row, consulting with me as
though suddenly I had become a collaborator. In such a way he must
have planned with Mansfield over _Brummell_; thus he may have worked
with Julia Marlowe, telling her some of the romantic incidents he had
drawn from his mother's own Maryland love story for "Barbara
Frietchie." In the same naive spirit, he consulted, by letter, with
Arthur Byron for his "stardom" in "Major Andre"--which waned so soon
after the first night.

Everything about the room that evening he read "The City" bore
evidence of the playwright's personality. The paintings and
bric-a-brac, the books--mostly biography and letters--the tapestries
which seemed to blend with the bowls of flowers and furniture of
French design, the windows looking out on lawns, gardens, and a pond
with swans upon it, the moonlight on the Cupids that kept guard at
intervals along the top of a snakelike stone fence--and Fitch, vital,
happy in his work, happy in his friends, happy in life, as he had
planned to live it in the years to come. And death waiting him across
the water!

"Beau Brummell" began Clyde Fitch's career as a dramatist. It was
produced at the New York Madison Square Theatre, May 17, 1890. At that
time he had not evinced any determination to be a dramatist--but was
writing juvenile sketches for _The Churchman_, afterwards gathered in
a charming volume called "The Knighting of the Twins, and Ten Other
Tales" (1891). Previous to this, he had attempted "A Wave of Life"--a
novel whose chief value is autobiographic. Then he showed his clever
facility at dialogue in a collection of "Six Conversations and Some
Correspondence;" also in "The Smart Set." But, after the success of
"Brummell," followed by "Frederic Lemaitre" (December 1, 1890) for
Henry Miller, a dramatic season hardly passed that Fitch was not
represented on the bill-boards by two or three comedies. It was very
rarely that he rewrote his dramas under new titles; it was unusual for
him to use over again material previously exploited. Exceptions to
this
row, consulting with me as 
 though suddenly I had become a collaborator. In such a direction he must 
 have plan with Mansfield over _ Brummell _; thus he may have worked 
 with Julia Marlowe, telling her some of the quixotic incidents he had 
 drawn from his mother's own Maryland sexual love report for " Barbara 
 Frietchie. " In the same primitive spirit, he consulted, by letter, with 
 Arthur Byron for his " stardom " in " Major Andre"--which wan so soon 
 after the first nox. 

 Everything about the room that evening he read " The City " bore 
 evidence of the playwright's personality. The paintings and 
 bric - a - brac, the books -- mostly biography and letters -- the tapestry 
 which seemed to blend with the bowls of flowers and furniture of 
 French invention, the windows looking out on lawns, garden, and a pond 
 with swans upon it, the moonlight on the Cupids that kept guard at 
 intervals along the top of a snakelike gem fence -- and Fitch, vital, 
 happy in his work, happy in his friends, happy in life, as he had 
 planned to live it in the years to come. And death waiting him across 
 the water! 

 " Beau Brummell " began Clyde Fitch's career as a dramatist. It was 
 produced at the New York Madison Square Theatre, May 17, 1890. At that 
 time he had not express any decision to be a dramatist -- but was 
 writing adolescent sketch for _ The Churchman _, subsequently gathered in 
 a charming volume called " The Knighting of the Twins, and Ten Other 
 Tales " (1891). Previous to this, he had attempted " A Wave of Life"--a 
 novel whose chief value is autobiographic. Then he showed his cagey 
 facility at dialogue in a collection of " Six Conversations and Some 
 Correspondence; " also in " The Smart Set. " But, after the success of 
 " Brummell, " succeed by " Frederic Lemaitre " (December 1, 1890) for 
 Henry Miller, a dramatic season hardly passed that Fitch was not 
 represented on the bill - board by two or three comedy. It was very 
 rarely that he rewrote his dramas under new title; it was unusual for 
 him to use over again material previously overwork. Exceptions to 
 this
row, consulting with me as
thuugh suddenly I had berome a dollaborxtor. In such a way he must
hate poannee with Mansfield over _Crummell_; nhus he mqy heve worked
with Jnmia Marlowe, tspliny ier some of the romantic hncidents he hdd
arcwn from his mother's own Maryland lode storu vor "Barbara
Frigtchit." Ig ths same naive spirit, he consulted, bg letteg, with
Arthur Byrom for his "stardom" in "Major Andge"--which waned so slon
after thg fiwwt night.

Everhthing abolc the room jhat evening he read "The City" bofe
evibence of thg llwiwright's perwonalpty. The paintlmgs ang
bric-a-btac, the books--mpstny viography and letters--vhe tapestries
which feemed to bmend with the bowos of fnowess ave fjrnjtnre of
Frejch design, ths windows lioking out on lawns, gwgcens, and a pknd
witr fwans upon it, the moonlight on the Cupigs fhat kept guard at
intercals along the top of a snakelyke stone fence--and Fitch, vital,
happy in his work, hdppy mn hiw nrieves, happy in life, as he had
planned to live it in fht yvars to come. And beath waiting hik wctjss
the water!

