The author had had a plan for a kind of melodrama constructed around two orders of motivation. In the foreground of the stage, there was to be a series of realistic incidents, dealing with typical human situations, such as family quarrels, scenes at a business office, lovers during courtship, a public address by a spell-binder, etc. In the background, like a set of comments on this action, there was to be a primeval forest filled with mythically prehistoric monsters, marauding and (...) fighting in silent pantomime. These two realms were to have no overt connection with each other. The monsters in the "prehistoric" background would pay no attention to the everyday persons of the... (shrink)