,1TY OP' 
 
 1-J 

 
 
 ^- I
 
 Useful Reference Series, No. 4 
 
 MODERN DRAMA AND OPERA
 
 MODERN DRAMA 
 AND OPERA 
 
 A Reading List 
 
 on the Works of 
 
 D'ANNUNZIO, HAUPTMANN, IBSEN, JONES, MAETER- 
 LINCK, PHILLIPS, PINERO, ROSTAND, 
 SHAW, SUDERMANN 
 and of 
 DEBUSSY, PUCCINI, RICHARD STRAUSS 
 
 Compiled by 
 
 Mrs. CLARA (MULLIKEN) NORTON 
 
 FRANK K. WALTER 
 
 FANNY ELSIE MARQUAND 
 
 BOSTON, MASS. 
 THE BOSTON BOOK COMPANY 
 
 1911
 
 Originally issued in the 
 Bulletin of Bibliography, 
 1907, 1908, 1911, but 
 greatly extended and with 
 additions for this publi- 
 cation in book form.
 
 Part I 
 
 MODERN DRAMAS 
 
 BY 
 
 MRS. CLARA (MULLIKEN) NORTON 
 
 B. A. (Nebraska); B. L. S. (N. Y. State Library School) 
 
 and 
 
 FRANK K. WALTER 
 
 Vice-Director, New York State Library School 
 
 ^ 1 54«
 
 PREFACE TO PART I 
 
 This list aims to cover the best English editions or 
 translations of the dramatic works of these authors, 
 whether published in collections or separately. The an- 
 notations and references to critical reviews accompanying 
 the dramas listed are followed by general critical and 
 biographical articles selected from sources in English, and 
 include separate books, periodicals and analytical chap- 
 ters of books. 
 
 Much additional matter and many more of the partic- 
 ular dramas of these authors are to be found in the 
 native tongue in which they write. This is notably true 
 of Hauptmann and Sudermann. 
 
 Stoeckius, in his " Naturalism in Modern German 
 Drama," includes a full biographical list of the German 
 material relating to Hauptmann. In the cases of Ibsen 
 and Maeterlinck the number of translated dramas tallies 
 closely with the number of originals. For a fairly com- 
 plete list of their published plays see Hale's "Dramatists 
 of To-day." The publisher is given for each volume of 
 plays, and in most cases prices are quoted. No abbre- 
 viations not immediately intelligible to the user have been 
 included. With few exceptions the books listed have 
 been personally examined by the compiler.
 
 PREFACE TO SECOND EDITION 
 OF PART I 
 
 The principal changes made in the entries of the 
 first edition, prepared by Mrs. Norton in 1906, have 
 been additional citations of reviews, alternati\e editions 
 available, and the correction of a few obvious errors. 
 
 The general purpose has not been changed and no 
 attempt at completeness or scholarly bias made. A liberal 
 policy of selection has been followed and an attempt made 
 to keep the list fairly to date. More than two hundred 
 additional entries of books, periodical articles and ana- 
 lyticals have been made and more than four hundred 
 additional citations made to reviews. A table of con- 
 tents and a title index of dramas mentioned have been 
 made. In the sections on criticism, a number of acted 
 but unpublished plays, with critical references, have 
 been noted. 
 
 Two new sections, on Henry Arthur Jones and Pinero, 
 permit some comparative study of the "literary drama" 
 of the first edition and the "stage play" as represented 
 in the work of these two prominent English playwrights. 
 As the original notes on these sections were destroyed 
 in the New York State Library fire credit for their 
 present form is largely due to three members of the 
 class of 1911 of the New York State Library School: 
 Mrs. Philip L. Allen and Mr. Sylvester J. Carter, who 
 collected the material on which the present section on 
 Pinero is based, and Miss Ruth F. Eliot who collected 
 that on Henry Arthur Jones.
 
 CONTENTS 
 
 PART I 
 
 MODERN DRAMA 
 
 Page 
 Modern Drama: its Traits, Tendencies 
 
 and Technique 11 
 
 D'Annunzio: — 
 
 Plays 18 
 
 Criticism 19 
 
 Hauptmann: — 
 
 Plciys 21 
 
 Criticism 23 
 
 Ibsen: — 
 
 Plays 25 
 
 Criticism 29 
 
 Jones, Henry Arthur: ^ 
 
 Plays 34 
 
 Non-dramatic works 38 
 
 Criticism 38 
 
 Maeterlinck: — 
 
 Plays 41 
 
 Criticism 44 
 
 Phillips : — 
 
 Plays 47 
 
 Criticism 48 
 
 Pinero : — 
 
 Plays 50 
 
 Non-dramatic works 55 
 
 Criticism 55 
 
 Rostand: — 
 
 Plays ^. 58 
 
 Criticism 59 
 
 Shaw: — 
 
 Plays (collected) Gl 
 
 Works published separately <)4 
 
 Criticism 64 
 
 Sudermann: — 
 
 Plays / 07 
 
 Criticism 69 
 
 9
 
 10 CONTENTS 
 
 PART II 
 
 MODERN OPERA 
 
 Page 
 Abbreviations for Periodicals referred to in 
 
 Part II 72 
 
 Debussy 73 
 
 Puccini 75 
 
 Strauss, Richard 80 
 
 INDEX 
 
 Title-index of Plays and Operas 89
 
 THE MODERN DRAMA; 
 ITS TRAITS, TENDENCIES AND TECHNIQUE 
 
 Adams, William Davenport, comp. Dictionary of the 
 drama; a guide to the plays, playwrights, players and 
 playhouses of the United Kingdom and America from 
 the earliest times, v. 1. O. Phil., 1904. Lippincott, 
 $3. To be complete in 2 v. 
 
 Finds a place here merely as a guidebook to a vast body 
 of varied theatrical publications. Reviewed in Nation. Xov. 
 17. 1904, 79:400. 
 
 Archer, William. Study and stage, a yearbook of 
 criticism. 2,3U p. D. Lend., 1899. Richards, 5s. 
 
 One year's notes on the stage, written in journalistic style, 
 but level-headed and intelligent in perspective. Mr. Archer 
 is the eminent translator of most of Ibsen's dramas. 
 
 Reviewed in Academy. Dec. 1899, 57: 715-16; Saturday 
 Rev., Nov. 18, 1899, 88: 643; Spectator, June 30, 1900.84:903. 
 
 Baughan, E. A. Literature in drama. Fortnightly Rev. 
 90: 775-82. Nov.. 1908. Same, Living Age, 259: 
 781-7. Dec. 26. 1908. 
 Discusses modern literary possibilities of the drama. 
 
 Borsa, Mario. English stage of todav; tr. by Selwyn 
 Brinton. O. Lond.. 1908. Lane. .'J2.50. 
 
 Discusses most of the present prominent dramatists in an in- 
 teresting, scholarly fashion. 
 
 Reviewed in Academy, Dec. 14, 1907, 73: 250; Athenaeum. 
 Feb. 15, 1908. 1: 204; Dial. .\pr. 10, 1908. 44: 248; Inde- 
 pendent, May 7, 1908, 64: 1039; Nation, Dec. 26. 1907. 85: 
 594; Putnam's. May. 1908. 4: 234. 
 
 Clarence, Reginald. "The Stage" cyclopedia; a bibli- 
 ography of plavs. 503 p. O. Lond. 1909. "The 
 Stage." 10s. 6d. 
 
 "An alphabetical list of plays and other stage pieces of 
 which any record can be found since the commencement of 
 the English Stage, together with descriptions, authors' 
 names, dates and places of production." 
 
 Chiefly useful in tracing, through titles and dates of pro- 
 duction, criticisms and descriptive articles not recorded in the 
 ordinary periodical inde.x and for the frequent references to 
 sources and adaptations. 
 
 Clapp, Henry Austin. Reminiscences of a dramatic 
 critic, with an essav on the art of Henry Irving. 241 p. 
 O. Bost.. 1902. Houghton, .S1.75. 
 
 The American stage during the last thirty years. His criti- 
 cisms are full of taste and penetration. Spectator. 
 
 Colby, Frank Moore. Adventures of a plav-goer. 
 :.SVc hi< Imaginary obligations. 1904. p. 118-66.) 
 
 Colton, Arthur. Drama and the play. (See North Ameri- 
 can Rev., Jan., 1911, 193: 72-S2.) 
 Comparison of the "literary drama" and "the stage play." 
 
 11
 
 12 MODERN DRAMA 
 
 Courtney, William Leonard. Modern social drama as 
 intkR'ncctl 1)\ [he no\cl. (See Fortnightly Rev-., 1902, 
 77: 000-74.)' 
 
 A lecture delivered in Feb., 1902, at the Birmingham and 
 Midland Institute. Mr. Courtney is editor of the Fortnightly 
 Review and is prominent as a dramatic critic. 
 
 Eaton, Walter Prichard. At the New Theatre and 
 others; the .American stage: its problems and per- 
 formances. 359 p. O. Bost., 1910. Small, SI. 50 net. 
 
 "Survey of the American stage during the two seasons of 
 190S-1(). .V sound but slightly biased account of the theatrical 
 syndicate is followed by a discussion of the virtues and defects 
 of the New Theatre, criticism of the plays produced there and 
 at other New York theatres, and a number of dramatic essays." 
 A. L. A. Book List. 
 
 Reviewed in Nation. Nov. 24. 1910, 91: 505; N. Y. Times. 
 Nov. 12, 1910. I.-): 030. 
 
 Faguet, Emile. The symbolical drama. {See Inter- 
 national Mo., Dec, 1903, 8: 329-41.) 
 
 A member of the French Academy gives definite ideas 
 as to the existence of symbolism in the different dramas of 
 Ibsen and Maeterlinck. 
 
 Faxon, Frederick Winthrop. Dramatic Index, 1909-10- 
 Boston Book Co. 2 v. sq. O. 1910-11. $3.50 each. 
 
 -Annual cumulation, with additions, of the quarterly lists 
 [n the Biillelin of Bibliography. Also forms Part II of the 
 annual Magazine Subject-Index. (Boston Book Co., .?5.50 
 per vol.) Includes references to periodical articles relating to 
 dramatic authors, criticisms, plots, portraits, and dramatic 
 illustrations. 
 
 Pilon, Pierre Marie Augustin. The English stage- 
 being an account of the Victorian drama; tr. from the 
 French by Frederic WTiyte, with an introduction by 
 H. A. Jones. 319 p. O. N. Y., 1897. Dodd, S2.50. 
 
 Appeared first in Revue des deux mondes. Includes sum- 
 maries, criticisms and prophecies, with chapters on Pinero 
 and Ibsen. 
 
 Reviewed in VVestminster Rev., Feb., 1S97, 147: 151-5, by 
 Stoddard Dewey. 
 
 Fiske, Mrs. Minnie Maddern. Matter of the play. 
 {See International Mo.. 1902, 5: 629-44.) 
 
 Concerned with the stage interpretation of the problem 
 play. 
 
 Francke, Kuno. History of German literature as deter- 
 mined by social forces. Ed. 4. 595 p. O. N. Y., 1901. 
 Holt, S2.50. 
 
 An enlargement of his Social Forces in German Literature 
 to include a treatment of contemporary German drama. A 
 scholarly work summing up the complex forces in modern 
 German society, but not always just in criticizing the details 
 of the different dramas. 
 
 Freytag, Gustav. Technique of the drama; an exposi- 
 tion of the dramatic composition and art . . . tr. from 
 the 6th German ed. by E. J. MacEwan. Ed. 3. 395 p. 
 D. Chic, 1900. Scott, Foresman, $1.50. 
 
 One of the best-known general discussions of the subject. 
 Needs supplementing with later material but still one of the 
 familiar references in college courses. 
 
 GafEney, Fannie Humphreys. Modern dramatic real- 
 ism. {See Arena, Apr., 1903, 29: 391-6.) 
 
 Greenslet, Ferris. Theory of the drama. {See Forum, 
 July, 1899, 27: 631-40.) 
 A thoughtful discussion of dramatic pleasure and its source.
 
 MODERN' DRAMA 13 
 
 Hale, Edward Everett, Jr. Dramatists of today: Ros- 
 tand, Hauptmann, Sudermann, Pinero, Shaw, Phillips, 
 Maeterlinck; being an informal discussion of their 
 significant work. 236 p. D. N. Y.. 1905. Holt, 
 $1.50. 
 
 "Essays reprinted partly from the Dial, dealing mainly 
 with continental plays seen on the American stage. Of 
 lighter weight and narrower scope than Huneker's Icono- 
 clasts. Temperate, conservative, readable, reliable." A chatty 
 and entertaining book for the general reader to consult first, 
 but one which he may safely neglect for the further study of 
 any particular author. The bibliographic lists add to its 
 value as a popular guide. 
 
 Reviewed in Atlantic Mo., June, 1905, 95: 842; Nation, 
 July 6. 1905, 81: 14; Outlook. May VS. 1905, 80: 138; Dial, 
 May 16, 1905, 38: 357; Critic, July, 1905, 47: 90. 
 Hamilton, Clayton Meeker. Theory of the theatre 
 and other principles of dramatic criticism. 251 p. D. 
 N. Y.. 1910. Holt, §1.50. 
 
 "Papers that illustrate certain steady principles of dramatic 
 criticism." Bk. Rev. Digest. 
 
 "A live book, tho not a permanent one." Independent. 
 
 Reviewed in Bookman, May. 1910, 31: 301; Dial. June 16, 
 1910, 48: 420; Independent, Sept. 1. 1910, 69: 484; Nation, 
 May 19. 1910. 90: 518; Review of Reviews, June, 1910, 41: 
 768. 
 Hapgood, Norman. Stage in America, 1897-1900. 
 40S p. D. X. v., 1001. Macmillan, .SI. 75. 
 
 Disussis the syndicate, theatrical conditions, prevailing 
 types of pl.iNs, prominent actors, plays and dramatists. "Even 
 those who are unable to agree unreservedly with his precepts 
 and conclusions will appreciate the vigor and general intelli- 
 gence of his convictions and his comprehension of the funda- 
 mental principles upon which the theatre must be conducted 
 if it is to demonstrate its right to be considered an art." 
 
 Reviewed in Bookman, 13: 241; Nation, 72: 401; Dial, 
 30: 335; Spectator, May, 1901, 1: 704; Literature, 8: 465; 
 Critic, 41: 129. 
 
 Theory of dramatic criticism. (See Forum, Mar., 
 
 1899, 27: 120.) • 
 
 A plea for more breadth of mind in our dramatic critics, 
 disparaging those who prudishly moralize upon the evils of 
 the stage and remain blind to the art of the play and to its 
 social mission. 
 Henderson, Archibald. Evolution of dramatic tech- 
 nique. {See North American Rev., Mar., 1909, 189: 
 428-44.) 
 
 The drama is not stationary in form but progressive in 
 development. 
 
 Hennequin, Alfred. Art of playwriting; being a prac- 
 tical treatise on the elements of dramatic construc- 
 tion, intended for the playwright, the studer»t and the 
 dramatic critic. 187 p. D. Bost., cl890. Houghton, 
 SI. 25. 
 
 Has the faults of similar manuals, but includes some fairly 
 good analyses of dramatic art in general. 
 
 Herrmann, Oscar. Living dramatists: Pinero, Ibsen, 
 .D'Annunzio; introduction by W. \V. Massee. O. 
 N. Y., 1905. Brentano, S5 net. 
 
 Hogg, Wentworth. Guide to selecting plays. 190 p. 
 U. X. v., lUlO. S. P'rcnch. paper. 25c. 
 
 "It has not been my intention to write any critical re- 
 marks . . . my sole desire being to give ... a concise sum- 
 mary of the plot, the number and nature of the characters 
 and some idea of the necessary scenery." Preface.
 
 14 MODERN DRAMA 
 
 Huneker, James Gibbons. Iconoclasts, a book of 
 (Iruiiuitists: Il)seii, Sliindberg, Becque, Hauptmann, 
 Sudermann, Hervieu, Gorky, Duse and D'Annunzio, 
 Maeterlinck and Bernard Shaw. 430 p. O. N. Y., 
 1905. Scribner, SI. 50 net. 
 
 Brilliant and original characterizations of the symbolistic 
 and revolutionary dramatists. The subjects of the essays 
 correspond closely to those included in this bibliography. 
 Stimulating, broadening in judgment, and pre-supposing some 
 knowledge of the matter criticized. "W.hat one misses in his 
 work is repose and finish and a careful avoidance of too gen- 
 eral observations." 
 
 The greater part of the foregoing essays, now completely 
 revised, first appeared in the New York Sun. They also 
 appeared in single numbers in The Lamp. 
 
 Reviewed in Athenaeum, August, 1905, 2: 284; Atlantic, 
 Mo., June, 1905, 95:841. by H. W. Boynton; Dial, May 16, 
 1905. 38: 357 ; Outlook. May 13, 1905. 80: 140. 
 
 Jerome, Jerome K. Problem of the problem play. 
 {See Harper's Weekly. Dec. 10, 1904, 48: 1916-18.) 
 
 Kerr, S. P. What are immoral plays? {See Westminster 
 Rev., Apr., 1901, 155: 444-50.) 
 
 Answer to Allan Laidlaw's What are immoral plays? chal- 
 lenging his theory and presenting a more solid and tempered 
 argument. 
 
 Laidlaw, Allan. Drama on the downward grade, 1868- 
 1898. (5ee Westminster Rev., Mar., 1900, 15.3:317-23.) 
 Scattered remarks to prove that one form of drama is 
 degenerating and giving place to a form of a higher kind. 
 
 What are immoral plays? {See Westminster Rev., 
 
 Aug., 1900, 154: 212-16.) 
 
 Answers the question in an original but fantastic manner. 
 The argument, in the somewhat difficult case of art or morals, 
 is against repression of these plays on the stage. A sounder 
 statement is found in S. P. Kerr's article in Westminster Rev., 
 155: 444-50. 
 
 McCracken, Elizabeth. The play and the gallery. 
 
 {See Atlantic Mo., 89: 497-507.) 
 
