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 of the narrative; who from the interaction of both can quicken premises into curiosity aroused and suspense set a-vibrating. Of such a Capek is the first act of “The Makropoulos Secret.” Before it is done we are engrossed in the suit of Gregor against Prus—a hundred years old; in Emilia Marty, singing-woman, mysterious intervener and informer; in the spell she lays with nearly every contact; in the fulfilment forthwith of her sayings. Prus, Gregor, Vitek, Kolonaty have all come, as well, into individual human and theatric being.

A second act that apparently begins in decoration, only deepens the mystery and intensifies the fascination hanging about Elina-Emilia. Incidents that pass as the embroidery, almost the digression of the moment—say the interchanges between the young lovers—speedily contribute to the main course of the dramatic narrative, the rising current of dramatic suspense. For the while. Capek seems to be taking the permissible privilege of the playwright to amusing conversation—and lo! almost every sentence is contributing to the riddle of Emilia. Quick, hard, terse and tense come the two strokes at the end. At the blow and aim unmissed, the playwright hammers home.