we make them strong by reading character on sight, by jumping at conclusions.  Man does not need to have a whole life laid before him to form a judgment.  Little things are what drive character impressions home.

It is this human trait of which the playwright makes use in the delineation of character.  The playlet writer has even less time than the legitimate dramatist to stamp character.  He must seize on the essentials, and with a few broad strokes make the character live as distinct from all other men.

For much of his characterization—­aside from that absolutely inherent in the plot—­the playlet writer depends upon the actor.  By the use of costumes and of make-up, the age and station in life, even the business by which a character earns his daily bread, are made clear at a glance.  And by the trick of a twitching mouth, a trembling hand, or a cunningly humble glance, the inner being is laid bare, with the help of a few vital words which are made to do duty to advance the story as well.

In a word, the playwright and the actor work in partnership, with broad strokes, relying upon the eager imagination of the audience to amplify the tiny sketch into a well-rounded, full personality.  This is the method simply stated.  It does not admit of the laying down of precepts.

2.  The Choice of Names

In the old days of vaudeville the persons of a playlet were often named to fit their most prominent characteristic; for instance, a sneaky fellow would be named Sam Sly, and a pretty girl Madge Dimples.  But with the change in fashion in the long play, the playlet has relegated this symbolical method of naming characters to burlesque and the lurid types of melodrama, and even there it is going out of fashion.

Today, names are carefully chosen to seem as life-like as do the characters themselves.  Instead of trying to express characteristics by a name, the very opposite effect is sought, except when the character would in real life have a “monicker,” or the naming of the character in the old way would serve to relate the act more closely to its form and awaken pleasing reminiscences. [1] The method today is to select a name that shall fit a character in a general way and yet be so unobtrusive that it will not be remarked.

[1] See The System and My Old Kentucky Home, in the Appendix.