 The effect of the theatre upon the social and moral stand- 
 ards of the tenements. 
 
 Published also in the Outlook, May, 1902, 71: 169-78. 
 
 Mackaye, Percy Wallace. Playhouse and the play, and 
 other addresses concerning the theatre and democracy 
 in America. 210 p. D. N. Y., 1909. Macmillan, $1.25. 
 
 Five essays by a rising young American play-writer, dealing 
 generally with the significance of the theatre in American 
 civic life. 
 
 Reviewed in Independent, July 8, 1909, 67: 93, Nation, 
 May G, 1909, 88: 409; Review of Reviews, June, 1909, 39: 767. 
 
 Maeterlinck, Maurice. The modern drama. {See his 
 The double garden. D. 1904. N. Y. Dodd, $1.40.) 
 
 Marked by distinction of style and freshness of vision. 
 Suggestive if not convincing. 
 
 An article under the same title, translated by Alfred Sutro, 
 appeared in the Cornhill Mag., Aug., 1899, 80: 166-73. 
 
 Of our anxious morality. {See Fortnightly Rev., 
 
 Jan., 1906, 85: 46-01.) 
 
 Translated by Alexander Teixeira de Mattos. 
 
 Manager vs. critic. {See Everybody's July, 1909, 21: 
 119-30.) 
 
 Discussion of manager's attitude toward frank criticism. 
 Critic's side by H. Davis; manager's, by P. Armstrong.
 
 MODERN DRAMA 15 
 
 Matthews, Brander. Development of the drama. 351 p. 
 D. N. Y.. VMi. Scribner, SI. 25 net. 
 
 Mr. Matthews is a playwright and a critic of distinction 
 who writes with charm, sincerity and effect. 
 
 Reviewed in Nation, Oct. 29, 190;j, 77: 346-7; Lamp, Nov., 
 1903. 27: 329-32. 
 
 Inquiries and opinions. 305 p. D. N. Y.. 1907. 
 
 Scribner, SI. 25. 
 
 Includes Apology for technic (p. 51-71); Modern novel and 
 the modern play (p. 181-20t); Literary merit of our latter-day 
 drama (p. 207-25); Ibsen the playwright (p. 229-79); Art of 
 the stage-manager (p. 283-305). 
 
 Makers of drama of today. (See Atlantic Mo., 
 
 Apr., 1903, 91: 504-12.) 
 
 Historical sketch of dramatic progress during the nine- 
 teenth century. Mr. Matthews is distinguished as a critic 
 of French drama. 
 
 Revival of the poetic drama. (See Atlantic Mo., 
 
 Feb., 1908, 101: 219-24.) 
 
 The poetic play must be dramatic as well as poetic. 
 
 Studv of the drama. 320 p. D. Bost., 1910. Hough- 
 ton, SI. 50. 
 
 "A study of the technic of the drama. It is intended, not 
 for those who want to write plays, but for those who wish to 
 learn how plays are written now and how they were written 
 in the past. . . . In other words, this study is devoted mainly 
 to an examination of the structural framework which the 
 great dramatists of various epochs have given to their plays; 
 and it discusses only incidentally the psychology, the phil- 
 osophy and the poetry which we now admire in these pieces." 
 Preface. 
 
 Reviewed in .Athenaeum, July 2, 1910, 2: 23; Bookman, Apr. 
 1910,31: 183; Dial,.-Vpr. 10. 1910, 48: 268; Educational Rev. 
 Apr., 1910, .39: 422; Sept.. 1910. 40: 207; Forum, May, 1910, 
 43: 558; Literarv Digest. .Apr. 2. 1910, 40: 6.58; Nation, Apr. 14, 
 1010. 90: 3S2; Review of Reviews. June, 1910, 41: 768. 
 
 Merington, Marguerite. What constitutes a plav? 
 (See North American Rev., Dec, 1902, 175: 863-70.) 
 "That the persons of the play, under e.xtraordinary con- 
 ditions, shall produce on an audience the effect of human 
 nature, is the touchstone of the playwright's art." 
 
 (The) play once more. (See Outlook. Feb. 4, 1911,97: 
 258-60.) 
 
 Discusses the recent revival of the drama as a ix)pular 
 literary form. 
 
 Potter, Helen. The drama of the twentieth centurv. 
 (See Arena, Feb., 1900, 23: 157-66.) 
 
 A rambling attempt to show the evolution toward the 
 realization of a new idea — that of a "conditioned stage with 
 a conditioned audience." 
 
 Price, William T. Technique of the drama; a statement 
 of the principles involved in the value of dramatic 
 material, in the construction of plavs and in dramatic 
 criticism. 287 p. D. N. Y., 1897. Brentano, S1.50. 
 
 Scott, Clement. Drama of yesterday and today. 2 v. 
 O. Lond.. 1899. Macmillan. S7. 
 
 "Result of forty years' keen observation, enthusiastic and 
 competent. Valuable especially as a history of the stage, 
 and for its chronicle of plays in the appendix. Its repetition, 
 gossip and needless bulk detract from its readable interest." 
 Reviewed in Athenaeum. Dec. 23, 1899: 874-5.
 
 16 MODERN DRAMA 
 
 Scott, Clement. Two dramatic revolutions. {See 
 Noitli Aiiicrican Rev., 157: 470-84.) 
 
 .1 non-Puritanic and violent attack on Ibsen's Ghosts 
 and the Si^cond Mrs. Tanqueray, decrying their pessimism 
 and irreverence and the "art that makes evil Rood upon the 
 stai; •." Mr. Scott is dramatic critic for the Daily Telegraph. 
 
 Shaw, George Bernard. Dramatic opinions and essays; 
 containing ... a word on tlic dramatic opinions and 
 essays of G. Bernard Shaw, by James Huneker. 2 v. 
 D. N. Y.. 190G. Brentano, S2.50 net. 
 
 Criticisms of Ibsen. Sudermann and Rostand are scattered 
 throuRh this collection, made up of the papers contributed 
 by Mr. Shaw in his capacity as dramatic critic to the Lon- 
 don Saturday Review, 1895-98. 
 
 Strang, Lewis C. Plays and players of the last 
 quarter of a century. 2v. D. N. Y. (?), 190.3. 
 
 Concise sketches of the leading actors and dramatists and 
 their work. The criticism is usually sound, but is from the 
 point of view of the stage, rather than of the literary critic. 
 
 Symons, Arthur. Plays, acting and music. D. N. Y., 
 I'JO;?. Dutton, $2 net. 
 
 "Leader and follower of the school of symbolists, Mr. 
 Symons with true critical gifts here uncovers the veil of mysti- 
 cism that hangs about them." The book is mainly concerned 
 with the continental drama. Clearly defined individual views 
 about the artistic features of the drama are expressed in 
 beautiful prose. 
 
 Reviewed in Saturday Rev., 96: 360; Academy, Sept. 19, 
 11903, 6.5: 261; .\thenaeum, Dec, 1903: 762; Dial, 37: 62. 
 
 Tree, Herbert Beerbohm. Some aspects of the drama 
 of today. (See North American Rev., Jan., 1897, 164: 
 66-74.) 
 
 .A. critical outline of the essentials of the art of the stage. 
 Of value because Mr. Tree is himself an actor-manager. 
 
 Walkley, Arthur Bingham. Drama and life. 331 p. D. 
 N. Y., 1908. Brentano, $1.75. 
 
 Essays and critiques chiefly on recent dramatists and actors 
 and dramatic technique reprinted from the Edinburgh Review 
 and London Time%. 
 
 Reviewed in Forum, .^pr.. 1908, 39: .5.50-60 and North 
 American Rev., May, 1908, 187: 777, by F. M. Colby; 
 Atheneeum, Feb., 1908, 1: 140; Nation, May 28, 1908, 86: 496. 
 
 Dramatic criticism; three lectures delivered at the 
 
 Royal Institution, Feb.. 1903. 125 p. D. Lond.. 1903. 
 Murray, 5s net. 
 
 These lectures on The Ideal Spectator, The Dramatic 
 Critic, Old and New Criticism, dealing with stage criticism 
 in the main, are lucid and reliable. 
 
 Playhouse impressions. D. Lond., 1892. Unwin. 
 
 o. p. 
 
 Reprints from London periodicals on modern actors and 
 dramatists including Ibsen, Dumas, Sardou, Daudet, H. A. 
 Jones. Pinero, etc. Readable and reliable. 
 
 Wedmore, Frederick. Literature and the theatre. {See 
 Nineteenth Century. Apr., 1902, 51: 508-80.) 
 
 Claims that the two can be divorced. Studies of Pinero, 
 Becque and Horvieu incidentally made in comparing the 
 English and French stage. 
 West, Kenyon. Dramatic criticism. {See Era, July. 
 1903, 12: .39-44.) 
 
 On the ideal dramatic critic and playwright and their re- 
 sponsibilities in interpreting the public taste.
 
 MODERN DRAMA 17 
 
 Witkowski, George. German drama of the nineteenth 
 
 century; authorized translation from the 2d German 
 
 ed. by L. E. Horning. 230 p. D. N. Y., 1909. Holt, «1. 
 
 "Nothing at the same time so comprehensive and terse has 
 
 appeared on the subject." N. Y. Times. 
 
 Reviewed in Educational Rev., Sept., 1909, 38: 205; Forum, 
 Sept., 1909, 42: 282; Independent, Sept. 2.J, 1909, (57: 709. 
 
 Woodbridge, Elisabeth. The drama, its laws and its 
 technique, l.bl p. D. Bost.. 1898. Allyn, 80c. net. 
 
 Founded on F"rey tag's Technique of the Drama adapted to 
 modern .\merican use. Contains a good, short bibliography. 
 A.L. A. Catalog. 1904, p. 181.
 
 D'ANNUNZIO 
 
 Annunzio, Gabriele d'. Daughter of Jorio, a pastoral 
 tragedy; tr. by Cliarlotte Porter, Pietro Isola and Alice 
 Henry; with an introduction by Miss Porter. 51+208 
 p. D. Bost.. 1907. Little, $1.50. 
 
 Published also by Badger, Bost., 1911, $1.50. 
 
 "Presents with intense human touches a picture of patri- 
 archal peasant life." Bk. Rev. Digest. 
 
 Reviewed in Outlook, Jan. 18, 1908, 88: 142; Review of 
 Reviews, Feb., 1908, 37: 255; Poet-lore, 1908, 19: 111-19, by 
 Pietro Isola. 
 
 (The) dead city: a tragedy, rendered into English 
 
 by G. Mantellini; illustrated from the stage produc- 
 tions of Eleonora Duse. 282 p. D. Chic, 1902. 
 Laird, S1.25. 
 
 "A sympathetic and admirable translation." William Sharp. 
 
 Action takes place in Greece on the plain of Argolis. 
 The play, a strange introduction of the fatality of the 
 Greek tragedy on the modern stage, has been received with 
 almost equal praise and censure. Morbid, vitiated, gloomy 
 and overwrought in description, it is beautiful in its original 
 phrasing and construction. 
 
 Reviewed in Academy, June 2, 1900, 58: 464-6; Saturday 
 Rev., Sept. 22, 1900, 90: 366; Dial. Jan. 1, 1903, 34: 8-9, by H. 
 D. Sedg\vick, Jr.; Critic, Dec, 1902, 41: 574-5. 
 
 (The) dream of an autumn sunset; tr. from the 
 
 Italian by Anna Schenck. {See Poet-lore, Jan.-Mar., 
 
 1904, 15: 6-29.) 
 
 The setting of this one-act, one-scene play is picturesquely 
 described "as a domain of a patrician of Venice, on the bank 
 of the Brenta." Lurid, violent and unremittingly hysterical, 
 it is the opposite extreme of the beautiful dreaminess of his 
 Spring Morning. 
 
 Dream of a spring morning; a play; tr. from the 
 
 Italian by Anna Schenck. {See Poet-lore, 1902, 14: 
 e-36.) 
 
 A long, one-act play in five scenes. The argument is 
 much the same as that of Romeo and Juliet, a morbid motive 
 of Isabella's madness and hysterical passion worked out with 
 delicate and exquisite pathos and promising dramatic possi- 
 bilities. 
 
 Francesca da Rimini; tr. by Arthur Symons. 
 
 22.3 p. D. N. Y., cl902. Stokes, $1. 
 
 In an introductory analysis the translator says. "This play 
 is more than a tragedy of two lovers, it is a study of an age 
 of blood in the 13th century in Italy." The long, beautifully 
 told story, with its luxurious descriptions, symbolic color and 
 allusion, is developed with more conciseness and delicate 
 reserve than the author has shown in any other of his 
 dramas yet translated. 
 
 Reviewed in Kuhns, L. O., Great poets of Italy, 1903, p. 
 331-9; Walkley, A. B., Drama and Life, 1908, p. 255-9; 
 Arena, Feb., 1908, 39: 144-8, by A. Henderson; Fortnightly 
 Rev., Feb., 1902, 77: 237-46, bv Arthur Symons; Athenaeum, 
 -Apr. 11, 1903, 1: 475; Dial. Jan. 1, 1903, 34: 9, by H. D. Sedg- 
 wick, Jr.; North American Rev., July, 1902, 175: 17-30. by 
 Mrs. Edith Wharton; Poet-lore, 1908, 19: 111-19, by Pietro 
 Isola; Saturday Rev., July 25, 1903, 96: 114. 
 
 18
 
 D'ANNUNZIO 19 
 
 Annunzio, Gabriele d'. Gioconda; tr. by Arthur 
 Synions. 144 p. U. X. Y.. 1902. Russell, SI. 
 
 Has bei-'n received in the Italian theatres as one of the 
 most remarkable plays of modern Italian drama. The author's 
 quick eye for all shades of force, strangeness, magic and 
 delight, make it a tragedy of great beauty and power. The 
 character analysis in Silvia reveals a strong woman's soul. 
 The motive — the contest between the life of art and the 
 everyday life of home — is so bold in treatment and develop- 
 ment as not to allure the average reader or listener. Its con- 
 structive fault is its excess of dialogue over movement. 
 
 Reviewed in VValkley, A. B., Drama and Life, 1908, p. 251- 
 4; Academy, Oct., 1901, 61: 330-8; Critic, Dec, 1902, 41: 
 574-5; Poet-lore, 1908, 19: 111-19, by Pietro Isola. 
 
 Ship (La nave). Bost., 1909. Badger. SI. 25. o. p- 
 
 ".■\n awful theme is coldly imagined, the fancy is deliberately 
 flogged to the verge of insane hallucinations and a magnificent 
 rhetoric offers itself as a substitute for the more spontaneous 
 and durable traits of genuine invention." 
 
 Reviewed in Current Literature, Apr., 1908, 44: 420-1; 
 Fortnightly Rev., May, 1908, 89: 860-73; Nation, Feb. 6, 
 1908, 86: 133-4. 
 
 Criticism 
 
 Annunzio, Gabriele d'. Martyrdom of St. Sebastian 
 
 (San Sebastiano). 
 
 A mystery play written in archaic French verse with music 
 by Debussy. Produced in Paris in June. 1911. 
 
 Reviewed in N. Y. Tribune, Sunday, June 4, 1911; Nation, 
 Mar. 2, 1911, 92: 211. 
 
 Cooper, Frederic Taber. Gabriele d'Annunzio. {See 
 Bookman, Mar., 1896, 3: 18-23.) 
 
 A biographical and critical sketch without reference to his 
 dramas. 
 
 Courtney, William Leonard. D'Annunzio. {See his 
 Development of Maurice Maeterlinck and other 
 sketches of foreign writers. 1904.) 
 
 Crawford, Virginia M. Gabriele d'Annunzio. {See her 
 Studies in foreign literature. 1899. p. 1S6-218.) 
 
 De la Ramee, Louise. Gabriele d'Annunzio. {See her 
 Critical studies. 1900. p. 1-49.) 
 
 Under her pseudonym "Ouida," the writer has also written 
 an appreciation of "The genius of D'.\nnunzio" which appeared 
 in the Fortnightly Rev., Mar., 1897, 67: 349-73. A clear ex- 
 position of his mind and literary tendencies. 
 
 Fornaro, Carlo de. D'Annunzio, the man. {See Critic. 
 Aug., 1904, 4."): l.'37-41.) 
 
 .\ personal sketch with pictures. 
 
 Fornaro, Sofia de. Italian writers of today. {See Critic, 
 Aug.. 1902. 41: 103-5.) 
 Includes a sli«ht characterization of D'Annunzio. 
 
 Herrmann, Oscar. Living dramatists: Pinero, Ibsen, 
 D'Annunzio; introduction by Will \V. Massee. 1S7 p. 
 O. N. Y., 1905. Brentano, S5 net. 
 
 Isola, Pietro. Gabriele D'Annunzio's dramas. {See 
 Poet-lore. 1908. 19: 111-19.) 
 
 Criticisms of Gioconda. Francesca da Rimini and Figlia di 
 Jorio.
 
 20 D'ANNUNZIO 
 
 Italian poets of today. (See Quarterly Rev., 1902, 196: 
 
 24t)-()S.) 
 
 D'Annunzio's dramas, characteristics, melancholy and love 
 of the- inysterious are the topics discussed. 
 
 Kuhns, Levi Oscar. The great poets of Italy, together 
 with a brief connecting sketch of Italian literature, 
 with portraits. 359 p. U. Bost., 190.3. Houghton, S2 
 net. 
 
 "Elementary introduction to the history of Italian litera- 
 ture, expanded from a study of the Italian poets prepared 
 for Chautauqua circles." D'Annunzio is considered in the 
 chapter on "Nineteenth century" and particular study is 
 given to "Francesca da Rimini." 
 
 Reviewed in Dial. Dec. 1, 1903, 35: 418. by W. M. Payne. 
 
 Sedgwick, Henry Dwight. D'Annunzio, poet and play- 
 wright. (See Dial, Jan. 1, 1903, .34: 7-10.) 
 
 In his volume of Essays on Great Writers Mr. Sedgwick 
 gives a longer and closer study of "D'Annunzio, the novel- 
 ist," which throws light on the general style and character 
 of the man. 
 
