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The Project Gutenberg EBook of Representative Plays by American Dramatists: 1856-1911: The Moth and the Flame, by Clyde Fitch 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: Representative Plays by American Dramatists: 1856-1911: The Moth and the Flame Author: Clyde Fitch Editor: Montrose J. Moses Release Date: June 2, 2008 [EBook #25531] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MOTH AND THE FLAME *** Produced by David Starner, Diane Monico, and The Online Distributed Proofreading Team at http://www.pgdp.net THE MOTH AND THE FLAME [Illustration: CLYDE FITCH] CLYDE FITCH (1865-1909) Clyde Fitch brought a vivacity to the American stage that no other American playwright has thus far succeeded in emulating. The total impression of his work leads one to believe that he also brought to the American stage a style which was at the same time literary and distinctly his own. His personality was interesting and lovable, quickly responsive to a variety of human nature. No play of his was ever wholly worthless, because of that personal equation which lent youth and spontaneity to much of his dialogue. When he attained popular fame, he threw off his dramas--whether original or adapted from the French and German--with a rapidity and ease that did much to create a false impression as to his haste and casualness. But Fitch, though a nervously quick worker, was never careless. He pondered his dramas long, he carried his characters in mind for years, he almost memorized his dialogue before he set it down on paper. And if he wrote in his little note-books with the same staccato speed that an artist sketches, it was merely because he saw the picture vividly, and because the preliminaries had been done beforehand. The present Editor was privileged to know Fitch as a friend. And to be taken into the magic circle was to be given freely of that personal equation which made his plays so personal. This association was begun over a negative criticism of a play. An invitation followed to come and talk it over in his Fortieth Street study, the same room which--decorations, furniture, books and all--was bequeathed to Amherst C
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