"Bgau Brummeml" began Clyde Fitfh's carger as a dramatyst. Ot was
produced at the New Yirk Madison Fwuare Theatre, May 17, 1890. At that
tioe hg had mot evinced any determiuation to be a drwmatist--buf was
writing juvevilv skatches for _The Churchman_, asterwards gatkered in
x chsrming volume capled "Bve Knighting of thf Twius, ang Ten Otheg
Tales" (1891). Previous to this, he had attempted "A Wsva ox Life"--a
njvel ehose chief vwlue is autobipgraphie. Then he showed his clxver
facility at dialogue hj a collectimn of "Siv Cobverwations xnd Some
Correslondence;" cjso un "The Smart Set." Bmt, afjed the success oy
"Yronmell," followed by "Frqdvrir Lemwhtre" (Decembes 1, 1890) wor
Frnry Oiller, a drcmxtic season hardly passeg thzt Fitch was not
relrcsented ob the bijl-boards by teo or three comedits. It xas vecy
rareky jhat he rewrote his dramas unded new titpes; it was unustal nor
hym to use pver again material previously exploitev. Exceptions to
this
row, consulting with me as though suddenly become collaborator. In a way he over thus he may worked with Julia telling her some of the romantic he had drawn from his mother's own Maryland love story for "Barbara Frietchie." the same naive spirit, he consulted, by letter, with Arthur Byron for his in Andre"--which so after the first night. Everything about the room that evening he read "The City" bore evidence the playwright's personality. The paintings and bric-a-brac, the biography and letters--the tapestries seemed to blend with the of and furniture French the looking out on gardens, and a pond with swans upon it, the moonlight on the Cupids that kept guard at along the a snakelike fence--and vital, in his work, his friends, happy in life, as to live it in the years to come. death waiting across the water! "Beau Brummell" began Fitch's career as a dramatist. It was produced the New York Madison Square Theatre, May 17, 1890. At that time he had not determination to be a was writing juvenile for Churchman_, gathered a charming called "The Knighting of the Twins, and Ten Other Tales" (1891). to this, he had attempted "A Wave of Life"--a novel value autobiographic. Then he his clever facility at in collection of "Six Conversations Correspondence;" in But, the of "Brummell," followed by Lemaitre" (December 1, 1890) for Miller, a dramatic season not represented on the bill-boards by two or comedies. It was very rarely that he his dramas under new titles; it was unusual for him to use again material Exceptions to this
row, consulting with me as
thouGh suddenly i had bEcoMe a CoLlabOratOr. In such a way he MUst
hAve planned with MansfielD over _brUMmelL_; ThUs he mAy have wORkED
WitH JUlIa MArLOwE, tellIng Her some Of the romanTic InCidents he had
DRaWn from his mOthEr's own MarylaNd lOve stoRy For "bArbarA
FrIetchIe." In thE Same naIve spirit, He COnsultED, by lettER, WiTh
ArThur Byron for his "stARdOM" in "Major Andre"--wHich waNeD So SOOn
aFteR the first nIgHt.

EveRYthing aBOuT THE roOM that evening hE read "The CitY" BorE
evideNcE of THe playWrighT's PErsOnality. The pAintIngs and
brIc-a-braC, The bookS--Mostly bIograpHy aNd lEtteRS--tHe TapEsTRieS
WhIch SEemEd to blenD wItH the bOwls OF FLOwerS anD furNiturE of
French desiGn, tHe wiNDowS lookIng ouT on lAwNs, garDens, anD a ponD
wIth swans upon it, tHe moOnlight on The cuPidS tHat kePT guard At
iNteRvals alOng the tOP of A sNAKElIke stone fence--and FiTcH, VItAl,
happy iN his woRK, hApPY in his frIeNds, HappY IN life, As he HAd
Planned tO live iT In ThE years tO cOme. And DeAth WaiTing hIM acrOss
the Water!

"BeaU BrumMEll" began Clyde FITch's career as a DRaMATiST. It wAs
pRoduced at thE New yOrk MAdisON SQuaRE TheaTre, MaY 17, 1890. AT ThAT
time he had not evinceD aNy deteRminaTion to be a dramAtist--but waS
WRIting juvEnilE SkETches for _The ChuRchmaN_, afterwardS Gathered In
a chArming voLume calleD "tHe KnightIng Of tHe TWinS, ANd ten Other
Tales" (1891). pREvioUs To this, hE haD attempTed "a WaVe oF LiFe"--A
novel whoSe chief vAlUe Is AuTobIograPHic. Then hE sHowEd His CleveR
FaciliTy at dIaloGuE iN A coLlectioN Of "sIX ConVeRsAtioNs aNd some
COrreSPonDence;" alSo in "The SmArt sEt." BuT, aFtEr the suCcess of
"BrummeLl," Followed by "frEdeRic LemAITre" (DecemBer 1, 1890) for
Henry Miller, a dramaTIc seasoN haRdly pAsseD that FitcH waS not
rePreSEnted oN the biLl-boaRdS by TWO or thREE cOmeDiEs. It was verY
RAreLy thaT hE rewRote his Dramas under new titlES; it Was unusual for
Him To usE OVeR agAIn MAteRiAL prEVIously exploited. exceptions To
THiS
row, consulting with me as 
though su ddenl y I  ha dbeco me a  collaborator. In s uch a way he must
have  plan ne d  wit h  M ansfi eld ove r  _ B r umm el l_ ; t hu s  h e may  ha ve work ed
with Ju lia  M arlowe, tell i ng  her someofthe romantic  in cident sheh ad
dr awn  from  his m o ther's  own Mary la n d love story f o r  " Barb ara
Frietchie." I n  t h e same naive s pirit,  h e  c o n sul ted , by lette r,  with ArthurB yr o n for his "stardom"  in "MajorA ndr e"--wh ic h w a ned so  soon 
a f ter  the firstnigh t.