 Sharp, 'Williani. The dramas of Gabriele D'Annunzio. 
 [See Fortnightly Rev., Sept., 1900, 74: 391-409.) 
 
 Minutely detailed and competent analysis of each of his 
 dramas published prior to the publication of the article. 
 
 Symons, Arthur. D'Annunzio. (See his Studies in 
 prose and verse. 1904. p. 129-42.) 
 
 A significant work of criticism by a judicial critic. He 
 writes briefly but always pregnantly. 
 
 Wharton, Mrs. Edith. The three Francescas. (See 
 North American Rev., July, 1902, 175: 17-30.) 
 
 Comparison of Phillips, Crawford and D'Annunzio in their 
 treatment of the same general theme.
 
 HAUPTMANN 
 
 Hauptmann, Gerhart. And Pippa dances; a mystical 
 talc 1)1 the glass-wiirks in four acts, tr. by Marv Harned. 
 Bost., 1911. Badger, SI. 50. (See also Poet-lore, 
 1907, 18:289-341.) 
 
 A study of varying ideals and their effects on those who 
 hold them. Pippa the dancer typifies a different ideal to 
 each of the group of men who contest for her and brings to 
 each joy or sorrow according to his ideal. 
 
 Reviewed in Edinburgh Rev.. Oct., 1906, 204: 456-8; 
 Independent, Sept. 20, 1900, 01: 092-3; Poet-lore, 20: 121- 
 8, Mar.-Apr., 1909. 
 
 Before dawn: a social drama, tr. by Leonard 
 
 Bloomfield. Best., 1911. Badger, SI. 50 net. {See also 
 Poet-lore, July-Aug.. 1909, 20: 241-313.) 
 
 "Depicts the revolting conditions among the suddenly 
 enriched peasants of the Silesian coal districts. . . Alarmist 
 theories of heredity . . . are used to the utmost as the very 
 basis of the tragedy." Pref. to translation. 
 
 Coming of peace; a family catastrophe; tr. by Janet 
 
 Achurch and C. E. Wheeler. 125 p. O. Lond., 1900. 
 Duckworth, 3s. 6d. net. 
 
 "Congenial home life is made impossible through the dis- 
 parity of education and the consequent diversity of interest. 
 The play has little chance on an English stage. It would be 
 called lugubrious. The translation is satisfactory." 
 
 Reviewed in Academy, Nov., 1900, 59: 460. 
 
 Elga; tr. from the German by Mary Harned. 
 
 Bost., 1911. Badger, $1.50 net. (5ee also Poet-lore, 
 1906, 17: 1-35.) 
 
 A new version of Grillparzer's tale of "The Kloster of 
 Sendomir" — concerned with the tragedy of an injured hus- 
 band, and for the most part cast in the form of a dream. 
 There are one or two very good dramatic episodes, but Haupt- 
 mann's standard of best work in naturalistic drama is not 
 maintained. 
 
 Scene from Gerhart Hauptmann's latest plav [Elga]. 
 {See Current Literature. Sept., 1905, 39: 318-22.) 
 
 Reviewed in .Academy, Mar., 1905, 68: 243; Poet-lore, 1905, 
 16: 135-6, by P. H. Grumman. 
 
 — Elga; a play in six scenes; and Pippa dances; a 
 mystical plav- of the glass-works in four acts. Bost., 
 1909. Badger, S1.25. 
 
 Fuhrmann Henschel: a play in five acts, tr. by 
 
 Marion A. Redlich. 152 p. O. Chic. 1910. Dramatic 
 pub. CO., SI. 25. 
 
 "A study in moral and mental degeneration." 
 Reviewed in Francke. Kuno. German ideals of today. 
 Bost. Houghton, 1907. 
 
 21
 
 22 HAUPTMANN 
 
 Hauptmann, Gerhart. Hannele: a dream poem; tr. 
 from the German bj- William Archer. 195 p. D. 
 Lond., 1894. 
 
 Published also by Heincmann, Lond. 92 p. S. 2s 6d' 
 also by Doubleday. N.V., 19(JS. Ill p. D. $1 (tr. by C 
 H. MeUerK also by R. H. Badger, Bost., 1911. $1.50 
 (tr. by G. S. Bryan). (See also Poet-lore, May-June, 1909. 
 20: 101-91.) 
 
 Reveals the mind and soul of a wretched little orphan who, 
 just before her death, lapses into a delirium in which she sees 
 in fantastic action all the visions of her unhappy life and her 
 ■■hlmmelfahrt" beyond. By means of a delicate art that 
 feels for simple words, makes the emotions bound, and colors 
 and vivifies all it touches, Hauptmann carries us into this 
 atmosphere of dreamland where Hannele is soaring and makes 
 us see the same visions in realistic shape and plan. This dream 
 poem is his most characteristic work, but has met with no stage 
 success outside of German theatres. 
 
 Reviewed in Literary world, 1895, 2G: 6; Critic, Feb. 10, 
 1894, 24: 97, by Arthur Waugh. 
 
 Lonely lives: a drama; tr. from the German by- 
 
 Mary Morison. 17 9 p. D. Lond., 1898. Heinemann, 
 2s. 6d. 
 
 Unmistakably Ibsenian in the very close analogy it bears 
 to Rosmersholm; with the same sets of problematic char- 
 acters battling with the same matters of religion and science, 
 and the same ill-defined bounds of platonic liberty, yet drawn 
 in shapes that are more human, true and appealing. The 
 psychology of the play has little that is convincing. The moral 
 tells us that we cannot lift ourselves ethically above our age. 
 Some critics have claimed for its simple plot the best construc- 
 tion of all modern stage plays. 
 
 Reviewed in .\thenajum, Apr 6, 1901, 1: 443; Critic, 35: 
 840; Dial, June 1, 1900, 28: 430, by E. E. Hale. Jr.; Spectator. 
 Sept. 30. 1893. 71: 437. 
 
 — Reconciliation, a play in three acts, tr. by R. T. 
 House. Bost., 1911. Badger, S1.50. (.See also Poet- 
 lore, Sept.-Oct., 1910, 21: 337-90.) 
 
 (The) sunken bell, a fairy play in five acts . . . tr. 
 
 by C. H. Meltzer. 125 p. D. N. Y., 1902. R. H. 
 Russell. Published also by Heinemann. Lond.. 4s 
 net; also (with music by Aime Lachaume) bj^ Double- 
 day, N. Y.. 1908. 180 p. 11. $1; also by R. H. Badger. 
 Bost., 1911. S5 net. 
 
 A perfect fairy-drama that might delight a child. The 
 same art that in Hannele blended the real with the ideal, the 
 natural with the supernatural, the physical with the spiritual, 
 is here even more highly idealized. 
 
 Its fancies and images spring from primitive nature, whose 
 woodland elves, sprites and fairies appear in every shape of 
 subtle charm and weirdest mystery. Heinrich, the bell- 
 founder, is a mediaeval mystic, who is striving to satisfy his 
 restless soul with an artistic ideal of real worth and purity. 
 These fairy figures stand for the influences of nature that 
 seek to drag the artist-man down from the heights to the 
 level of his lower instincts. A masterpiece that shows all 
 of Hauptmann's many tendencies in dramatic art, as beautiful 
 to see as it is to read. 
 
 Reviewed in Francke, Kuno, Glimpses of modern German 
 culture. 1898. p. 85-97; Spectator, Apr., 1900. 84: 602; Dial, 
 June 1, 1900, 28: 430, by E. E. Hale, Jr.; Academy, May, 
 1900, 58: 448; Athenaeum, Feb. 21, 1903, 121: 252.
 
 HAUPTMANN 23 
 
 Hauptmann, Gerhart. (The) weavers, a drama of 
 ihtj forties; tr. from the German by Mary Morison. 
 14« p. D. Lond., 1S99. Heinemann. 2s. 6d. Pub- 
 lished also by Huebsch, N.Y. 1911. SI net. 
 
 The autfior here takes as his theme the rebellion of the 
 Silesian flax-weavers in 1860. Their hungry eyes, bowed 
 necks and wretched want are pictured with keenest pathos 
 and unrelieved gloom of the sort that makes this play a re- 
 markable judgment of man's cruelty to his fellow-beings. 
 Hauptmann's characteristic failure to work out logically the 
 reformer's ideas that he can set forth dramatically with such 
 brilliant effects is to be deplored. Technically the play lacks 
 continuity of scene, and has no hero or spokesman other than 
 as one exists abstractly in the hunger of the masses. 
 
 Reviewed in Critic, Sept., 1899, 35: 839; Dial. June 1, 1900, 
 28: 4.32. by E. E. Hale, Jr.: Spectator, Sept. 30. 1893, 71 : 43G-7. 
 
 Criticism 
 
 (Der) arme Heinrich. (See Poet-lore, 16: 145-8.) 
 
 Brief outline of Hauptmann's play based on Hartmann von 
 .•\lt'e's work of the same name but original in treatment. 
 
 Barker, Thomas Stockham. Gerhart Hauptmann and 
 his work. (See Critic, Mar., 1S99, 34: 225-31.) 
 
 An unfavorable review of the only single biography of 
 Hauptmann yet published: "Gerhart Hauptmann, sein Lebens- 
 gang und seine Dichtung," by Paul Schlenther, published 
 in Berlin in 1898. Amounts to a general sketch of Haupt- 
 mann and a criticism of his plays. 
 
 Coar, J. Firman. Three contemporary German drama- 
 tists. (See Atlantic Mo., Jan., 1898, 81: 71-80.) 
 
 .A. criticism of Wildenbruch, Sudermann and Hauptmann. 
 The latter is enthusiastically viewed as the artist-poet who 
 wrote the Sunken Bell. 
 Francke, Kuno. Gerhart Hauptmann's Der arme 
 Huinrich. (See his German ideals of today. 1907. 
 p. 282-93.) 
 See also (Der) arme Heinrich above. 
 
 Gerhart Hauptmann's Michael Kramer. (See his 
 
 German ideals of today. 1907. p. 275-82.) 
 
 Gerhart Hauptmann. (See Warner's library of the 
 world's best literature, 17: 7025-40.) 
 A general sketch with an extract from Hannele. 
 
 Grummann, Paul H. Gerhart Hauptmann's dramas 
 from the Sunken bell to Pippa. (See Poet-lore, 
 July-Aug., 1910, 21: 285-99.) 
 
 Brief characterizations of Sunken bell. Teamster Henschel, 
 Schluck und Jau, Michael Kramer, Red Cock, Der .Arme Hein- 
 rich, Rosa Bernd, Elga. 
 
 Recent German criticism comprising Bulthaupt's 
 
 interpretation of Hauptmann. (See Poet-iore, 1905, 
 
 16: 117-26.) . ^ „ , 
 
 A reply to a criticism of Hauptmann in Heinnch Bult- 
 haupt's "Dramaturgie des Schauspiels", 1902. 
 Guthrie, William Norton. Gerhart Hauptmann. 
 (See Sewanee Rev., May, 1895, 3: 278-89.) 
 
 A well written appreciation with some sane comparisons 
 of Hauptmann with other dramatists. 
 
 Hale, Edward Everett, Jr. [Charlemagne's hostage.) 
 (See his Dramatists of to-day. 1905. p. 37-61.) 
 Reviewed also in Current Literature, .\pr.. 1908, 44: 421-2.
 
 24 HAUPTMANN 
 
 Heller, Otto. Studies in modern German literature: 
 Suderniann. Hauptniann; women writers of the 19th 
 century. 301 p. D. Bost., 1905. Ginn. S1.25. 
 
 Distinctly popular essays indicating in a way adapted to 
 readers who have little first-hand information, the chief 
 aspects of the work of Hauptmann and Sudermann and 
 some minor women writers. The critic while not great ia 
 always sensible and genuinely interested and interesting. 
 He shows his high estimate of the two great dramatists in 
 an unduly favorable and somewhat too detailed analysis of 
 their plays, arranged in chronological order. 
 
 Reviewed in Athena?um, Nov. 18, 1905, 2: 685; Poet-lore, 
 Sept., 1905. Iti: 127-S. 
 
 Henderson, Archibald. Gerhart Hauptmann; social 
 idealist. (See Arena, Mar., 1905, 33: 251-7.) 
 
 The social reformer as seen in his four greatest plays. Clear 
 and well-outlined. 
 
 Lee, Elizabeth. German drama of today. {See Living 
 Age, 234: 15G-6G.) 
 
 A clear indication of the character and tendencies of the 
 modern drama as shown in Hauptmann and Sudermann. 
 
 Marshall, Beatrice. Gerhart Hauptmann. {See Fort- 
 nightly Rev., Sept., 1901, 76: 459-81.) 
 
 .\ review and an abstract of Dr. Schlenther's biography of 
 Hauptmann. See also Barker, T. S., Gerhart Hauptmann and 
 his Work. 
 
 Meyer, Edward Stockton. Modern German drama. 
 
 {See Critic, July, 1905, 47: 61-70.) 
 
 Treats of the German naturalistic movement as developed 
 by Hauptmann and Sudermann. 
 
 Muller, Margarethe. Gerhart Hauptmann. (5ee Atlan- 
 tic Mo., Sept., 1900, 86: .368-77.) 
 
 Nordau, Max. [Gerhart Hauptmann, his writings thus 
 far.] {See his Degeneration. 1895. p. 523-30, 547.) 
 
 Shows the author's characteristic intemperance and violence 
 toward the "naturalistic school". Interesting as an adverse 
 opinion rather than valuable as a criticism. 
 
 Plays of Gerhart Hauptmann. {See Living Age, 
 Sept., 1903, 238: 711-26.) 
 
 Also published in Quarterly Rev., 191: 317-36. A review 
 of a collection of Hauptmann's German plays, with a brief 
 analysis of each. 
 
 Puzzle of Gerhart Hauptniann. {See Current Liter- 
 ature, May, 1909, 46: 543-4.) 
 
 Review and criticism of Hauptmann's Griselda. 
 
 Steiner, Edward A. Two German dramatists. {See Out- 
 look, Jan. 5, 1901, 67: 74-7.) 
 
 Based on personal visits to Hauptmann and Sudermann 
 and condensed into a brief analysis of a few stage plays. 
 
 Stoeckius, Alfred. Naturalism in the recent German 
 drama with special reference to Hauptmann. 36 p. 
 O. Columbia Univ., N. Y., 1903. 
 
 A thesis presented for the degree of Doctor of Philosophy, 
 at Columbia University, containing a valuable bibliography 
 of German titles and a chronological list of Hauptmann's 
 works. Of special interest to students. 
 
 Witkowski, Georg. Gerhart Hauptmann. {See his 
 German drama of the nineteenth century. 1910. p. 
 187-202.) 
 
 Brief sketch of Hauptmann's development as a dramatist 
 with brief analysis of Before sunrise, Friedensfest, Einsame 
 menschen (Lonely lives). Die Weber (the Weavers), Florian 
 Geyer, Hannele, Der Biberpelz, Fuhrmann Henschel, Rosa 
 Bernd, etc.
 
 IBSEN 
 
 Ibsen, Henrik. Works; rev. and ed. by William Archer 
 11 V. D. N. Y.. 1906-08. Scribner, -SI each. 
 Contents: — 
 
 V. 1. Feast at Solhaug; Lady Inger of Ostrat; Love's 
 comedy. 
 
 2. The Vikings at Helgeland; The pretenders. 
 
 3. Brand. 
 
 4. Peer Gynt. 
 
 5. Emperor and Galilean. 
 
 6. League of youth; Pillars of society. 
 
 7. Doll's house; Ghosts. 
 
 8. Enemy of the people; The wild duck. 
 
 9. Rosmersholm; The lady from the sea. 
 
 10. Hedda Gabler; The master builder. 
 
 11. Little Eyolf; John Gabriel Borkman; When we 
 
 dead awaken. 
 
 The recognized definitive collection in English. The intro- 
 duction to each play throws valuable light both on the playg 
 and their author. These introductions taken together form 
 a pretty complete review of Ibsen's life and art. "The vol- 
 umes of this set are sold separately. Separate editions of in- 
 dividual plays are given under the particular titles of the 
 plays. 
 
 Letters; tr. by J. N. Laurvik and Mary Morison. 
 
 456 p. O. N. Y., 1905. Fox. $2.50 net. 
 
 Included here as containing much interesting matter re- 
 lating to Ibsen's dramas. 
 
 Reviewed in Bookman, Jan.. 1907. 24: 477; Fortnightly Rev., 
 Mar., 1905, 83: 428-41 ; International Quar., Jan.. 1905, 10: 201- 
 77; Dial, Dec, 1905. 39: 429-32; Nation, Mar., 1906, 82: 243^. 
 
 Speeches and new letters; authorized translation 
 
 by Arne Kildal with an introd. by L. M. Hollander 
 and a bibliographical appendix. O. Bost., 1910. 
 Badger, S.3. 
 
 Most of the material is here first translated into English. The 
 bibliography is comprehensive and of decided value to students 
 of Ibsen. 
 
 Brand; a dramatic poem in 5 acts. 
 
 Published also by Scribner. 288 p. D. $2.50. N. Y., 1894. 
 Tr. in the original metres by C. H. Herford. 
 
 Shows Ibsen on his highest plane of dramatic work. It is 
 an unsparing scourge of Norway's half-heartedness in its pur- 
 suit of national and Christian ideals. While so intensely 
 national it also has universal application in that it advocates 
 self-realization regardless of the sacrifice involved. The lan- 
 guage and thought are stern and solemn, symbolic and impres- 
 sive. 
 
 Reviewed in .Arena. Dec, 1890, 3: 81-90, by W. L. Cross; 
 Contcmporarv Rev.. Mar.. 1891. 59: 407-22. by C. H. Her- 
 ford; Fortnightly Rev., .Aug., 1899. 72: 227-.39. bv M. A. 
 Stobart; Dial. .Apr. 10, 1894, lO: 236-40, by W. H. Payne; 
 Atlantic Mo., Dec, 1890, 66: 856. 
 
 25
 
 26 IBSEN 
 
 Ibsen, Henrik. (A) Doll's house. 
 
