The drama is a very ancient form of art, and reached a high pitch of excellence in ancient Greece, which produced such great dramatists as Aeschylus, Sophocles, Euripides and the satirist Aristophanes. The Greeks were passionately fond of the theatre, and crowded to see and hear the plays of these great poets.
In England, the drama came into full flower in the age of Queen Elizabeth, and the number of able Elizabethan dramatists, of whom Shakespeare was the greatest, shows what an intense interest the English people took in the theatre.
The actual theaters in those days were very primitive, and scarcely any scenery was used; but the dramas produced are the greatest in English literature.
Theatres today are places of amusement, resorted to, as a rule, in the evening after the work of the day. The buildings are large and comfortable, and the scenery is magnificent and realistic.
The scenic arrangements delight the eye, the music charms the soul, and the situations created by the plot are such as to arouse the interest, and make us lose the sense of our own troubles and worries in sympathy with the joys and sorrows of those who are impersonated upon the stage.
Theatres being looked upon, in modern times, largely as places of recreation, the public demands amusement, “and those representations which are of a cheerful and joyous nature, those plots which involve the characters in trouble and leave them in possession of unalloyed happiness, are the most popular, even though in many cases they are untrue to life. There is, however, another side to the question. The English stage was most flourishing in the time of Queen Elizabeth. The dramatists of that day looked upon amusement as only a part of their duties. Many men of lofty and penetrating intellect used the theatre as a medium for the expression of their thoughts and ideas.
Their aim was to ennoble and elevate the audience, and imbue it with their own philosophy, by presenting noble characters working out their destiny amid trials and temptations, and their pictures, being essentially true to nature, acted as powerful incentives to the cultivation of morality.
Shakespeare stands preeminent among them all, because by his wealth of inspiring thought he gives food for reflection to the wisest, and yet charms all by his wit and humour and exhibits for ridicule follies and absurdities of men.
It is a great testimony to the universality of his genius that, even in translations, he appeals to many thousands of those who frequent Indian theatres, and who differ so much in thought, customs and religion from the audiences for which he wrote.
In Act I, Ross brings good news. He tells Duncan of Macbeth and Banquo's valiance in defeat of Norway. Later, he tells Macbeth that he is Thane of Cawdor. In Act IV, Ross informs Lady Macduff that her husband has left them for England.
This story vascillates between the everyday humdrum life of Water Mitty, the hen-pecked husband sterotype, and the extravagant adventures he lives in his daydreams. Mitty flits in and out of reality, his daydreams concocted by a stream of consciousness association triggered by the sputtering of his car's exhaust pipe, a pair of gloves, and finally a freshly lit cigarette. In such a way this docile "hubby" gets to be the captain of an icebreaker, a famous surgeon, a defendent in a murder trial and finally a fighter pilot taken captive distaining a firing squad. Mitty's imagination is his "second life," which nurtures his deflated ego and helps hims escape the insufferable mediocrity of his existence.
If you do a graph of the plot line of this story, it would look very much like a cardiograph printout, with the steady horizontal line of Mitty's real life intermittantly broken by the highs and lows of his "virtual" existence.
