Lord of Industrialization

Ludovico is a famous poet and playwright who is full of arrogance in his professional field.

Now Frederick said that there was a problem with his script, and he was a little unconvinced. He said seriously: "I wrote the first three acts of this play based on what Da Franche said. The fourth act returns to his hometown. I don't think there's a problem with his plan."

Frederick just asked him a question: "In the play, Da Franche's success was due to the help of noble people. So, why are the noble people willing to help him instead of others?"

Ludovico was about to answer, but suddenly realized that the question was not that simple.

Da Franche was a prodigal son from a foreign country. His late father was just an ordinary employee in the government department. The status of the civilian family was much lower than that of a down-and-out nobleman like Ludovico. He had no relatives in Weissenburg City.

His character, power, status, wealth, and blood relationship are all negative points. Why should a noble person help him? Isn't it wrong to help people in his own network?

Not to mention his appearance, Ludovico felt that he was several times more handsome than Da Franche, and he hadn't seen any noble people there for so long.

Ludovico recalled and thought for a long time, and he really couldn't explain why the nobles of Weissenburg City were willing to help Dafranche. He said doubtfully: "Yes, why did Dafranche get help? Is there something about me in him?" Undiscovered shining point?”

The more he thought about it, the more he felt that there was no solution to this problem. A "why" made it impossible to explain it by reasons such as luck.

Frederick said to him: "There are two sides to this question."

"The first aspect is why Da Franche was a prodigal son in his hometown and started to make a fortune after coming to Weisenberg City."

"The second aspect is why others can't do it, but he can do it."

Ludovico fell into deeper contemplation and discovered that this problem was not simple.

Looking back at past dramas, the plots are all about seemingly ordinary protagonists who accidentally discover their hidden noble life experience when they are desperate, or they meet a noble person who they or their ancestors have inadvertently helped, and finally the noble person descends from the sky to solve the predicament at hand.

This routine has been around for thousands of years, and the biggest change is just the noble status.

Before the emergence of the Church of Light, the nobles were the gods, and later it was the God of Light. Later, the church felt that it was too much to use him to protect cheating, and believed that he could not appear on the stage at will. Finally, he became a king and a noble.

Now that this routine is applied to Da Franche, it doesn't make sense. There is no reason for him to help him.

When Ludovico was in trouble, Frederick asked him: "Did you make money from the play Da Franche?"

Before today, Ludovico would have been very proud, but now he replied with shame: "At that time, I used the story that happened in your territory as a gimmick, sold it to many theaters, and made a lot of money."

"Now that I think about it, I am selling fake products and will be fined in the Principality of Wesson."

Of course, Frederick would not fine him any money, and instead said, "We might as well turn this experience of yours into a script."

"You are a very talented young playwright, but the lords where you live don't like to watch plays. There are not many theaters there."

"The theaters will only buy those stale scripts from a highly respected playwright. Your script won't sell at all."

"Later, you took over a job as a translator and went to Weissenburg to do business with your boss, where you met Da Franche."

"You thought Da Franche's experience was very interesting, so you quit your job as a translator after you came back and concentrated on writing a play based on him."

"After the script was written, you accidentally got on a boat to go to another place, and arrived in a city with no friends, but where drama was developed and there were many theaters."

Ludovico listened very carefully, and it is a classic plot that a down-and-out talent turns around and becomes a blockbuster.

But Frederick did not continue speaking. After waiting for a while, Ludovico saw that he was just raising a cup to drink tea and said no more. He hurriedly asked: "Where is the back?"

Frederick shrugged and said: "Although many people think I am a business genius, I have never sold a script, so I can't set up a street stall."

Ludovico was stunned for a moment, then laughed out loud and said, "Someone really does this."

"It's not easy for a newcomer to sell a script, and it's even harder if no one recommends it."

"Especially some shameless people who copy other people's scripts and just change the names and say it's their own. Because of them, the theater doesn't welcome people who don't know the details."

"At this time, you have to rely on being thick-skinned, bold, and using your eloquence to convince the theater owner... huh?"

When he said this, he suddenly grasped a feeling and vaguely understood what Frederick meant.

Frederick said: "The development and changes of things are caused by internal factors and external factors, and neither one can exist without the other."

"But the roles and status of the two are different. Internal factors are the basis for the development of things and the first reason."

"At the same time, the two can influence each other."

Ludovico slapped his thigh and shouted: "Ah, I forgot, you are a dialectical school!"

These days, senior intellectuals will be considered illiterate if they don't engage in philosophy. There are many philosophical schools, and philosophers sell their ideas to the rulers.

For example, Baron Turgot of the Kingdom of Gaul advocated the importance of agriculture and believed that all things must conform to the natural order as their philosophy. They had a high status in the Kingdom of Gaul, which had developed agriculture.

The dialectical school has a long history and has now developed to recognize the opposition of two sides of things, which can be unified in some areas.

In order to better promote the work of the government, Frederick personally wrote and published a series of books such as "How to be a Governor", "How to be a Minister", "How to be a Mayor", and "How to be a Village Chief". His usual philosophical thoughts were inevitably used in them, and scholars from various schools quickly saw his school.

The same is true for dramas. The scripts will reflect the screenwriter's philosophical thoughts.

Why are there so many plots of noble people coming from heaven? Isn't it because power comes from the upper class, and the lower class cannot resist and brings a huge sense of powerlessness? The thoughts nurtured in this social background provide the ideological basis for this plot.

Frederick didn't want to debate on philosophical issues, and continued to say to Ludovico: "A person's achievement, the internal factor is self-struggle, and the external factor is the social environment."

"So I think drama should grasp these two points, the most important thing is the struggle process of the protagonist, and the shining points of human nature that appear in this process."

Ludovico fell into deep thought again.

There are dramas that focus on describing individuals, but they are all heroes. The common point between Dafranche and those heroes is the individual.

Describe the shining points of small people?

Ludovico had never written about it, and no one else had ever written about it. Little people only have funny and ignorant sides, so how can there be any shining points?

Frederick did not interrupt his thinking, and asked the servant to bring paper and pen, and began to write the outline of a play.

In Frederick's writing, at the beginning of the first act, the protagonist was still a simple person with high hopes for the future, but after several setbacks in society, he became lost, and then began to numb himself in a life of debauchery.

In the second act, the protagonist saw the enjoyment of the local tyrants on the exiled ship, and listened to the captain's story about how he grew from a sailor apprentice who peeled radishes to a captain. His mentality changed, and he decided to try to start a business, but was misunderstood and frustrated by others.

In the third act, in order to solve the problem of oyster survival rate, the protagonist did not sleep for several days while transporting goods on the ship, used eloquent eloquence and sincerity to persuade buyers, and helped fishermen solve problems in order to obtain a stable supply of goods, etc., and the business gradually improved, and then he boldly went to borrow money from the four sword masters to expand the scale of operation.

In the fourth act, when the king and queen visited Weissenburg, the queen wanted to eat seafood, and the Grand Duke of Weissen placed a huge order. The protagonist finally completed the order through wit and courage after overcoming many difficulties such as storms, pirates, ship leaks, and poisoning by competitors. In the end, he counted the money until his hands cramped.

The fifth act was left to Ludovico to play, and Frederick just inserted advertisements as a routine, giving examples of what products to buy to bring back to glory.

Ludovico quietly waited for Frederick to finish writing the outline of the play, and read it carefully again.

After reading it, he closed his eyes and pondered for a long time, muttering: "Is it the shining point of human nature?"