 A moral essay calling for more cQuality in marriage. Nora, 
 who furnishes the example of the customary sacrifice of woman's 
 individuality, is one of the most distinctive of Ibsen's char- 
 acters. 
 
 The plot has evidently been seized for the mere joy of its 
 adaptability for a dramatic picture and for the play it has 
 given the artist in painting each person in his own individ- 
 uality. Considered otherwise there is little excuse for a 
 problem so impossible and for whose evils there is agreed to 
 be little remedy. 
 
 "In the matter of technique, a Doll's house marks a turn- 
 ing-point in the history of European drama." R. F. Sharp. 
 
 Reviewed in Saturday Rev., May 15, 1897, 83: 539-41, by G. 
 B. Shaw. 
 
 Published also separately (tr. by H. L. Menchen) by J. W. 
 Luce. Bost., 190S. 75 c. 
 
 (A) doll's house; the Wild duck; the Lady from 
 
 the sea; with an introd. by R. Farquharson Sharp. 
 300 p. S. N. Y.. 1910. Dutton. 35 c. (Everyman's 
 Library.) 
 
 (.4) Doll's house and Ihe Wild duck tr. by Sharp; Lady from 
 the sea by Mrs. Marx-.Aveling. Includes list of English trans- 
 lations of Ibsen's dramas. 
 
 Emperor and Galilean. 
 
 His largest work, consisting of two five-act epic-dramas, 
 "Caesar's Apostasy " and "Emperor Julian." Boyesen says, 
 "It is looser in construction than any subsequent dramas and 
 is occasionally even a trifle prolix in its discussions. More- 
 over, the wealth of philosophic thought keeps both critics 
 and the public much in the dark as to its real meaning." 
 
 Enemy of the people. 
 
 Published also by W. H. Baker, Bost., under title Enemy of 
 society, paper. 25 c. 
 
 The hero, Dr. Stockholm, simply tells the truth he has 
 discovered in regard to the corruption of some mineral waters 
 that have brought visitors and prosperity to a little town in 
 Norway. "The strongest man is he who stands most alone" 
 is a quotation which reveals Ibsen's opinion that civilization 
 is a detriment to individual character. The drama is clever, 
 powerful and impressive, and has found much favor on the 
 stage. 
 
 Reviewed in Athenaeum, Apr. 5, 1902, 1 : 444. 
 
 Feast at Solhaug. 
 
 A short, historical drama, one of Ibsen's early works. "The 
 theme is fate's disentanglement of a young knight from the 
 net wound round him by the first fancy he has aroused in a 
 woman's heart. . . . The play is young, it affects the senses 
 like youthful, emotional music and youthful experiences must 
 lie behind it." Brandes' "Ibsen," p. 92-3. 
 
 Ghosts. 
 
 Published also by W. H. Baker. Bost. paper. 25c. 
 
 Anatole France says, "If the will of those who are no more 
 is to be imposed upon those who still are, it is the dead who 
 live, and the live men who become the dead ones." Such an 
 idea of heredity is the motive of this painfully wrought and 
 intensely revolutionary play. It is significant in the way it 
 preserves the unity of time, concentrating into a single day 
 the culminating point of an action that has been going on for 
 years. 
 
 Reviewed in Moore, George, Impressions and Opinions, 
 1891, p. 215-26; Poet-lore, 0: 356; Saturday Rev., July 3, 
 1897; 84: 12-14, by G. B. Shaw; Athenaeum. Apr. 5, 1902, 
 1: 444, by N. Hapgood; Nation, Feb. 10, 1887, 44: 116-17.
 
 IBSEN 27 
 
 Ibsen, Henrik. Hedda Gabler. 
 
 Published also by W. H. Baker. Bost. oOc. Also (tr. by 
 Edmund Gosse) by U. S. Bk. Co., X. Y. 1891. 272 p. D. $1. 
 
 Amid the wealth of symbolism in this play whose every 
 line has a subtle significance, Ibsen symbolizes his own gloomy 
 style in the action of Hedda when she has the curtain drawn 
 to exclude the sunliRht. It is the sunless side of things that 
 one sees in this as in all his plays. The plot develops with 
 precision and force while the characters pursue their destinies 
 in such wise as might the eyeless fish in a subterranean cavern. 
 
 Reviewed in VValkley, A. B., Playhouse impressions. 1S92, 
 p. 59-C3; Fortnightly Rev., Jan., 1891. 55: 4-13, by Edmund 
 Gosse; Fortnightly Rev., Mar., 1908, 89: 565-7, by C. 
 Smedley. 
 
 John Gabriel Borkman. 
 
 Published also by Stone & Kimball. 198 p. D. N. Y.. 1897. 
 SI. 50. (Green tree library.) Tr. by William Archer. Also by 
 Duffield. N. Y., 1907. $1.50. 
 
 Mr. Huneker speaks of the simple, logical structure, the 
 unflinching criticism of life and the perfection of the character 
 drawing and dialogue. 
 
 Reviewed in National Mag., 8: 120; Poet-lore, 9: 302-6; 
 11: 116; Saturday Rev.. 82: G54. 
 
 Lady from the sea. 
 
 Published also by W. H. Baker. Bost. paper. 2.5c. Also (tr. 
 by Mrs. E. Marx-Aveling) by E. P. Button. N. Y. 1910. S. 
 35c. (Everyman's library.) 
 
 In spite of its obscure symbolism this drama is full of the 
 most poetic fancy. It deals with the old theme that only 
 through law are won the ideals, freedom and happiness, a 
 theme developed in the main by the use of most commonplace 
 and vulgar actualities. 
 
 "A mi.xture of psychology and poetic fancy surrounding one 
 of Ibsen's haunting principles — that an action is only valu- 
 able and reasonable if it be the spontaneous outcome of the 
 individual will. . . . The theme of the play ... is the psy- 
 chological development of an idle woman who has nothing 
 particular to occupy her life. R. F. Sharp. 
 
 Reviewed in Walkley. A. B., Playhouse impressions. 1892. 
 p. 59-63; Westminster Rev., July, 1902, 1.5S: 10.5-6. 
 
 Lady Inger of Ostrat. 
 
 An historic melodrama with a gloomy castle, spectral 
 pictures and secret passages that make a setting distinctly 
 Maeterlinckian. There are in addition shifting conspiracies, 
 distorted characters and constant mystery. The outworn 
 expedient of much soliloquy to convey information is here 
 used to an excess that we find in a few of his social dramas. 
 An improbable plot but an actable play, produced in 1855. 
 
 League of youth. 
 
 Published also by W. H. Baker. Bost., 1900. paper. 25 c. 
 under title Young men's league, tr. by Henry Carstarphen. 
 
 The stinging satire upon democracy interests American 
 readers. Ibsen's feelings, though here they are rarely well 
 moderated, are clearly cast with the figure Bratsberg, who, 
 in league with the past, looks askance upon the struggles and 
 motives of Norway's political parties. The play excels in 
 easy dialogue and the grasp the author has upon the several 
 characters. 
 
 Little Eyolf. 
 
 Published also by Stone & Kimball. 164 p. D. Chic, 1894. 
 (Green tree library.) Tr. by William .Archer. .Mso by J. W. 
 Luce. Bost., 1908. 75 c. Tr. by H. L. Menchen. 
 
 Represents the spectacle of a handful of people all makmg 
 the worst of everything. Ibsen's characteristic use of sug- 
 gestion is here carried to an extreme, but it contributes to 
 the strong atmospheric effect which is the most marked fea- 
 ture of the play. Mystery and the secret ways of fate form
 
 28 IBSEN 
 
 the aesthetic basis of the theme, and the difficult feat is accom- 
 plished of presenting horror in the sunshine. A loveless mar- 
 riage IS the problem. 
 
 Reviewed in Stevens, G. \V.. Things Seen; Fortnightly 
 Rev., 63: 277-84. by \V. L. Courtney; Saturday Rev., 1896, 
 ,.T i'i'3- *^-^' by G. B. Shaw; Dial, Jan. 1, 1S95, 18: 5-6, by 
 W. M. Payne; Dublin Rev., Jan., 1895. 120: 112-25, by A. S. 
 Spender. 
 
 Ibsen, Henrik. Love's comedy. 
 
 I'ublislurd also by Scribner, N. Y., 1900. $1.40. Tr. by C. 
 H. Ilerford. William Archer and Edmund Gosse. 
 
 T'if .^'^^'"'^. '* '^''i '" a fashionable pension in the suburbs 
 of Christiania. The theme is a defense of rational marriage 
 as opposed to a marriage of inclination. This first of the 
 fv ^'''^^^ satiric dramas in verse has much lyrical beauty 
 and force, but slight dramatic interest, due to its burden of 
 P"''osophy and the tedious movement. George Brandes 
 and P. H. Wicksteed among critics have each met its puzzles 
 m mterestmg argument. This is a brilliant translation to 
 which IS added a valuable critical estimate. 
 
 Reviewed in Athenaeum. June 16, 1900, 1: 762-3; Academy, 
 June 23. 1900, 58: 527-8; Fortnightly Rev., Feb., 1900. 73: 
 191-9. by C. H. Herford; Fortnightly Rev., Jan., 1873, 19: 
 <'-88, by Edmund Gosse. 
 
 (The) master builder; a play in three acts. 
 
 Published also by Heincmann (new ed.) 250 p. D. Lond., 
 
 1893. 2s. 6d. Tr. by E. W. Gosse and William Archer. Also 
 by W. H. Baker. Bost., 50c. 
 
 Brandes writes, "This is a play that echoes and re-echoes 
 m our mmds long after we have read it. . . . Great is its art, 
 profound and rich is its symbolic language. . . . Ibsen's in- 
 tention is to give us by means of real characters, but in half- 
 allegoncal form, the tragedy of a great ambitious artist whose 
 ideals can never be realized even though he is successful." 
 
 Reviewed in Arena. Feb., 1908, 39: 160-5, by M. Mailly; 
 Poet-lore, 1902, 12: 95; Saturday Rev., Mar. 4, 1893, 75: 
 241; Spectator, Mar. 4, 1893, 70: 285. 
 
 Peer Gynt. 
 
 A masterpiece of poetic drama; a piece of world-literature 
 into whose lines one can read new and ever new meanings, 
 and even his own meanings that please him best. 
 
 The typical Norseman is satirized in the hero, a man of 
 dreams and idle in action; a cynically indifferent, selfish 
 ne er-do-weel, who, like Brand, pursues a motto "to be him- 
 self," but does it in contrast by giving Self its wildest satis- 
 faction. The heroine, Solveig, drawn in perfect antithesis 
 to the hero, is most appealing. Prominent critics disagree 
 as to whether the ethical problem has or has not been solved 
 in the romantic ending. Peer Gynt's own lively wit and 
 imagination add charm and distinct vitality. 
 
 Reviewed in Couch, A. T. Quiller-, Adventures in Criti- 
 cism. 1896, p. 283-96; Saturday Rev.. Sept. 19, 1S96, 82: 321; 
 Contemporary Rev., 56: 274, by P. H. Wicksteed; Book- 
 man, 3: 535. Poet-lore. 1907, 18: 383-92, by Jane D. Stone. 
 
 Pillars of society. 
 
 Published also by W. H. Baker. Bost. paper. 25c. 
 
 -An attack upon the hypocrisy and snobbishness of Consul 
 Bernick, local magnate of a provincial Norwegian town. He 
 may be said to typify the merchant-class supporters of a 
 comrnunity, who are lined up like whited sepulchres. "The 
 plot is sirnple and the art grim, yet there is dramatic interest 
 in the swift action, biting sarcasm and skilful grouping of 
 mcidents. 
 
 Reviewed in Saturday Rev., May 18, 1901, 91: 631, by M. 
 Beerbohm.
 
 IBSEN 29 
 
 Ibsen, Henrik. The Pretenders. 
 
 The theme is the struggle for the vacant throne of Sverre 
 in the romantic epoch of the thirteenth century in Xorwegian 
 history. Boyesen calls it "highly impressive as an acting 
 drama; written with true dramatic instinct which concentrates 
 the action and dispenses with all superfluous dialogue. It 
 shows Ibsen's familiarity with the stage both as stage manager 
 and artistic director." 
 
 Rosmersholm. 
 
 Published also by W. H. Baker. Bost. paper. 25c. Tr. by 
 M. Carmichael. 
 
 Several characters of the savage, free, northern type dreamily 
 aspire to moral liberty. The subtle psychology of the problem 
 enshrouds the reader with perplexity. So slight are the inci- 
 dents and details and so bare the chance of an actor's 
 right interpretation of such strangely real and unreal people 
 that the drama may well be reserved for mere closet reading. 
 
 Reviewed in Walkely, .^. B., Playhouse impressions. 1892. 
 p. 53-8; Nation, Mar. 12, 1891,52: 216-17. by E. R. Pennell; 
 Saturday Rev., Feb. 28, 1891, 71: 258. 
 
 Vikings at Helgeland. 
 
 The character of the author's earlier work is to be noted 
 in. this saga-like drama. Romance, blood, fate and tragic 
 pathos move its legendary though life-like characters. 
 
 Reviewed in Athenaeum, Apr. 25, 1903. 121: 539-40. 
 
 When we dead awaken; a dramatic epilogue in 
 
 3 acts. 
 
 Published also by Stone & Kimball. 157 p. D. Chic, 1900. 
 (Green tree library.) Tr. by William Archer. 
 
 This last of Ibsen's great prose dramas has a familiar motive 
 closely related to the artist's career in The Master Builder 
 "Life without love, even the most artistic, is to be counted as 
 death," and about the sculptor Rubek is drawn a drastic pic- 
 ture of the kind of death that life without love assuredly is. 
 A play of engaging interest and masterly work. Better for 
 reading than for acting. 
 
 Reviewed in Fortnightly Rev.. Apr., 1900, 73: 575-90, by J. 
 A. Joyce; Academy, Apr. 14, 1900, 58: 307-8; Nation, Feb. 1. 
 1900.70:94, by W. M. Payne; Athenaeum, Apr. 7. 1900, 1:442; 
 Poet-lore, May-June, 1909. 20: 201-17. by T. B. Thompson. 
 
 (The) wild duck. 
 
 Published also by W. H. Baker. Bost. paper. 25c. Tr. by E. 
 M. Aveling. Also (tr. by R. F. Sharp) by E. P. Dutton. 
 N. Y., 1910. 35c. (Everyman's library.) 
 
 This wild drake kept in a garret in a tamed state is the 
 image of a man born to liberty, but condemned by accidents 
 of civilization and the acquired weakness of his nature to live 
 in servitude and darkness. Considered dramatically there 
 is masterly character drawing, but an unhappy mixture of 
 satire and tragedy as well as a lack of skill in effecting cli- 
 maxes. 
 
 "In technical skill the play is his masterpiece; indeed, it 
 would be difficult to name any modern drama that is its 
 superior in construction, characterization, and absolute 
 naturalness and aptness of dialogue. . . . The only weak point 
 in the play lies in the 'symbolism' of the Wild Duck itself." 
 R. F. Sharp. 
 
 Criticism 
 
 Archer, William. From Ibsen's workshop; the genesis 
 of his dramas. {See F"ortnightIv Rev., Dec. 1909. 92: 
 976-92. Same in Forum. Dec.', 1909. 42: 506-22.) 
 
 Ibsen and English criticism. {See Fortnightly Rev., 
 
 July. 1889, 52: 30-7.) 
 
 Ibsen's notable translator here discusses whether or not 
 his plays will ever find a permanent place on the English 
 stage.
 
 30 IBSEN 
 
 Archer, William. (The) real Ibsen. {See International 
 
 Ml... Feb.. 1901, 3: 1S2-201.) 
 
 A biographical sketch of real value, with incidental com- 
 ments on the beauty of Ibsen's verse in the original tongue. 
 
 Bjorkman, E. Ibsen as he should be read. N. Y.. 1907. 
 
 Motiatt. sl.20. 
 
 Boyesen, Hjalmar Hjorth. (A) Commentary on the 
 works of Henrik Ibsen. 317 p. D. Lond., 1894. Heine- 
 mann, 7s. 6d. net. 
 
 This distinguished Scandinavian critic has compressed in 
 a notable introduction and several chapters the pith of Ibsen's 
 social ideas. His analysis is chiefly distinguished by a happy 
 mixture of quick perception, generous appreciation and good 
 common sense. The style is easy and vivid, but shows evi- 
 dence of hurried construction and examples of poor trans- 
 lation. 
 
 Reviewed in Dial, Apr., 1894, 16: 236, by W. M. Payne; 
 Academy, .Apr.. 1894, 286; Spectator, May, 1894, 72: 652; 
 Saturday Rev., 78: 3.J9; Critic. 2,"): 119. 
 
 Brandes, Georg Moritz Cohen. Henrik Ibsen. {See 
 his Eminent authors of the 19th century. 1886; p. 
 405-60.) 
 
 "A masterful analysis, worth everything else that has been 
 written in English concerning Ibsen." Nation. 
 
 Brandes is a profound admirer of Ibsen as well as an ardent 
 advocate of the modern spirit for which Ibsen stands. 
 
 Henrik Ibsen; Bjornstjerne Bjornson; critical 
 
 studies. 171 p. O. N. Y., 1899. Macmillan, $2.25. 
 
 Reviewed in .'Academy, July, 1899, 57: 79-80; .'Kthenaeum, 
 Aug., 1899, 2: 202; Spectator, July, 1899, 83: 25; Nation, 
 69: 340; Dial, Nov., 1899, 27: 314, by W. M. Payne. 
 
 Brochner, Jessie. Henrik Ibsen. {See Bookman, Oct., 
 1903, 18: 180-9.) 
 
 Presents the personal side of Ibsen. Of value for its 5 or 
 6 illustrations. 
 
 Butler, A. Maynard. View of Ibsen. {See Contem- 
 porary Rev., May, 1902, 81: 709-19.) 
 
 Attempts to define Ibsen's present status and gives brief 
 comments on each play. 
 
