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The Project Gutenberg EBook of The Black Cat, by John Todhunter This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Black Cat A Play in Three Acts Author: John Todhunter Release Date: December 4, 2005 [EBook #17218] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE BLACK CAT *** Produced by Michael Ciesielski, Cori Samuel and the Online Distributed Proofreading Team at http://www.pgdp.net THE BLACK CAT. A PLAY IN THREE ACTS BY JOHN TODHUNTER. FIRST ACTED AT THE INDEPENDENT THEATRE IN LONDON. LONDON: HENRY AND CO. 93, ST. MARTIN'S LANE, W.C. 1895 _Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury._ Preface. Mr. Grein has asked me to write a preface to THE BLACK CAT. I cannot myself see much occasion for this. Why should an author be called upon to make a speech before the curtain? Because, I presume, people want to have something to talk about besides the play itself, and an author must surely have "views." Well, it is a day of views--and of talk. THE BLACK CAT was produced at the Opera Comique on December 8th, 1893, at one of the Independent Theatre Society's performances. It had a certain _succes d'estime_ before a special audience, for whom, however, it was not written; and it has not been performed since. The critics were wonderfully kind. They actually praised the play; some reluctantly, some with a reckless enthusiasm which quite astonished me. I had expected a much less pleasant reception. The main objection they made to the thing was that it had a tragic ending, which they kindly suggested I had tacked on to my comedy, to appeal to the morbid taste of an "Independent" audience. Unfortunately I had done nothing of the kind. The play was conceived before the Independent Theatre had come into existence. The end was foreseen from the beginning; the tragedy being implicit in the subject. The tragic motive lay deeper than the death of the heroine, who might have been allowed to live, if that last symbolic pageantry had not had its dramatic fitness. Given the characters and the circumstances, the end is the absolutely right one. Of course the circumstances might have been altered, and a
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