Note 3 — INTRODUCTION THE WORKMANSHIP OF THE ONE-ACT PLAY

One method of characterization which the author allows herself to use in this play, no doubt to heighten the Elizabethan illusion, is rare in the contemporary drama: when this "dark lady of the sonnets" flees "The Bear and the Angel," the Player breaks forth into the self-revealing soliloquy, found so frequently in his own plays, and continuing as a dramatic convention until the last quarter of the nineteenth century.[3]