The Autobiography of a Play | Page 6

to live. Her mind, tortured by the suspense, which, worse than certainty, is gradually yielding to hallucinations which keep her little one ever present to her fancy. Harold Routledge was wounded seriously in the duel, but not killed; he is near Lilian; seeing her every day; but he is her friend, rather than her lover, now; she talks with him of her child, and he feels how utterly hopeless his own passion is in the presence of an all-absorbing mother's love. It is discovered that the child is living peacefully among kind guardians in a French convent; and Routledge determines to cross the ocean with the necessary evidence and bring the little one back to its mother. He breaks the news to Lilian tenderly and gently. A gleam of joy illuminates her face for the first time since the terrible night, two years before, and Routledge feels that the only barrier to his own happiness has been removed. But the sudden return and reappearance of the husband falls like a stroke of fate upon both. As the curtain descends on the fourth act, Lilian lies fainting on the floor, with Natalie at her side, while the two men stand face to face above the unconscious woman whom they both love. Three lives ruined--because Lilian's father, having lost his wealth, in his old age, dared not, as he himself expressed it, leave a tenderly nurtured daughter to a merciless world. The world is merciless, perhaps, but it is not so utterly and hopelessly merciless to any man or woman as one's heart may be.
Lilian comes back to consciousness on her deathbed. Her child had returned to her only as a messenger from heaven, summoning her home. But the message had been whispered in unconscious ears; for she had not seen the little girl, who was removed before the mother had recovered from her swoon. They dare not tell her now that Natalie is on this side of the ocean and asleep in the next room. Mr. Strebelow had heard in a distant land, travelling to distract his mind from the great sorrow of his own life, of Lilian's condition, and he hastened back to undo the wrong he felt that he had committed. She asks to see him; she kisses his hand with tenderness and gratitude, when he tells her that Natalie shall be her own hereafter; his manly tears are tears of repentance, mingled with a now generous love. The stroke of death comes suddenly; they have only a moment's time to arouse the little one from its sleep; but they are not too late, and Lilian dies at last, a smile of perfect happiness on her face, with her child in her arms.
The Mississippi darky, in Mark Twain's story, being told that his heroic death on the field of battle would have made but little difference to the nation at large, remarked, with deep philosophy; "It would have made a great deal of difference to me, sah." The radical change made in the story I have just related to you, before the production of the play in New York, was this: Lilian lives, instead of dying, in the last act. It would have made very little difference to the American nation what she did; but it made a great deal of difference to her, as you will see, and to the play also in nearly every part. My reasons for making the change were based upon one of the most important principles of the dramatic art, namely: A dramatist should deal, so far as possible, with subjects of universal interest, instead of with such as appeal strongly to a part of the public only. I do not mean that he may not appeal to certain classes of people, and depend upon those classes for success; but, just so far as he does this, he limits the possibilities of that success. I have said that the love of offspring in woman has shown itself the strongest of all human passions; and it is the most nearly allied to the boundless love of Deity. But the one absolutely universal passion of the race--which underlies all other passions--on which, indeed, the very existence of the race depends--the very fountain of maternal love itself, is the love of the sexes. The dramatist must remember that his work cannot, like that of the novelist or the poet, pick out the hearts, here and there, that happen to be in sympathy with its subject. He appeals to a thousand hearts at the same moment; he has no choice in the matter; he must do this. And it is only when he deals with the love of the sexes that his work is most interesting to that aggregation of human hearts we call the audience. This