 Crawfurd, Os'wald. The Ibsen question. {See Fort- 
 nighty Rev., May, 1891, 55: 723-40.) 
 
 The question is popularly covered, giving the Ibsen point of 
 view, a sketch of his life and short ethical interpretations of 
 the plays. 
 
 Ellis, Havelock. Ibsen. {See his The new spirit. Ed. 3. 
 1892. p. 133-73.) 
 
 Ender, A. von. Henrik Ibsen and the women of his 
 dramas. {See Theatre, Aug., 1909, 10: 48-54, new ser.) 
 Discusses the dramatic rather than the literary significance 
 of several of Ibsen's chief creations. 
 
 Evans, Edward Payson. Henrik Ibsen; his early career 
 as poet and plavwright. {See Atlantic Mo., May, 
 1890, 65: 577-88.) 
 
 Garland, Hamlin. Ibsen as a dramatist. {See Arena, 
 June, 1890, 2: 72-82.) 
 
 Influence of Ibsen. (5ee his Crumbling idols. 1894. 
 
 p. 99.) 
 
 "In 12 essays, full of sound, inspiring thought, Mr. Gar- 
 land shows himself a clear-sighted critic and a hopeful prophet." 
 
 Reviewed in Dial. July 1, 1894, 17: 11, by E. E. Hale, Jr.; 
 Nation, July 19, 1894, 59: 53; Critic. Sept. 15, 1894, 25: 169.
 
 IBSEN 31 
 
 Gosse, Edmund William. Henrik Ibsen. (See his 
 Studies in the literature of northern Europe. 1883. 
 p. .35-69.) 
 
 Enlargement of an article printed in the Fortnightly 
 Rev.. Jan., 1873. 19: 74-88. Published also in his ••Northern 
 Studies." 1890. p. 38-104. 
 
 ^ Henrik Ibsen. N. Y., 1908. D. Scribner, SI. 
 
 ••A biography which sketches the influences . . . that set 
 the great poet to weaving such an individual life tapestry. . . . 
 There is no attempt to set forth the plots of his dramas, nor 
 to treat the spurious 'lessons' and suppositious 'problems' 
 which so many look for in Ibsen." Book Review Digest. 
 
 Reviewed in .Athenaeum, Mar. 2, 1908, 1: 304; Atlantic Mo., 
 Aug.. 1908, 102: 260; Dial. Feb. 16, 1908, 44: 108; Independent. 
 Apr. 23, 1908,64:921; Nation, Mar. 5, 1908,86:222; Putnam's, 
 May. 1908, 4: 238; Saturday Rev., Mar. 14, 1908, 105: 330-1. 
 
 • Ibsen's social dramas. (See Fortnightly Rev., Jan. 
 
 1889, 51: 107-21.) 
 
 An e.xcellent, discriminating critique. Lighter in treat- 
 ment than Brandes. 
 
 Hapgood, Norman. Ibsen. (See his Stage in America, 
 1897-1900. 1901. p. 206-18.) 
 Thoughtful interpretation of Ibsen's dramas as produced 
 
 on the .\merican stage. 
 
 Henderson, Archibald. Henrik Ibsen and social prog- 
 ress. (See Arena, Jan.. 1905, 3.3: 26-30.) 
 
 Herrmann, Oscar. Living dramatists: Pinero, Ibsen, 
 D'Annunzio; introduction bv Will W. Massee. 187 p. 
 O. N. v.. 1905. Brentano, 'S5 net. 
 
 Huneker, James. Ibsen. (See his Egoists. 1908. p. 
 317-49.) 
 
 Appreciative but sane general sketch of Ibsen's dramatic 
 work. 
 
 Ibsen and his translators. (See Nation, Jan. 23. 1890, 50: 
 
 67-8.) 
 
 The Nation considers that most of the notices of transla- 
 tions of Ibsen that have appeared in American journals up 
 to 1890 are ignorant and valueless plagiarisms of English 
 reviews. 
 
 Jaeger, Henrik Bernhard. Henrik Ibsen, a critical 
 biography [tr.] from the Norwegian by VV. M. Payne. 
 Ed. 2. 320 p. il. O. Chic, 1901. McClurg. §1.50 net. 
 
 Ibsen's literary works strung in the order of their appear- 
 ance upon the thread of his personal career. Chiefly valu- 
 able for the account of his early life. 
 
 Reviewed in Dial, June 1, 1902, 32: 16-17. by W.H.Carruth. 
 
 James, Henry. Henrik Ibsen. (See his Essays in Lon- 
 don and elsewhere. 1893. p. 230-52.) 
 
 This essay is distinguished by the subtle observations, 
 delicate, critical shadings and clever style so characteristic 
 of Mr. James. In the few pages on Ibsen, the author con- 
 siders only Ibsen's successes as a dramatist and ignores the 
 prevalent question of his "morality and immorality." 
 
 Reviewed in .\thenaeum, July 29, 1893, 2: 158; Nation. 
 Nov. ,30, 1893, 57: 416. 
 
 Knorr, Helena. Ibsen and the ethical drama of the 
 nineteenth century. (See Poet-lore, Jan. -Mar., 1898. 
 10: 49-65.) 
 
 Traces the evolutions of the ethical drama through its 
 earlier representatives: Dumas, .Angler and Ibsen, with Ibsen 
 as its master.
 
 32 IBSEN 
 
 Lee, Jannette Barbour. Ibsen secret; a key to the 
 prosL- diaiuarf of Henri k Ibsen. N. Y., 1908. D. Put- 
 nam, SI. 25. 
 
 Devoted principally to the symbolism in Ibsen's dramas. 
 Enthusiastic and emotional rather than discriminating or 
 analytic. 
 
 Reviewed in .Atlantic Mo.. Aug., 1908, 102: 259; Independent, 
 Apr. 2a, 1008, 04: 922; Nation, Nov. 28, 1907, 85: .500. 
 
 Lord, Walter Frewen. Works of Henrik Ibsen. {See 
 Xinetoi-iuh century, Aug., 1S89, 26: 241-56.) 
 
 A faint outline of the plays, considered in chronological 
 order. 
 
 Macfall, Haldane. Ibsen, the man, his art and his 
 significance. X. V., 1907. D. Morgan Shepard Co., 
 $1.50. 
 
 Considerable attention paid to the plots. The material 
 seems chiefly drawn from other biographers. Impressionistic 
 and rhetorical in tone. 
 
 Reviewed in Dial, Feb. 16, 1907,42: 110; Putnam's, Apr., 
 1907, 2: 120. 
 
 Matthews, Brander. Ibsen the playwright. {See Book- 
 man, Feb., 19(16, 22: 568-75; Mar., 1906. 23: 18-27.) 
 See also his Inquiries and opinions. 1907. p. 229-79. 
 An interesting summary with especial attention given to 
 the stage success of the plays. 
 
 Monkhouse, Allan. Ibsen's social plays. (5ee his Books 
 and plays. 1894. p. 155-85.) 
 
 Reviewed in Spectator, Aug., 1S94, 73: 242-3; Literary 
 world, Sept. S, 1894, 25: 282; Academy, Oct., 1894, 46: 252. 
 
 Moses, Montrose J. Henrik Ibsen; the man and his 
 
 plays. N. Y., 1908. 525 p. D. Kennerley, .$1.50. 
 
 "The groundwork has been based on Mr. William Archer's 
 definitive English edition of Ibsen's dramas." Preface. 
 
 Includes a bibliographical note (p. 517-22). 
 
 Reviewed in Dial. Mar. 16, 1909; 46: 192; Independent, 
 June 24, 1909, 00: 1400; Nation, Dec. 17, 1908; 87: 609; North 
 American Rev.. Apr., 1909. 189; 621-3; Outlook, Mar. 3, 1909. 
 91: 773. 
 Nordau, Max. Ibsenism. (See his Degeneration. Ed. 5. 
 1895. p. 338-415.) 
 
 Nordau has undertaken to prove in a scientific and elabo- 
 rate argument that a large percentage of society has de- 
 veloped a taste for the inferior in art and music and the 
 depraved and filthy in literature, and that authors . . . 
 who furnish the supply are morally and mentally degen- 
 erate." Critic. » 
 
 Original, violent in language and "as brilliant as it is pig- 
 headed." 
 
 Reviewed in North American Rev., June, 1895, 160: 735-40. 
 
 by Kenyon Cox; Bookman, 1: 178; Saturday Rev., Mar. 9, 
 
 1895, 79: 323; Dial, Apr. 10, 1895, 18: 230, by E. E. Hale, Jr.; 
 
 Nation, 00: 327. 
 
 Payne, William Morton. Henrik Ibsen. (5ee Outlook, 
 
 May 21, 1902, 71: 240-7.) 
 Rose, Henry. Ibsen as a religious teacher. {See Contem- 
 porary Rev., June, 1908, 93: 692-708.) 
 
 Traces Swedenborgian and other religious elements in Peer 
 Gynt and Brand. 
 
 Schofield, William Henry. Personal impressions of 
 Bjornson and Ibsen. {See Atlantic Mo., Apr., 1898, 81: 
 567-73.) 
 
 A study of Ibsen in contrast with his great contemporary, 
 Bjornson, by a great philologist who has studied in Christ- 
 iania.
 
 IBSEN 33 
 
 Shaw, George Bernard. Quintessence of Ibsenism. 
 Ed. 2. 170 p. D. N. Y.. 1891. Brentano. Sl.OO. 
 
 A thesis written to meet the misapprehension of Ibsen's 
 works by the members of the Fabian Society of London, 
 who considered it worse than eccentric to commend him. 
 It treats of Ibsen's moral doctrine rather than of his art or 
 literary development. It is defiant toward conventional 
 morality, cynical and paradoxical, but stimulates one's desire 
 to read more deeply into Ibsen's philosophy. 
 Reviewed in Nation, Oct. G, 1904, 7'J: 282. 
 
 Simons, L. Ibsen as an artist. {See Westminster Rev., 
 Nov., 1893. 140: 506-13.) 
 
 Art criticism applied to The Master builder. Lady from the 
 sea and Rostnersholm. 
 
 Smedley, C. In defence of Hedda Gabler. (5ee Fort- 
 nightly Rev., Mar.. 1908, 89: 565-7.) 
 
 Smith, L. W. Ibsen, Emerson and Nietsche, the indi- 
 vidualists. {See Popular Science Mo.. Feb., 1911, 78: 
 147-57.) 
 
 Treats the philosophy of Ibsen rather than his dramatic 
 skill. 
 
 Stampenbourg, Baron de. (The) passing of Ibsen. 
 (.SV.; Independent, Nov. 7, 1901. 53: 2630-3.) 
 
 Wicksteed, Philip H. Four lectures on Henrik Ibsen 
 dealing chiefly with his metrical works. Ed. 2. 112 p. 
 S. Lond., 1892. Sonnenschein. 2s. 6d. 
 
 Valuable lectures, including some representative selec- 
 tions from Ibsen's works. 
 
 Winter, William. (The) Ibsen drama. {See his Shadows 
 (,{ the stage. Series 3. 1895. p. 330-7.) 
 
 Mr. Winter accords scant praise to Ibsen as a dramatist. 
 "His plays have too little action to qualify them for the stage 
 — are too commonplace and insipid to take rank as litera- 
 ture."
 
 HENRY ARTHUR JONES 
 
 Jones, Henry Arthur. Bed of roses; a comedy in one 
 act. 22 p. D. Lond. and N. Y. S. French, paper. 6d. 
 
 See also French's (late Lacy's) Acting ed. of plays. Lond. 
 V. 119. 
 
 One of his earliest comedies. "An irascible father having 
 turned his son out of doors three years previously, forbids his 
 daughter to marry his medical attendant. The son returns, 
 and the father relents when he learns that the medical attend- 
 ant has been the means of saving his son's life in the Cape 
 War." Hogg. 
 
 Breaking a butterfly; a play in three acts. 76 p. O. 
 
 Lond., 1884. Privately printed, o. p. 
 
 "An adaptation for English playgoers of Ibsen's 'Doll's 
 House,' falsifying the ethical import and distorting the motive 
 of the husband." Wm. Archer. 
 
 Reviewed in Archer, Wm., About the theatre, 1886. p. 48. 
 
 Carnac Sahib; an original play in four acts. 151 p. 
 
 D. Lond. Macmillan. 2s. 6d. 
 
 "Distinguished by fidelity of portraiture, command of 
 dialogue and splendor of presentation, but there is no genuine 
 interest in the characters and sympathy, though not entirely 
 lacking, is badly distributed. Undramatic picture of Anglo- 
 Indian life." Athenceum. 
 
 Reviewed in Athenaeum, Apr. 22, 1899, 1: 507; Oct. 28, 1899, 
 2: 595. 
 
 Case of rebellious Susan: a comedy in three acts. 
 
 156 p. D. Lond. and N. Y. S. French, 75c. 
 
 Published also by Macmillan. Lond., 1901. 128 p. D. 2s. 6d. 
 
 The revolt of a spirited wife against modern social conditions. 
 The play as a whole is one of the author's cleverest and most 
 convincing dramas. 
 
 Reviewed in Athenaeum, July 17, 1897, 2: 107; Illustrated 
 London News, June 18, 1910, 136: 994; Sept. 24, 1910, 137: 
 450. 
 
 (A) clerical error; a comedy in one act. 24 p. D. 
 
 N. Y. French, cl906. paper. 25c. 
 
 In Jones' early manner (first produced in 1879). A clergy- 
 man, misunderstanding a note written by his ward, nearly 
 marries her himself instead of marrying her to the man really 
 meant in her note. Slight, but pleasant. 
 
 (The) Crusaders; an original comedy of modern 
 
 London life. 130 p. D. Lond., 1905. Macmillan, 
 2s. 6d. 
 
 A satire on the motives and methods of modern reformers. 
 
 (The) dancing girl; a drama in four acts. 119 p. D. 
 
 N. Y.. 1909. S. French, 75c. 
 
 A study in degenerate English society. "Almost a really 
 great play. The characters are typical studies from life." The 
 dramatic technique is excellent. 
 
 Reviewed by Walklev, A. B., Playhouse impressions. 1892. 
 p. 130-4; Illustrated London News, Feb. 20, 1909, 134: 354; 
 Saturday Rev., Jan. 24, 1891, 71: 99; Theatre, 1891, 26: 98-9; 
 Mar., 1892, 28: 121. 
 
 34
 
 JONES 35 
 
 Jones, Henry Arthur. (The) deacon; a comedy sketch 
 in two acts. 23 p. D. Lond. S. French, paper. 6d. 
 
 (See also French's (late Lacy's) Acting ed. of plays. 
 V. 133.) 
 
 A satire on unreasonable and bigoted opposition to the 
 stage. The violence and improbability of the characters rather 
 defeat the purpose of the play. 
 
 Reviewed in Theatre, 1890, 25: 185-6. 
 
 Dolly reforming herself; a comedy in four acts. 
 
 N. Y., 1910. S. French, 75c. 
 
 "Founded on a philosophic question 'Can we cure ourselves 
 of our bad habits?' and the answer worked out by the behavior 
 of a few people in a country house." Beerbohm. 
 
 Reviewed in Illustrated London News, Feb. 6, 1909, 134: 
 182; Saturday Rev., Nov. 7, 1908, 100: 573, by Max Beer- 
 bohm. 
 
 Elopement; a comedy in two acts. Lond. and New 
 
 York. S. French, paper. 6d. 
 
 (See also French's (late Lacy's) .\cting ed. of plays, v. 122.) 
 A slight play of the 1879 group. The plot centres around 
 an intended elopement which finally ends happily for all. 
 
 Harmony; a domestic drama in one act. 18 p. D, 
 
 Lond. and New York, 1889. S. F'rench. paper. 6d. 
 
 (.S^e also French's (late Lacy's) Acting ed. of plays, v. 119.) 
 
 A brief sketch of the lower middle classes, a now practically 
 
 forgotten play seldom if ever rising above the commonplace. 
 
 Hearts of oak; a domestic drama in two acts. D. 
 
 Lond. and New York., 1885. S. French, paper. 6d. 
 
 (See also French's (Lacy's) Acting ed. of plays, v. 122.) 
 Once very popular as a stage production. \ conventional 
 drama with a prodigal hero, an elderly villain and a much- 
 loved heroine of the types beloved by the gallery god. 
 
 (The) hypocrites; a play in four acts. 118 p. O- 
 
 New York, 1908. S. F'rench, 75c. 
 
 "A victory which accomplishes itself. The hero is a young 
 curate who holds fast to the higher ideal of the Church of Eng- 
 land against all the hypocrites about him and by virtue of his 
 single truth enforces one law for both the low-born and nobly- 
 born transgressor in the common sin of seduction." W. D. 
 Hcnvells. 
 
 Reviewed in Current Literature, Feb., 1907, 42: 189-95; 
 Harper's Weekly, Nov. 24, 1906, 50: 1682-3, by VV. D. 
 Howells; Theatre, Oct., 1906, 6: 255-9. 
 
 Joseph entangled; a comedy in three acts. 141 p. O. 
 
 N. Y.. 1909. S. French, 7oc. 
 
 "A realistic comedy of manners, full of vitality and distin- 
 guished by its naturalness of dialogue. The play is spent in 
 frantic efforts to e.xplain certain compromising circumstances." 
 M. Beerbohm. 
 
 Reviewed in Saturday Rev., Jan. 23, 1904,97: 107, by Max 
 Beerbohm. 
 
 Judah; an original play in three acts. 107 p. O 
 
 Lond., 1S94. Macmillan, 2s. 6d. 
 
 A non-conformist minister perjures himself to s;ive the repu- 
 tation of a faith-healer and medium whom he loves and with 
 whom he afterward works out their common rehabilitation in 
 the eyes of the world. The play, which is one of Jones' strong- 
 est, is a study of the moral degeneration and regeneration 
 wrought by love. 
 
 Reviewed by Walkley, A. B., Playhouse impressions, 1892. 
 p. 119-22; Academy, 37: 396, by F. Wedmore; Saturday Rev., 
 May 24, 1890, 69: 640; Theatre, 1890, 25: 24; 1892. 28: 152.
 
