Novelists and dramatists put hitherto taboo dialogue into the mouths of characters whose real counterparts would be unlikely to use it.
Yet, paradoxically, through utilizing melodramatic convention, dramatists were able to focus attention on the plight of the child worker.
But the natural-sounding dialogue written by a good novelist or dramatist is not really natural at all, but is actually highly artificial.
We are introduced, via biographical detail, interviews and a brief overview of the dramatist's main concerns, to each of these writers' works.
Few dramatists wrote only plays, while some even engaged in anti-theatrical polemic.
The creation of a boundary on the stage, ironically, made the possibilities for what the dramatist could achieve in the theatre virtually boundless.
Euripides greatly expanded the set of established relationships between particular speech acts and forms of musical expression that were available to a dramatist.
However, there is no evidence that the fifth-century dramatists imparted lines, gestures, and choreography to performers by any means other than personal demonstration.
