chapter - 27

 When people think of "literature," they often think of poetry or novels, but the most influential form of literature is actually the play.

This is because the play is the essence of storytelling.

To present a story in a form other than text, what is called a "script" is essential. Plays, musicals, dramas, and movies—all these forms of entertainment require a script, and the origin of these scripts is the play.

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"A play? You're writing a play?"

"Yeah."

"But you're a novelist."

"Well, there are things like radio dramas, too."

"What's that?"

"It's a thing."

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A play is the purest form of storytelling. Narration, stage directions, scenes, dialogue... In a play, the story is stripped down to its most essential elements for expression.

Thus, a play is a form of literature in itself, not merely subordinate to performing arts like theater or musicals.

Plays written to be read rather than performed are called "Lesedrama." Goethe's Faust is a representative Lesedrama.

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"But still, it would be better to write a play that can be performed."

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While the performance culture in this world is highly developed, the fundamental "theater literature" is not so advanced.

The reason for this was the dazzling spectacle of "performance magic."

Scripts in this world were nothing more than a series of stage directions designed to showcase performance magic. Recently, performances based on novels have gained some popularity, but honestly, those adaptations were not highly regarded.

Throwing a person into a strange land does not make Alice’s story relatable.

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‘I don’t know many plays, but—’

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Unlike novels, I could only remember a few dozen plays at most.

But that was enough.

Those few dozen plays were masterpieces that dominated the culture of my previous life.

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To book lovers, if you ask for their favorite author, many names will come up.

Those who love Russian literature might mention Dostoevsky, those who like social critique might say George Orwell, and fans of epic fantasy might bring up Tolkien.

But if you ask for the greatest author, whether they are book lovers or someone who has never read a book, there is one name that comes to mind first.

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"Is this the play you said you were writing?"

"Yes."

"It's called Hamlet."

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William Shakespeare.

Anyone from my previous life on Earth would have heard this name at least once.

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"I didn't know you were interested in plays. You’ve always been into novels."

"I’m interested now."

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Shakespeare was synonymous with English literature. He was the one who perfected the English language.

The British Constitution. The deity of English literature. The poet of the world.

The titles for Shakespeare are so grand they almost sound like exaggerated praise. There was even a saying that while Don Quixote is the greatest novel, Shakespeare is the greatest writer in history.

And Hamlet, which I was going to plagiarize, was considered the greatest of his four major tragedies.

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"Do you want me to bring various reference plays for your research?"

"No, I’ll leave the details to the experts."

"What?"

"The best person to write a play is a playwright, right?"

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If I were plagiarizing a novel by myself, I would have had a hard time like when I translated Don Quixote.

But now, there were many talented students.

I planned to use their help this time, too.

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The winner of the second creative contest for adaptations of Dr. Jekyll and Mr. Hyde was a playwright. The winning student adapted Dr. Jekyll and Mr. Hyde into a play titled Jekyll and Hyde.

The name of that student was—

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"Ian Plummer."

"Yes!"

"Come with me."

"Yes!"

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Ian Plummer.

Ian Plummer was the youngest child of a quite influential noble family. I remember that Earl Plummer led a conservative faction in the noble house of parliament.

My father often gossiped about him, calling him an incomprehensible old man.

However, Ian Plummer himself enjoyed art and culture, living a free-spirited life.

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"I’m planning to write a play this time, and I need your help."

"I will show you my skills!"

"Your confidence is great. Rolls Carmel will be joining us, so let’s work well together."

"The stammerer?"

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Ian’s expression briefly twisted but quickly returned to normal.

It seemed he realized that speaking negatively about a fellow writer would give me a bad impression.

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"Yes. Despite the stammer, her sense for language is… genius. I think she’ll be quite helpful for this project."

"I see…."

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Ian Plummer’s eyes sparkled.

Even though he was filled with aristocratic pride, he was essentially a reader who loved art.

He knew how to show a certain respect for talented writers.

Although he seemed to have some reservations now, he would soon warm up once they started working together. Probably.

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"You stammerer! You don’t even understand performance!"

"Honestly, Ian, I think your dialogue is terrible…."

"In a play, you have to consider the presence of the actors! It’s not just about cramming in good lines without rhythm!"

"But my sentences are better…."

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Excellent. Writers are indeed like this.

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"Homer, what do you think?"

"Homer, do you think my sentences are better?"

"I think both are good."

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Rolls Carmel’s revised dialogue was akin to classical poetry.

Since Shakespeare was also a poet who coined countless new words, her poetic language and sense could elevate Hamlet's artistry and sensibility to the utmost.

In contrast, Ian Plummer’s revised dialogue was sophisticated and intuitive.

His sense of timing and pacing was impressive. Since Shakespeare’s works contained universal appeal and humor that transcended time, this was also an essential element.

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"Why not use both?"

"What?"

"This is a play, not a novel. Since the goal is performance, multiple versions can coexist."

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If it were a Lesedrama, it would be different, but what we were writing now was a play meant for performance.

Of course, it could be edited and modified as needed. Plays were inherently flexible literature, adapted according to situation and location.

Even in my past life, Shakespeare’s works existed in various versions.

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"It would be great to perform both and get audience feedback."

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From my perspective, more works were better. Even though Hamlet was something I plagiarized from my previous life, the fun of a work didn’t solely lie in its story.

Reading Hamlet, reborn through their hands, would be an immensely enjoyable experience.

Like how Alice was reborn through Rolls Carmel's writing. Enjoying one work in various flavors was one of the joys of translation.

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"Wouldn’t that be interesting?"

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To stage Hamlet, I sought the help of President Kindersley.

As a result, Hamlet was decided to premiere with the Haydn Troupe, the empire’s finest theater troupe.

The theater was the same place where I watched Alice in Wonderland last time.

I also came to the theater with my family to watch the play.

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"Ahem, what’s with the performance at my age? You should go on your own, instead of bothering me…."

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My father grumbled as he sat down, while my mother smiled demurely at him.

My brother fussed next to me.

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"Wow, a play written by Homer himself. My two favorite things are Homer’s works and the Haydn Troupe's performances! Do you get it? You heartless brother?"

"I am that Homer."

"You are so unsentimental. How can a guy like you write such great works…."

"Well."

"Anyway, geniuses are amazing."

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I wish I were a genius.

Then I could write dozens of works myself and be self-sufficient. It's a pity I lack that talent.

All I could do was plagiarize.

Fortunately, unlike me, there were talented people whose skills I could borrow.

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– "The performance will begin shortly. Audience members with silence, illusion, or amplification magic tools, please hand them over to the staff at the entrance. This is to ensure a pleasant performance environment. Thank you for your cooperation."

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"It’s about to start. But do people really carry those tools around?"

"Maybe royalty or tower mages do. Or perhaps some pretentious merchants."

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I saw a few people stand up and head towards the entrance.

It seemed some really did have those tools.

Once everyone was seated again, the lights dimmed, and the world darkened.

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[Act 1. Elsinore. A platform before the castle.]

[Barnardo: Who’s there?]

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And so the performance began.