 36 JONES 
 
 Jonea, Henry Arthur. (The) lackey's carnival; a 
 comedy in lour acts. O. Lond., 1900. Privately 
 printed. 
 
 "First effort of a dramatist to penetrate the character of 
 servants, but the play should have been more wholly devoted 
 to the main idea. The hero, stripped of circumstantial un- 
 reality, is a fine and memorable character." Max Beerbohm. 
 
 Reviewed in Athenaeum, Oct. 6, 1900, 2: 451; Saturday Rev., 
 Oct. 6. 1900, 90: 423, by Max Beerbohm. 
 
 (The) liars; an original comedy in four acts. 160 p. 
 
 O. N. v., 1909. S. French. 75c. 
 
 Published also by Macmillan. Lond., 1904. 130 p. D. 
 2s. 6d. 
 
 "The subject is a married lady sailing too close to the wind 
 in a flirtation. The interest apart from its wealth of comedy 
 lies in the keen and accurate picture of smart society." G. B. 
 Shaw. 
 
 Reviewed in Academy, Oct. 16, 1897, .52: 306; Athcna?um, 
 Oct. 16, 1897, 2: 533; Jan. 4, 1902, 1: 28; Bookman, Nov. 1, 
 
 1898, 8: 210; Critic, Nov., 1898, 30: 371-3; Forum, Feb., 
 
 1899. 26: 7.57, by J. G. Speed; Harper's Weeklv, Oct. 8, 1898, 
 42: 994; Saturday Rev., Oct. 9, 1897, 84: 388, by G. B. Shaw; 
 Dec. 10, 1910, 110: 778. 
 
 Manoeuvres of Jane; an original comedy in four 
 
 acts. 12S p. D. Lond., 1905. Macmillan, 2s. 6d. 
 
 .'\ farcical study of the manner in which a disobedient 
 daughter man(euvres so as to thwart the plans of everybody 
 but herself and to marry the man of her choice. One of Jones' 
 best farce-comedies. 
 
 Reviewed in Academy, Nov. 5, 1898, 55: 216; Athenaeum, 
 Nov. 5. 1898, 2: 651; Harper's Weekly, Dec. 23, 1899, 43: 
 1293, by John Corbin; Independent, Apr. 6, 1905, 58: 783; 
 Saturday Rev., Nov. 5, 1898, 86: 60.3-05, by Max Beerbohm. 
 
 (The) masqueraders; a play in four acts. 124 p. D. 
 
 Lond., 1899. Macmillan, 2s. 6d. 
 
 Published also by S. French. N. Y., 1909. 135 p. O. 75c. 
 
 "Dramatic and interesting, but inconclusive and incomplete, 
 suggesting views as to the significance of feminine surrender 
 which the writer does not hold." Athencsiim. 
 
 Reviewed in Athenaeum, July 15. 1899, 2: 108. 
 
 Michael and his lost angel; a play in five acts. 
 
 131 p. D. Lond., 1905. Macmillan. 2s. 6d. 
 
 "If sympathetically considered from the author's attitude, 
 this seems a genuinely sincere and moving play written with 
 knowledge as to the man and insight as to the woman by an 
 adept playwright with a kindly observer's sense of contempo- 
 rary manners and a knowledge of spiritual history." G. B. 
 Shaw. 
 
 Reviewed in Athenaeum, Apr. 17, 1897, 1: 519; Dial, Sept. 16. 
 1896, 21: 149; Saturday Rev., Jan. 18, 1896; 81: 70-1; Jan. 
 25, 1896, 81: 98-100. 
 
 (The) middleman; a play in four acts. 128 p. O. 
 
 N. Y. S. French, 75c. 
 
 "A piece of frank romance, the dramatic significance of 
 which lies in the situation of a father who will not permit his 
 son to marrv the woman whom he, the son, has dishonored." 
 A. B. Walkley. 
 
 Reviewed by Walkley, A. B., Playhouse impressions, 1892, 
 p. 116-18; Arena, Mar., 1901, 25: 329-39; Theatre. 1889, 23: 
 200. 
 
 Mrs. Dane's defense; a play in four acts. 136 p. O- 
 
 N. Y., 1909. S. French, 75c. 
 
 Published also by Macmillan. Ix)nd., 1905. 131 p. D. 2s. 6d. 
 
 Deals with the unsuccessful attempt of a woman to conceal a 
 dishonorable past. A study in the inevitable punishment 
 which awaits a lapse from feminine virtue. Excellent in stage 
 construction and character drawing.
 
 JONES 37 
 
 Reviewed in Athenaeum, Oct. 13, 1900, 2: 487; Critic Feb 
 190J, 38: 139, by J. R. Towse; Fortnightly Rev., Nov., 1900. 
 74: 8')3-5; North .American Rev., Mar., 1901, 172: 478-9- 
 Outlook. .A.pr. L"J, 1905, 79; 10(iO. 
 
 Jones, Henry Arthur. (An) old master; a comedy in 
 one act. 22 p. D. Lond., 1«83. S. French, 6d. 
 
 (5ee also French's (late Lacy's) Acting ed. of plays, v. 119.) 
 Of interest only as an example of Jones' early manner. 
 Of no literary merit and not very successful as a stage produc- 
 tion. 
 
 (The) physician; an original play in four acts. 
 
 119 p. D. Lond.. 1899. Macmillan. 2s. 6d. 
 
 A morbid study of hypochondria and a physician's struggle 
 to decide between love and professional duty. 
 
 Reviewed in Critic, Oct. 9, 1897; 28: 209; Harper's Weekly, 
 Oct. 16, 1897, 41 : 1020, by J. D. Barry; Saturday Rev.. Apr. 3. 
 1897, 83: 348-50. by G. B. Shaw. 
 
 (The) rogue's comedy; a play in three acts. 140 p. 
 
 D. Lond., 1898. Macmillan, 2s. 6d. 
 
 A study of the English underworld. Full of humor but 
 often drops to level of mediocre melodrama. 
 
 Reviewed in Athenaeum, Jan. 28, 1899, 1:121; Critic, Dec. 12. 
 189G, 26: 393; Dial, Apr. 16, 1899,26: 279; Saturday Rev.. 
 Jan. 25, 1896, 81: 98-100; Apr. 25, 1896, 81: 426. 
 
 Saints and sinners; a new and original drama of 
 
 modern English middle-class life in five acts. IGcS p. O. 
 Lond., 1881. Macmillan, 3s. 6d. 
 
 "Ruthless handling of hypocrisy and selfishness under a 
 cloak of religion. The truth of character, literary ability 
 of dialogue and dramatic skill of construction are unques- 
 tioned." Nation. 
 
 Reviewed in Archer, Wm., About the theatre, 1886. p. 49; 
 Nation, Oct. 30. 1884. 39: 371, by Henry Norman; Theatre. 
 
 1892, 28: 151. 
 
 Silver king; a drama in five acts. 179 p. O. X. Y., 
 
 1907. S. French, 75c. 
 
 A melodrama with a long record of stage success. The hero 
 ruined by association with blacklegs and gamblers, flees to 
 America under suspicion of murder. He goes to Montana 
 becomes a "silver king," and returns to track down the real 
 murderer and to free himself from suspicion. As a literary 
 production it is of little significance. 
 
 Reviewed in Archer, William, About the theatre, 1886, 
 p. 47; Theatre, 1882. 
 
 Sweet Will; a comedy in one act. 24 p. D. N. Y., 
 
 1893. S. French, paper. 15c. 
 
 (See also French's (late Lacy's) Acting ed. of plays, v. 131.) 
 A quiet pastoral play in which the course of true love though 
 hindered by poverty finally does "run smooth." 
 
 (The) tempter; a tragedy in verse in four acts. 
 
 130 p. S. Lond., 1898. Macmillan, 2s. 6d. 
 
 A miracle play with mediaeval setting. Powerful and stimu- 
 lating, but neither great poetry nor great drama. The author's 
 only poetical drama. 
 
 Reviewed in .Athenaeum, Dec. 31, 1898, 2: 940; Westminster 
 Mag., Jan., 1899, 151: 107. 
 
 Triumph of the Philistines and how Mr. Jordan 
 
 preserved the morals of Market Pewbury under very 
 trying circumstances; a comedy in three acts. 137 p. D. 
 Lond. and N. Y., 1899. Macmillan. 2s. 6d. 
 
 "An object lesson in British lower middle-class hypocrisy, 
 which is attacked courageously and uncompromisingly . . . 
 Shows creative imagination, curious observation and inven- 
 tive humor which combine to produce a right effect even though 
 details are outrageous." G. B.'Shaw.
 
 38 JONES 
 
 Reviewed in Saturday Rev.. May 18, 1895, 79: 650. by G. B. 
 Shaw. 
 
 Jones, Henry Arthur. Whitewashing JuUa; an origi- 
 nal coinedv in tliree acts and an epilogue. 140 p. D. 
 Lond., i;)U5. Macmillan, 2s. Gd. 
 
 Julia, returning to her native town, is forced, in order to 
 escape social ostracism, to explain satisfactorily her relations 
 to a married foreign prince. The outcome is satisfactory and 
 Julia is "white washed." An attack on country bigotry and 
 moral pretense. 
 
 Reviewed in Athenaeum. Mar. 7, 1903. 1: 315; Saturday 
 Rev., May 17. 1903, 95: 291, by Max Beerbohm. 
 
 Non-Dramatic Works (Selected) 
 
 Jones, Henry Arthur. Appeal to churchmen to save 
 tiie drama. {See Current Literature. Dec. 1906. 41: 
 680-1.) 
 
 Points out the moral possibilities of clean, courageous 
 drama. 
 
 Bible on the stage. (See New review, Feb.. 1893.) 
 
 Censorship muddle. 60 p. O. Lond., 1909. S. 
 
 French, 6d. 
 
 Corner-stones of modern drama. (See Fortnightly 
 
 Rev., Dec, 1906, 86: 1084-94.) 
 
 Literature and the modern drama. (See Atlantic 
 
 Mo., Dec, 1906, 98: 796-807.) 
 
 Recognition of the drama by the state. (See Nine- 
 teenth Cent., Mar., 1904, 55: 449-66.) 
 
 Discusses the question of an endowed National theatre. 
 Renascence of the English drama; essays, lectures 
 
 and fragments relating to the modern English stage, 
 written and delivered in the years 1883-94. D. Lond., 
 1895. Macmillan, 6s. 
 
 Though without logical connection or definite plan these 
 articles not only reveal much of Jones' purposes and methods 
 in playwriting but afford much suggestive material for the 
 general criticism of contemporary dramatists. 
 
 Criticism 
 
 Archer, William. [Henry Arthur Jones.] (See his 
 
 About the theatre, 1886, p. 45-6.) 
 Beerbohm, Maz. Popular success of Henry Arthur 
 
 Jones. (See Saturday Rev., Oct. 13, 1900, 90: 458.) 
 Bettany, A. L. Henry Arthur Jones and modern Eng- 
 lish drama. (See Theatre, 31: 203.) 
 Blathwayt, R. Henry Arthur Jones. (See Idler 4: 67.) 
 
 Slight, popular sketch of Jones and his work. 
 Borsa, Mario. English stage of to-day. 190S. 
 
 Includes general critique of Jones with brief comments on 
 
 several plays. 
 Bullock, J. M. Henry Arthur Jones with bibliography 
 
 of his plays. (See Bookbuyer, Apr., 1898, 16: 225.) 
 Biographical and critical with concise comments on many 
 
 individual plays. Bibliography is confined to list of titles 
 
 with year of first production. 
 Hamilton, J. A. Henry Arthur Jones. (See Munsey, 
 
 May, 1894, 11: 174.) 
 Howells, William Dean. Plays of Henry Arthur Jones. 
 
 (See North American Rev.. Oct.. 1907, 186: 205-12.) 
 An appreciative sketch with brief analysis of several later 
 
 plays.
 
 JONES 39 
 
 Jones, Henry Arthur. Chance the idol. 1902. 
 
 The hero is a man of good intentions but no will-power who, 
 by yielding to his love for gambling, is financially ruined and 
 unable to make reparation to the woman he has wronged. 
 A study in feebleness of moral fibre. 
 
 Reviewed in Saturday Rev., Sept. 13, 1902. 94: 328. by Max 
 Beerbohm. 
 
 Chevaleer. 1904. 
 
 .\n itinerant showman, the "Chevaleer" takes advantage 
 of an apparently compromising position in which he discovers 
 a lady and her admirer to secure for himself a lucrative com- 
 mission. Broadly farcical, it derives its humor from the 
 meeting of diverse strata of society and the resulting situa- 
 tions. 
 
 Reviewed in Saturday Rev., Sept. 10, 1904, 98: 328, by Max 
 Beerbohm. 
 
 (The) evangelist. 
 
 A study of non-conformist religious ideals and motives. 
 Produced at the Knickerbocker, N. Y.. Nov., 1907. 
 Reviewed in Forum, Jan., 1908, 39: 370-1. 
 
 Hoodman blind. 1885. 
 
 A piece of apprentice work. 
 
 Reviewed in Archer, William, About the theatre, 1886, p. 54. 
 
 (The) knife. 1910. 
 
 Reviewed in Saturday Rev., Jan. 1, 1910, 108: 11, by Max 
 Beerbohm. 
 
 Lord Harry. 1886. 
 
 Comment by \Vm. Archer in his About the theatre. 1886. 
 p. 55. 
 
 Noble vagabond. 1886. 
 
 Reviewed in Theatre, 1886. 18: 44, 107. 
 
 Princess' nose. 1902. 
 
 "A young wife is neglected by her husband who plans to 
 elope with a married woman who is a guest in the house." 
 A fortunate accident opens the husband's eyes and brings 
 things to a happy conclusion. Strong in spots but not an 
 adequate solution of married fickleness nor a powerful play. 
 
 Reviewed in Saturday Rev., Mar. 22, 1902, 93: 363. 
 
 We can't be as bad as all that. 1911. 
 
 Characteristic study of the weaknesses of certain English 
 social types whose acquaintance in real life would be highly 
 undesirable. Neither a great success nor a marked failure 
 either in style or construction. 
 
 Reviewed in Canadian Mag., Mar., 1911, 36: 476-8; Book- 
 man, Feb.. 1911, 23: 607; Munsey's Mag., Feb., 1911, 44: 710. 
 
 Wealth. 1889. 
 
 Reviewed in Theatre, 1889. 22: 326. 
 
 ;■ and Herman, Henry. Chatterton. 1884. 
 
 "Thoughtful and original. Makes no attempt to reproduce 
 or interpret the idiosyncrasies of the historical Chatterton, 
 but presents an accepted type of genius at war with poverty." 
 Wm. Archer. 
 
 Comment by Wm. .\rcher in his About the theatre. 1886. 
 p. 48. 
 
 Moses, Montrose J. Henry Arthur Jones: dramatist. 
 (See Book News, Apr.. 190S, 26: 437-9.) 
 Popular illustrated sketch of no marked value. 
 
 Recent English dramatists. O. Phil., 1901. Booklovers' 
 library, o. p. 
 Includes criticism of Jones.
 
 40 JONES 
 
 Tarpey, W. K. Henrv Arthur Jones' work as a dramatist. 
 
 (Sre Critic, Aug., 1900, 37: 12.3, 124-8.) 
 
 Walkley, Arthur Bingham. Henry Arthur Jones on 
 plavmakiiig. {See his Playhouse impressions. 1892. p. 
 111-15.) 
 
 Criticism of an address of Jones and incidentally of his 
 theory of the drama. 
 
 The realist in spite of himself. {See his Playhouse 
 
 impressions. 1S92. p. 123-9.) 
 Demonstration of Jones' essential realism in his best work.
 
 MAETERLINCK 
 
 Maeterlinck, Maurice. Plays; tr. by Richard Hovey. 
 2 V. D. Chic, 1896-1902. Stone & Kimball, $1.25 ea. 
 (Green tree library.) 
 
 Contents: — 
 V. 1. Princess Maleine. 
 
 The intruder. 
 
 The blind. 
 
 The seven princesses. 
 V. 2. AUadine and Palomides. 
 
 P^llfes and M^lisande. 
 
 Home. 
 
 The death of Tintagiles. 
 Reviewed in Critic, 26: 379; Literary World, 26: 68. 
 
 Three plays by Maeterlinck: Alladine and Palo- 
 mides, Interior, The death of Tintagiles. Lond. 
 Gowans & Gray. O 2s. 6d. 
 
 Translated by William Archer and Alfred Sutro. 
 
 A|jlavaine and Selysette; a drama in five acts, tr. 
 
 by Alfred Sutro. 172 p. O. Lond., 1897. Richards, 
 3s. 6d. net. 
 
 Published also by G. Allen. 110 p. O. Lond.. 1904. 3s. 6d. 
 net. (Acting version.) Also published by Badger. Best., 1909. 
 $1.25. 
 
 A modern wrestle with the old story of Platonic friendship. 
 Aglavaine, a highminded and cultured girl, shares the love of 
 the husband of Selysette, the sweet sclf-belittling child-wife. 
 In the half-spiritual motives, overcome in the end by jealousy 
 and tragedy, and in the unusually lengthy monologues of 
 these three deep-souled characters, who love the joys of 
 silence and all things ill-fitted to the conventions of real 
 living, Maeterlinck has expressed many of his own views of 
 life and love. A drama to be loved because of its gentle 
 pathos and soul-revelations rather than for its real dramatic 
 significance. 
 
 Reviewed in Westminster Rev., Apr., 1899, 151: 409-16! 
 Fortnightly Rev., Aug., 1897. 68: 185-6, by V. M. Crawford: 
 Living Age, 235: 193. 
 
 Alladine and Palomides. 
 
 Published also by F. Stokes. N. Y., 1908. S. paper, 25c. 
 
 A love drama in which all the moods, the naively childish 
 characters and the bare little externals of plot and movement 
 resemble PelUas and MHisande. It is a revelation of the 
 hidden life. "Mere words have no meaning" and whatever 
 one sees of outward things about the play seems vague and 
 far removed from actual existence. 
 