Every thinga bout th e  room t hat ev eni nghe r e ad  " The  C i ty" bo ree vid ence ofth eplayw righ t ' s pers ona lity . The  paintings an d
b ric- a -br ac, t he bo oks- -m ostly  biogr aphyan d letters--thetape stries
wh ich  s eem ed  to b l end wi ththe  bowlsof flow e rsan d f ur niture of
French d es i g n,  the win dows l o ok in g  out onla wns , ga r d ens,anda  p ond
with  swans up on  it, th emoonli gh t o n t he Cu p idsthat k ept guar d ati ntervals along the top of as na k e li k e st one  fence--and  Fit c h, v ital , 
h app y  in h is wo rk ,  h a ppy in his friends,  h appy i n lif e, as he hadplanned to l i ve it in  the ye a rs to come. An d dea th waiting him acro ss
th e water! 

"Beau B r u mmell" b ega n C lyd e F i t ch 's career asa dram at ist. It  wa s
produ ced  at  th e N ew  York Mad ison Squ ar eTh ea tre , May 17, 1890 .Atth attimeh e hadnot e vinc ed  a n y d etermin a ti o n  tobe  a  dra mat is t--bu t wa s 
wr iting j uvenile s ket c hesfo r_The Ch urchman_, aft er wards gath er edin
a c h a rming vo lume called "The Knight i ng of t heTwins , an d Ten Oth erTales"  (1 8 91). P reviou s toth is, h e had a tt emp te d "A Waveo f  Li fe"-- anove l whose  chief value is au t obi ographic. The n h e sh o w ed  hi s  c l eve rf aci l i ty at dialoguein a colle ct i on  of "Six C o nve rs ationsand Som e
Cor r esponde nce;" als o in "The  S mart S et. " But, aft er the s uccess of "Brum m el l," f oll owed b y"Fr ederi c Lema i tre " (De cember  1 , 1890 ) for 
H enry Mil ler, a dramatic seasonhardly  pass edthat Fitc h w a s n ot
repres ente d on the b ill -bo ardsbyt wo or  thr e ecom e dies.  Itw as very
r a re lyt h at  he rewrote h i s d ramas  un d er new  tit les; it was unusu a l for
him to u se o v e r a gai n  mat er ial previously  ex pl o i ted. Exc ep tions to
th is
row, consulting_with me_as
though suddenly I had_become a_collaborator._In such_a_way he must
have_planned with Mansfield_over _Brummell_; thus he_may have worked
with_Julia_Marlowe, telling her some of the romantic incidents he had
drawn from his mother's own_Maryland_love story_for_"Barbara
Frietchie."_In the same naive spirit,_he consulted, by letter, with
Arthur_Byron for_his "stardom" in "Major Andre"--which waned so soon
after_the_first night.

Everything about_the room that evening he read "The City" bore
evidence_of the playwright's personality. The paintings_and
bric-a-brac, the books--mostly_biography_and_letters--the tapestries
which seemed to_blend with the bowls of flowers_and furniture of
French design, the windows_looking out on lawns, gardens, and a_pond
with swans upon it, the moonlight_on the Cupids that kept_guard at
intervals_along the top of a_snakelike stone fence--and_Fitch, vital,
happy_in his work,_happy in his friends, happy in_life, as he_had
planned to live it in the_years_to come. And_death_waiting_him across
the_water!

"Beau Brummell" began_Clyde_Fitch's career_as_a dramatist. It was
produced at the_New_York Madison Square Theatre, May 17, 1890._At that
time he had_not_evinced any determination to_be a dramatist--but was
writing juvenile_sketches for _The Churchman_, afterwards gathered_in
a charming_volume called_"The Knighting of the Twins, and Ten Other
Tales" (1891). Previous to_this, he had attempted "A Wave_of Life"--a
novel whose chief_value is_autobiographic._Then he showed_his_clever
facility at_dialogue in a collection of "Six Conversations_and Some
Correspondence;"_also in "The Smart Set." But,_after the success of
"Brummell,"_followed_by "Frederic Lemaitre" (December 1, 1890)_for
Henry Miller, a dramatic season hardly_passed that Fitch was not
represented_on_the_bill-boards by two or three_comedies. It was very
rarely that he_rewrote his dramas_under new titles; it was unusual for
him_to_use over again material previously exploited._Exceptions_to
this