hen his vivacity was
on the increase, for touches in it gave foretaste of his later society
dramas, and showed his planning, in the manner of the French, for
excellent theatrical effect. He was to become more expert in the use
of materials, but no whit less clever in his expansion of "small talk"
and society shallowness.

"The Harvest" is an early example of Fitch's method of workmanship. It
was carefully planned and quickly written; in fact, it was set down on
paper while Fitch was on the four o'clock train between New York and
Boston; his motive was to show the dangerous power and fascination of
a clever, dissipated, attractive man-of-the-world on a young girl,
who, in her innocence, does not understand the warnings given her on
all sides. The idea grew in his mind, and this growth resulted in "The
Moth and the Flame," which entered more fully into the "fast" life of
a man about town, and the dangerous ignorance of the society girl.
Fitch loved to sketch the smart woman, like _Mrs. Lorrimer_, who, as
someone has said, is frivolously constituted, but sharply witty and
with some depth of heart. The fancy-dress party scene is
autobiographic, he having attended such an occasion at Carroll
Beckwith's studio, in New York. In technique, this scene is comparable
with the one of similar gaiety in "Lord and Lady Algy"--both having an
undercurrent of serious strain. The tragedy motive is relieved at
almost calculated times by comedy, which shows that Fitch held to the
old dramatic theory of comic relief. Often this was irritating,
discounting the mood he was trying to maintain. He was not as skilful
in the use of these varying elements as Pinero, with whom he might be
compared--not for strength of characterization, for fullness of story
or for the sheer art of interest, but for creative vitality and
variety, as well as for literary feeling in the use of materials. But
more important than all these was his desire to be true to the
materials he had selected. On this subject he always had much to say,
and his comments about Truth in the theatre comprise an enlightening
exposition of his dramatic theory. This it is well to examine. In
1901, he adapted, from the French, "Sapho"--to the production of which
was attached some unpleasant notoriety--and "The Marriage Game." And
of these he wrote (in _Harper's Weekly_), in response to current
criticism, as follows:

It is only fair to myself and to my work done on the two
plays