 41
 
 42 MAETERLINCK 
 
 Maeterlinck, Maurice. (The) blind. 
 
 Published also undor title The sightless, tr. by Sir Laurence 
 Alma Tadema. Lond. W. Scott. O. Is. (Scott library.) 
 
 .-V one-act, one-scene play, in which a group of blind men 
 helplessly grope about in a cavern-like forest place, seeking 
 in vairi for their guide, a priest who is already dead. It 
 symbolizes a world of people lost in the darkness of unfaith 
 and uncertain where to fasten their reason. The story is 
 simply told by the picture on the stage which the words of 
 the blind men explain without further action. One feels the 
 artist's touch throughout in the atmosphere and suggestion. 
 
 Reviewed in Poet-lore, Oct.-Dec, 1901, 13: 554-60. by E. D. 
 Daniels. 
 
 Blue bird; a fairy play in five acts, tr. by Alexander 
 
 Teixeira de Mattos. N. Y.. 1909. O. Dodd, SI. 20. 
 
 Published also by Dodd. N. Y., 1910. 240 p. il. O. $2. (New 
 theatre ed.) 
 
 A symbolic play dealing with the dream adventures of 
 Tyltil and Mytil, the children of a wood-cutter who are com- 
 missioned by the fairy Birylune ... to go in quest of the 
 Blue bird whose possession will enable man to discover the 
 hidden souls of animals and things." Nation. 
 
 Reviewed in Craftsman, Dec, 1910, 19: 246-61; Current 
 Literature, Sept., 1909, 47: 305-11; Dial, May 1, 1909, 46: 296- 
 7; Hamptons Mag., Nov., 1910, 25: 671-3, 677; Independ- 
 ent, Apr. 8. 1909. 66: 765; Munsey, Dec, 1910, 44: 414-15; 
 Nation, Apr. 8, 1909, 88: 366-7; Outlook, Oct. 15, 1910, 96: 
 339-40; World to-day, Nov., 1910, 19: 1196. 
 
 Death of Tintagiles. 
 
 Published also separately by Gowans and Gray. Lond. D. 
 paper. 6d. (Tr. by Alfred Sutro.) 
 
 In this attempt to typify the struggle of human affection 
 against death, the scene is fittingly laid in the remote realm 
 of an ugly, mysterious Queen who pursues with undying 
 hatred the child Tintagiles, heir to her throne. Though the 
 setting is remote and unreal the theme is developed with 
 truthfulness to life and dramatic power. 
 
 Reviewed in Athensura, June 24, 1899, l: 794-5. 
 
 (The) Home. 
 
 Published also separately under title Interior (tr. by William 
 Archer) by Gowans and Gray. Lond. D. paper 6d.; also by 
 F. Stokes. N. Y. S. paper. 25c. Also in Maeterlinck, M. 
 Three plays. (See above.) 
 
 The dramatic make-up of this slight little play is closely 
 fashioned after that of The blind and The intruder, hence 
 it is unusual and unconventional — a play of situations and 
 dramatic suggestiveness in which the interest centers in the 
 rescuers of a drowned girl, who loiter outside and pityingly 
 watch, through the closed shutters of a window, the little 
 family group to whom they must break the painful news. 
 
 Reviewed in Critic, June 22, 1895, 26: 451-3, by Israel 
 Zangwill. 
 
 (The) Intruder. 
 
 Artful in its beautiful execution and in the subtle hold it 
 has upon the attention, this play needs only to be read aloud 
 to reveal its dramatic effectiveness. The invisible intruder 
 is Death. The action centers in the death of a sick woman 
 who does not appear at all in the play. Meanwhile a family 
 group sit about a waning lamp and converse in a homely, 
 realistic way. The symbolism, atmosphere and the use of 
 simple, poetic words make one feel the awful presence of 
 Death. It represents his most characteristic work in drama. 
 
 Reviewed in Caine, Hall, Introduction to Maeterlinck's 
 Princess Maleine, tr. by William Wilson, 1892, p. 8-19; Fort- 
 nightly Rev., Sept., 1891, 56: 346-54, by William Archer.
 
 MAETERLINCK 43 
 
 Maeterlinck, Maurice. Joyzelle; a drama in five 
 
 acts. tr. by Clarence Stratton. {See Poet-lorfe, 1905 
 16: 1-45.) 
 
 Published also (bound with Monna Vanna) by Dodd X Y 
 D. SI.20; also by G. Allen. Lend. O. 3s. 6d. " ' 
 
 As the author expresses the motive, "it is the triumph of 
 love and will over fatality." In its vague dealing with un- 
 seen powers and justice it resembles his later work, Monna 
 Vanna, though in comparison it is a more commonplace 
 drama, inferior in its style and distasteful in its subject. 
 
 Reviewed in Fortnightly Rev.. July, 1903, 80: 76-87 by 
 M. A. Gerothwohl; Critic. Aug.. 1903. 43: 114-15, by Grace 
 Corneau. 
 
 Mary Magdalene; a play in three acts; tr. by Alex- 
 ander Teixeira de Mattos. 182 p. D. N. Y., 1910 
 Dodd. SI. 20. 
 
 "The influence of Christ is the moving influence of the 
 drama, and thrice his voice is heard behind the scenes. . . . 
 His presence in the course of the drama has so miraculously 
 changed the heart of the Magdalene that she, who had sinned 
 so often cannot ... sin once more even to save her Saviour 
 from the cross." 
 
 A study of the ennoblement of a woman's soul by spiritual 
 ecstasy. 
 
 Reviewed in .-Mhenaeum, Nov. 5, 1910, 2: 565; Bookman, 
 Dec. 1910, 32: 419-21; Current Literature, Dec, 1910, 49: 
 667-9; Dial, Dec 16, 1910, 49: 522; Nation, Oct. 20, 1910. 
 91 : 374. 
 
 Monna Vanna; a plav in three acts, tr. by A. I. 
 
 D. Coleman. 143 p. O. N. Y.. 1904. Harper. SI. 20 
 net. 
 
 The scene is laid at Pisa at the close of the 15th century 
 when Pisa, as an ally of Venice, was besieged by the Floren- 
 tines. The motive is the heroism of a pure-minded woman 
 who sacrifices herself for the city, and discovers the difference 
 between the love and perfect trust of her captor and the 
 cruelty and jealousy shown by her husband. Without being 
 a masterpiece or possessing any great dramatic power it 
 abounds in imagination and delicate literary touches. The 
 translation is good. 
 
 Reviewed in Dial, Oct. 16, 1903, 35: 257-8, by E. E. Hale, 
 Jr.; Nation, Oct. 15, 1903, 77: .307; Athenaeum, June 28, 1902, 
 1: 827; Nineteenth Cent., Julv 1902, 52: 72-5, 282-91; Fort- 
 nightly Rev., Aug., 1902, 78: 183-6, bv L. A. Tadema; Har- 
 per's Weekly. Nov. 11, 1905, 49: 1640; Bookman, Sept., 1902, 
 16: 46-9, by F. T. Cooper. 
 
 Pelleas and MeHsande. 
 
 Published also (bound with The sightless) by W. Scott. 
 Lond. O. Is. (Tr. by Sir Laurence Alma Tadema.) .Mso by 
 Crowell. N. Y., 1908. 135 p. D. $l..i0 (tr. by Ewing Wins- 
 low.) 
 
 Old forgotten castles, haunted forests and mysterious 
 black pools make a romantic setting for this modern revision 
 of the historic Da Rimini story. The characters are dim and 
 confused, more abstract than vital, and hidden meanings 
 crowd each scene, yet the play is suggestive of life in its pas- 
 sion and profound dramatic truth. 
 
 Reviewed in Archer, William. Study and the stage, 1899, 
 p. 133-7; Symons, .'\rthur. Plays, acting and music, 1903, 
 Dial, 18: 174, by E. E. Hale. Jr.; Dial, Dec. 1, 1908, 45: 
 415; Independent, Oct. 8, 1908, 65: 843; Literary Digest. Oct. 
 1, 1910, 41: 544-5; Saturday Rev., Sept. 3, 1910, 110: 296.
 
 44 MAETERLIXCK 
 
 Maeterlinck, Maurice. Princess Maleine; a drama in 
 rive acts, tr. by Gerard Harry, and The intruder, a 
 drama in one act, based on a tr. of William Wilson; 
 with an introduction by Hall Caine. 255 p. D. Lond., 
 1892. Heinemann, 5s. 
 
 Savage and violent love and tragedy. Terror is the key- 
 note that fills the air about the murky palace, its hideous 
 royalty and the unfortunate Maleine. The action has little 
 sequence. A fateful, mysterious, shuddering mood grows 
 more and more tense till a ridiculously cyclonic clima.x is 
 reached. Many commentators refer to it as a "Shakespeare 
 anthology" by reason of its marked likeness to various parts 
 of Hamlet, ^Iacbeth and Lear. 
 
 Reviewed in Caine, Hall, Introduction to Maeterlinck's 
 Princesse Maleine, tr. by Gerard Harry, 1892, p. 1-8; Critic, 
 June 22, 1895, 2ij: 451-3. by Israel Zangwill; .Academy, Mar. 
 19, 1892, '11: 270-2, by William Sharp; Fortnightly Rev., Sept., 
 1891, 56: 346-54, by VVUliam Archer. 
 
 (The) seven princesses; tr. by Charlotte Porter 
 
 and Helen A. Clarke. {See Poet-lore, 1894, 6: 29-32; 
 
 87-93; 150-61.) 
 
 Published also by Gowans & Gray. Lond. O. paper. 6d. 
 (Tr. by William Metcalfe.) 
 
 -A romantic story with some poetical quality, showing the 
 playwright's pronounced originality and independence. The 
 setting is not to be placed in any particular locality, but is 
 the ever-dilapidated castle of most of his plays and an old 
 king and queen who typify the past. Finely earnest scenes 
 follow weak and flabby ones in an unsatisfactory way; some- 
 times tragical, sometimes ridiculous, and with an amusing 
 repetition of phrase. While the play gives no impression of 
 preaching a moral lesson there is, lurking back of every line 
 and incident, a hidden meaning suggesting greater and deeper 
 things. 
 
 Sister Beatrice and Ariane and Barbe Bleue; two 
 
 plays tr. into English verses from the manuscript, by 
 Bernard Miall. 183 p. D. N. Y., 1902. Dodd, $1.20 
 net. 
 
 Published also by G. Allen. Lond., 1902. D. 3s. 6d. 
 
 .A simple, unforced translation, the former in blank verse, 
 the latter in irregular rhymed verse. Sister Beatrice is 
 slight, without the subtlety of meaning or the strangeness of 
 atmosphere that are characteristic of most of the author's 
 work. 
 
 Mr. Hale describes Ariane and Barbe Bleue as a 
 sort of commentary on Maeterlinck by reason of its sub- 
 jectively explanatory nature. "Truth is not found in the 
 beaten path of humanity but in the secret depths of the soul 
 where it is locked by the force of worldly authority, conven- 
 tion, tradition and prudery." This doctrine is exemplified 
 in Ariane, when she insists that of all the keys that Blue- 
 beard has given her, the only one of value is the forbidden 
 one. 
 
 Reviewed in Athenaeum, May 3, 1902, 1: 554-5; Critic, 
 Sept., 1902, 41: 275. 
 
 Criticism 
 
 Archer, William. Maeterlinck as a pessimist playwright. 
 (See Fortnightly Rev., Sept., 1891, 56: 346-54.) 
 
 Burton, Richard. Maurice Maeterlinck; a dramatic im- 
 pressionist. (5ee Atlantic Mo., Nov., 1894, 74: 672-80.) 
 A description of the dramatist's peculiar qualities as re- 
 vealed in his various plays, with the addition of some con- 
 clusions formed by the writer.
 
 MAETERLIXCK 45 
 
 Campbell, Janey Sevilla. Impressional drama. (See 
 Nineteenth Cent., Aug., 1905, 58: 204-13.) 
 
 To quote the writer, "There is a tendency of thought toward 
 a psychical interpretation of life," and Maeterlinck in his 
 Pelleas and MHisajide is cited as an illustration. 
 
 Chesterton, Gilbert Keith. Dramas in whisper. {See 
 his Books and personalities. 1905. p. 142-.) 
 
 Maeterhnck. (See his Varied types. 1903. p. 209-14.) 
 
 Reviewed in Nation, Dec. 24, 1903, 77: 509; Atlantic Mo., 
 Sept., lOai, 94: 423-1; .Vthenzeum, Dec. 27, 1902, 2: 845-6. 
 
 Courtney, William Leonard. Development of Maurice 
 Maeterlinck and other sketches of foreign writers. 
 Lend.. 1904. Richards, 3s. 6d. net. 
 
 The "other foreign writers" include Rodenbach, Huys- 
 mans, D'Annunzio, TurgeniefT, Tolstoi and Gorky. Mr. 
 Courtney is sympathetic and acute in his interpretation 
 of Maeterlinck's philosophy and development. 
 
 Reviewed in Contemporary Rev., Sept., 1904, 86: 452-5; 
 Athenaeum, July 10, 1904, 2: 70. 
 
 Crawford, Virginia M. Maurice Maeterlinck. (See her 
 Studies in foreign literature. 1899. p. 139-74.) 
 
 Clearly written, enthusiastic and fairly thoughtful essays 
 on the symbolists. 
 
 Reviewed in Bookman, Mar., 1900, 11: 89-90; Nation, 
 Dec. 21, 1899, 69: 472-3. 
 
 Daniels, E. D. Cursory review of symbolism in Maeter- 
 linck's The blind. (See Poet-lore, 1901, 13: 554-60). 
 
 Henderson, Archibald. Maurice Maeterlinck, sym- 
 bolist and mystic. (See Arena, Feb., 1906, 35: 115- 
 24.) 
 
 M. Maurice Maeterlinck, moralist and artist. (See 
 Living Age, July, 1901, 230: 201-20.) 
 
 Publish'^d also in the Edinburgh Rev., Apr., 1901, 193: 350- 
 
 t i . 
 
 Maeterlinck, Maurice. Evolution of mystery; tr. by 
 Alfred Sutro. (See Fortnightly Rev., May, 1900, 
 73:899-921.) 
 
 Valuable as Maeterlinck's own explanation of the pre- 
 dominant element in his plays. His prose essays furnish the 
 best clue to his aims and ideals and the best method of un- 
 raveling his mystical puzzles. 
 
 (The) modem drama; tr. by .Alfred Sutro. (See 
 
 his The double garden. 1904. p. 115-35.) 
 
 Of value for a close study of the ideas that are at the bottom 
 of all his work. Marked by his distinction of style and fresh- 
 ness of vision. Suggestive if not convincing. 
 
 Published also in the Cornhill Mag., 80: 166-73, tr. by X. 
 T. de Mattos. 
 
 translator and translated. (See Independent, Sept. 
 
 16, 1909, 67: 666-8.) 
 Review of Maeterlinck's translation of Macbeth. 
 
 Maeterlinck, Mme. Maurice. Later heroines of Mau- 
 rice Maeterlinck. (See Fortnightly Rev., Jan., 1910, 
 93:48-56.) 
 
 Divides his later heroines into the naive woman and the 
 woman who dares, with particular reference to Aglavaine, 
 Joyzelle, Monna Vanna and Ariane. 
 
 Summarized in Current Literature, May, 1910, 48: 554-8. 
 Maeterlinck's methods of life and work. (See Con- 
 temporary Rev., Nov., 1910. 98: 552-7.) 
 Summarized in Review of Rev., Dec, 1910, 42: 729-30. 
 Maeterlinck's exit from shadowland. (See Current 
 Literature, Dec, 1910, 49: 667-9.)
 
 FERLI^^^^ 
 
 46 MAETERLI 
 
 Maurice Maeterlinck {See Living Age, Oct., 1902, 
 
 235: l'J3-l'U5). 
 
 "Discusses the growing realistic and optimistic elements in 
 his later work. 
 Newman, Ernest. Maeterlinck and music. (See Atlan- 
 tic Mo., Dec, lyUl, 88: 769-77.) 
 
 Emphasizes the sympathy in dramatic theory between 
 Wagner, the musician, and Maeterlinck, the mystic. 
 Nordau, Max. Maurice Maeterlinck. {See his Degen- 
 eration. 189.5. p. 232-40.) 
 Osgood, Hamilton. Maeterlinck and Emerson. {See 
 Arena, Mar., 1896. 15: 563-73.) 
 Trai.(.s iMiierson's influence upon Maeterlinck. 
 Phelps, Albert. Later work of Maurice Maeterlinck, 
 {See Poet-lore, July-Sept., 1899. 11: 357-72.) 
 
 Discusses the metaphysical ideas of wisdom, destiny, love 
 and justice as handled by Maeterlinck in his essays, and is 
 remotely of interest as a study of his plays. 
 Phelps, William Lyon. Maeterlinck and Browning. 
 {See Independent, 55: 552-4. 1398-1400.) 
 
 Gives the reasons for the similarity between Luria and 
 Monna Vanna. and a reply to the same. 
 Pidoiix, Magdeleine. Maurice Maeterlinck at home. 
 {See Bookman. Jan.. 1901. 12: 104-7.) 
 A good biographical sketch. 
 Ropes, Arthur R. Maeterlinck. {See Contemporary 
 Rev., Mar., 1900, 77: 422-36.) 
 
 This review may be summed up in the following quota- 
 tion: "Maeterlinck has suggested much, but achieved little." 
 Soissons, S. C. de. Maeterlinck as a reformer of the 
 drama. {See Contemporary Rev.. Nov., 1904, 86: 699- 
 708.) 
 
 A staunch defense of Maeterlinck against his would-be 
 critics. 
 Steiner, Edward A. A visit to Maeterlinck. {See Out- 
 look, Nov. 16. 1901, 69: 701-3.) 
 Strang, Lewis C. Sudermann and Maeterlinck. {See 
 his Plavers and plays of the last quarter of a century. 
 1903. 'v. 2. p. 259-71.) 
 
 Biographical sketches and critical estimates of the famous 
 actors and actresses of the last twenty-five years and the 
 plays in which they appeared. 
 Symons, Arthur. Maeterlinck as a mystic. {See his 
 Symbolist movement in literature. 1899. p. 153-68.) 
 A subtle book, containing a number of charmingly written 
 essays, fresh and vivid with the thought of a critic who be- 
 longs to the school of symbolists. 
 
 Reviewed in Athenffium, Mar. 24, 1900, 1: 360. 
 Thorold, A. Six masters in disillusion. N. Y., 1909. 
 $1.50. 
 
 Discusses Fontenelle, M€rimee, Fabre, Huysmans. Maeter- 
 linck. Anatole France. 
 
 Reviewed in Current Literature. Aug., 1909, 47: 160-4. 
 (p. 160^2 deal with Maeterlinck.) 
 Transformation of Maeterlinck. {See Current Litera- 
 ture, Mar., 1909. 46: 285-8.) 
 
 Discusses Maeterlinck's development from pessimism to 
 optimism. 
 Walkley, Arthur Bingham. Maeterlinck. {See his 
 Frames of mind. 1899.) 
 
 "Displays a praiseworthy and varied erudition. Illum- 
 inating and pleasant." Saturday Rev., 115: 40. 
 Zangwill, Israel. Men, women and books. {See Critic, 
 June 22. 1895, 26: 451-3.)
 
 PHILLIPS 
 
 Phillips, Stephen. Herod; a tragedy. 128 p. D. Lond.. 
 1901. Lane. §1.50. 
 
 "A successful drama in stately and beautiful blank verse. 
 Theme, the conflict between Herod's passionate love for his 
 queen and his overmastering self-love and ambition." 
 
 Reviewed in Saturday Rev., 90: 754; Spectator, Dec. 15, 
 
 1900, 85: 887; Athenaeum, Jan. 5, 1901, 1: 27; Nation, Apr. 25, 
 
 1901, 72: 343; Atlantic Mo., 87: 421; Contemporary Rev.. 
 Jan., 1901, 79: 32-7. by Stephen Gwynn; Fortnightly Rev., 
 Jan., 1901, 75: 178-8G; Forum, Dec, 1909, 42: 578-9. 
 
 Nero. 200 p. D. N. Y., 1906. Macmillan, SI. 25. 
 
 A spectacular drama of high literary quality and finished 
 
 workmanship, opening with the murder of Claudius and 
 
 ending with the burning of Rome. 
 
 Reviewed in .'Academy, Mar., 1906, 70: 223; Spectator, 
 Mar., 1906, 96: 426; Nation. Apr. 19, 1906, 82: 325; Fortnightly 
 Rev., Jan., 1906, 86: 83-95, by J. S. Roberts; Outlook, Mar. 9, 
 1907, 85: 572. 
 
 Paolo and Francesca; a tragedy in four acts. 
 
 120 p. D. Lond., 1903. Lane, S1.50. 
 
 "A rarely beautiful poem which is at the same time a fairly 
 good acting drama, based on the story of Paolo and Fran- 
 cesca as told by Dante. It combines in a remarkable way the 
 simplicity, unity and restraint of the Greek drama with the 
 passion and color of modern dramatic art. The whole is 
 instinct with the utmost purity and delicacy of feeling. It 
 unquestionably places Mr. Phillips in the first rank of modern 
 dramatists and modern poets." Saturday Revieu'. 
 
 Reviewed in Ainger, Rev. Alfred, Lectures and essays, 
 V. 2, p. 168-81; Athenaeum, Jan., 1900. 1: 6; Dial, Jan. 16, 
 1900. 28: 49, by W. M. Payne; Forum, Mar.. 1900, 29: 116-28, 
 by W. P. Trent; Nation. May 10, 1900, 70: 361; Nineteenth 
 Cent., Dec, 1899, 46: 915-33, by Sidney Colvin; Saturday 
 Rev., Dec. 9, 1899, 88: sup. 5; Spectator, Dec. 2, 1899, 83: 839. 
 
 Pietro of Siena. 82 p. D. N. Y.. 1910. Macmillan. 
 
 $1. 
 
 Pietro, who overthrows Luigi, ruler of Siena, spares his life 
 because of love for Gemma, sister of Luigi, and the threat- 
 ened tragedy comes to a happy conclusion. Though the action 
 is confined between sunrise and sunset the work is an example 
 of skilful rhetoric rather than of powerful drama. 
 Reviewed in Spectator, Nov. 26, 1910. 105: 912. 
 
 Sin of David. 141 p. D. N. Y., 1904. Macmillan. 
 
 $1.25. 
 
 "A modern version of the Hebrew story of David, Uriah 
 and Bathsheba. Scene, England during the Cromwellian 
 wars." 
 
 While it lacks true dramatic fire it still ranks in the class 
 with Herod and Ulysses for its purely literary quality. "Has 
 the general air of being better designed for the closet than the 
 stage." 
 
 Reviewed in .\thenaeum, Feb. 4. 1905, 1: 155; Nation. Jan. 
 26, 1905, 80: 72; Spectator, Nov. 26. 1904, 93: 837-8; Dial, Jan. 
 16. 1905, 38: 47; Bookman, Feb., 1905, 20: 554. 
 
 47
 
 48 PHILLIPS 
 
 Phillips, Stephen. Ulysses; a drama in a prologue 
 and three acts. 148 p. D. N. V.. 1902. Macmillan, 
 SI. 25. 
 
 Selected episodes from the Odyssey "rearranged, reimagined, 
 unsparingly accelerated and cut down." 
 
 "A poem that can be read (except for the prolopuc) with 
 unalloyed satisfaction, and a play that deserves to hold the 
 stage." 
 
 Reviewed in Dial, May 1, 1902, 32: 317; Saturday Rev., 
 Feb. 22. 1902, 93: 236-7; Spectator, Feb. 15, 1902, 88: 254-5; 
 Atlantic Mo., .\pr.. 1902, 89: 565-7; Bookman, Apr., 1902, 15: 
 168-70, by Edith Wharton; Nineteenth Cent., Mar., 1902, 
 51: 434-13. by Stephen Gwynn; Poet-lore, Oct., 1902, 14: 126. 
 
 and Carr, J. Comyns. Faust; freely adapted from 
 
 GcEthe's dramatic poe'm. 239 p. D. N. Y., 1908. Mac- 
 millan, SI. 25. 
 
 "Free paraphrase of Goethe's poem which presents the main 
 events of the legend with a more narrow continuity of narra- 
 tive." Although a meritorious effort, it cannot be considered 
 a dangerous competitor of its original. 
 
 Reviewed in Atlantic, Dec, 1908, 102: 812; Bookman, Dec, 
 1908, 28: 303-4; Current Literature, Nov., 1908, 43: 551-2; 
 Forum, Sept., 1908, 40: 221-4; Nation, Sept. 24, 1908, 37: 
 294-5. 
 
 Criticism 
 
 Archer, William. Real conversations; Conversation III 
 with Mr. Stephen Phillips. {See Critic, June, 1901, 
 38: 504-11.) 
 
 The conversation is concerned with Ulysses in particular 
 and the drama in general. Of moderate interest. 
 
 Stephen Phillips. (See his Poets of the younger 
 
 generation. 1902, p. 309-54.) 
 
 Mainly devoted to Phillips, the poet. The long criticism 
 of Herod and Paolo and Francesca is divided sanely between 
 praise and fault finding. 
 
 Boynton, Henry Walcott. Poetrv and the stage. {See 
 Atlantic Mo., July, 1903, 92: 120-6.) 
 •\ prophecy of the stage success of Paolo and Francesca. 
 
 Gosse, Edmund. Revival of poetic drama. {See Atlan- 
 tic Mo., Aug., 1902, 90: 156-66.) 
 
 A cheerful essay, calling attention to the injudicious praise 
 that has been heaped upon Phillips, yet prophesying a greater 
 development of his powers in the future. 
 
 Stephen Phillips. {See Century Mag., Jan., 1901, 
 
 61 : 4.30-3.) 
 
 .4 personal sketch. 
 
 Gwynn, Stephen. Poetry and the stage. {See Fort- 
 nightly Rev., Feb., 1909, 91: 337-51.) 
 Same article in Living .Age, Apr. 3, 1909, 261: 3-14. 
 General discussion of Phillips' merits as poet and dramatist. 
 
 Hellems, F. B. R. Stephen Phillips as a writer of 
 tragedy. Atlantic Mo., Dec, 1908, 102: 809-21. 
 
 Henderson, Archibald. Stephen Phillips; poet and 
 dramatist. {See Arena, May, 1905, 33: 474-81.) 
 
 Mr. Henderson's criticisms indicate a wide and general 
 reading along dramatic lines, but reveal no serious study of 
 Phillips. 
 
 Howells, William Dean. The new poetic drama. {See 
 North American Rev., May, 1901, 172: 794-800.) 
 A comparison of Phillips with Rostand.
 
 PHILLIPS 49 
 
 Le Gallienne, Richard. Poetry of Stephen Phillips. 
 (See Bookman, Mar., 1901, 13: 24-9.) 
 Secondarily the article considers Herod and other tragedies. 
 
 Mr. Stephen Phillips. {See Quarterly Rev., 195: 486- 
 
 50(J.j 
 
 A critical and biographical study of Phillips in which his 
 originality, influence, success in poetic drama and the reasons 
 for his popularity are discussed. 
 
 Published also in Living Age, June, 1902. 233: 641-50. 
 
 Porter, Charlotte. Phillips' Paolo and Francesca 
 
 and Swinburne's Rosamund. (See Poet-lore, Jan.- 
 Mar.. 1900, 12: 120-36.) 
 
 Recent British poetry. (See Nation, 70: 361.) 
 .'\ comparison between Swinburne and Phillips. 
 
 Savage, Ernest A. Stephen Phillips. (See Westminster ^ 
 
 Rev., Aug., 1901, 156: 187-96.) 
 Th- dramatic works of Phillips are criticized at length. 
 
 Symons, Arthur. Mr. Stephen Phillips. (See his Studies 
 in prose and verse. 1904. p. 242-60.) 
 
 A significant book of criticism by a distinguished literary 
 critic. 
 Todhunter, John. Blank verse on the stage. (See 
 Fortnightly Rev., Feb., 1902. 77: 346-60.) 
 
 Mainly concerned with Stephen Phillips. A close study 
 of his metre with some comparisons. 
 
 Poetic drama, and its prospects on the stage. 
 
 (See Fortnightly Rev., Apr., 1902, 77: 713-25.) 
 Makes special reference to Phillips. 
 Wharton, Mrs. Edith. The three Francescas. (See 
 North American Rev., July, 1902, 175: 17-30.) 
 -•^ comparison of Phillips, Crawford and D'Annunzio. 
 Wodehouse, E. A. Valuation of Mr. Stephen Phillips. 
 (See Fortnightly Rev., May, 1905, 83: 830-42.)
 
 PINERO 
 
 Pinero, Sir Arthur Wing. (The) Amazons; a farcical 
 romance in three acts. 1G9 p. D. Lond. Heinemann, 
 2s. 6d. 
 
 Published also by VV. H.Baker. Bost.,1895. 189 p.D. paper. 
 50c. 
 
 A whimsical and extravagant satire on the tendency to edu- 
 cate girls in masculine pursuits. 
 
 "It is too flimsy, both in conception and execution, to with- 
 stand the strain of critical examination. It has, how^ever, 
 the distinguished merit of being amusing and cleverly written." 
 Critic. 
 
 Reviewed in Athenaeum. Mar., 1893, 1: 322; Critic. Feb. 24, 
 1894, 24: 136-7. 
 
 Benefit of the doubt. 300 p. S. Lond., 1895. Heine- 
 
 mann, 2s. 6d. 
 
 "In its vigorous satire of social affectations and follies it may 
 in its class stand comparison with most past and any present 
 work. As a study in feminine nature little in Ibsen is more 
 revolutionary and little in Balzac more profound." Alhenaum. 
 
 Reviewed in Athenaeum, Oct., 1895, 2: 542; Critic, Nov. 2, 
 1895, 27: 283, by Arthur Waugh; Jan. 18, 1895, 28: 49; Satur- 
 day Rev., Oct. 19, 1895, 80: 503-04, by G. B. Shaw. 
 
 Cabinet minister; a farce in four acts. 202 p. D. 
 
 Lond., 1892. Heinemann, 2s. 6d. 
 
 Published also by W.H. Baker. Bost.,1894. D. paper. 50c. 
 
 Deals with the perplexities of the wife of a Cabinet minister 
 who. to escape a financial crisis, accepts the aid of an im- 
 possible money-lender who demands social recognition in 
 return. The characters are skilfully and humorously drawn 
 but the work as a whole is little more than an amusing series 
 of episodes. 
 
 Reviewed in Academy, July 19, 1890, 38: 56; Athenaeum, 
 Apr., 1890, 1: 541; June, 1905, 1: 731; Critic, Mar. 26, 1892,20: 
 182; Gentleman's Mag., Mar., 1892, n. s. 48: 319-20, by J. H. 
 McCarthy; Theatre. June, 1890, 24: 284. 312. 
 
 Dandy Dick; a farce in three acts. 164 p. D. 
 
 Lond., 1893. Heinemann, 2s. 6d. 
 
 A study of middle-class sporting life full of humor and good- 
 natured cynicism. Has had a long and successful stage career. 
 
 Reviewed in Academy, Feb. 5, 1887, 31: 100; Athenaeum, 
 Feb., 1887. Critic, Oct. 15, 1887, 11: 190; Saturday Rev., 
 Feb. 17, 1900, by Max Beerbohm. 
 
 Gay Lord Que.x; a comedy in four acts. 226 p. D. 
 
 Lond. Heinemann, 2s. 6d. 
 
 Published also by R. H. Russell. N. Y., 1900. 186 p. O. 
 $1.25. 
 
 A study of fast life among the upper classes. Severely criti- 
 cized for insincerity and defective technique but notwith- 
 standing the critics, a great stage success. 
 
 Reviewed in Academy, Apr. 15, 1899, 56: 436-7; May 17, 
 1902, 62: 511-12, by Arthur Symons; Athenaeum, Apr., 1899,1: 
 475; Nov., 1908, 2: 583; Critic. Jan., 1901, 38: 38-42; Harper's 
 Weekly, Dec. 1, 1900, 44: 1142, by L. Reamer; Munsey, Jan., 
 1901, 24: 604-08, by J. R. Towse; Saturday Rev., Apr. 15, 
 1899, 87: 459-60, by Max Beerbohm. 
 
 Hester's mystery. D. N. Y., n. d. S. French, 
 
 paper. 15c. 
 
 60
 
 PINERO 51 
 
 One of Pinero's earlier plays. The villain, in order to force 
 the heroine to marry him, attempts to create a mystery about 
 her unexplained absence from a boarding school. The mystery 
 is satisfactorily explained along lines conventional both in 
 plot and style. 
 
 l<.-:viewed in Academy, June 26, 1880, 17: 483; Athenaeum, 
 June, 1880, 1: 772; Saturday Rev., July 3, 1880, 50: 20. 
 
 Pinero, Sir Arthur Wing. His house in order; a 
 comedy in four acts. 23U p. D. Lond., 1906. Heine- 
 mann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1907. 204 p. D. 50c. 
 
 A study of the oppressiveness and bigotry of middle-class 
 English social conventions and the vindication of a wife who 
 dared to defy them. 
 
 "So actual that some people already find it unnatural. It, 
 isjjust as realistic and natural as Gorky's "Out of the Depths." " 
 R. Ross. 
 
 Reviewed in Walkley, .\. B., Drama and life, 1908; .'Academy 
 Feb. 10, 190(5, 70: 140-1; .Athenaeum, Feb., 1906, 1: 179; 
 Feb., 1907, 1: 144; Bookman, Dec, 1900, 24: 331; Current 
 Literature, Apr., 1906, 40: 403-04; Nov., 1906, 41: 543-8 
 (criticism and extracts); Harper's Weekly, Nov. 24, 1906, 50: 
 1682, by VV. D. HowcUs; Reader, Aug., 1906, 8: 333-4; Satur 
 day Rev., Feb. 10, 1906, 101: 167-8. 
 
 Hobby horse; a comedy in three acts. 180 p. D. 
 
 Lond., 1892. Hcinemann, 2s. 6d. 
 
 Published also by VV. H. Baker. Bost., 1894. D. paper. 50c. 
 
 A satire on the tendency to promote philanthropic schemes 
 as a social pastime. Bright and amusing rather than con- 
 vincing. 
 
 Reviewed in .\thenaeum, Oct., 1886, 2: 576; Critic, Nov. 20, 
 1886, 9: 253. 
 
 In chancery; an original fantastic comedy in three 
 
 acts. 72 p. D. N. Y., cl905. S. French, 50c. 
 
 Study of double personality due to loss of memory. One 
 of the early plays, first produced in 1884 and revived in 1890. 
 
 "One of Mr. Pinero's most humorous works with strongly 
 contrasted characters. . . . Full of mirthful situations from 
 first to last." Illuslrated London News. 
 
 Reviewed in Walkley, A. B. Drama and life, 1908; Theatre, 
 Jan.. 1891, 26: 37^0; Oct., 1884, n. s. 4: 216-17. 
 
 Iris; a drama in five acts. 232 p. D. Lond., 1902. 
 
 Heinemann, 2s. 6d. 
 
 Published also by R. H. Russell. N. Y., 1902. 228 p. D. .SI; 
 also by W. H. Baker. Bost., 1905. D. paper. 50c. 
 
 .A. study in the demoralizing effect of bad environment. 
 Interesting and thought provoking even if somewhat lacking 
 in the sympathy necessary to make a play truly great. 
 
 Reviewed in Academy, Sept., 28, 1901, 61: 251; Athenaeum, 
 Sept., 1901, 2: 392; Dial. Feb., 1902. 32: 112-14; Bookman, 
 Nov., 1902, 16: 280-2; Critic, Nov.. 1902, 41: 444-5, by J. R. 
 Towse; Fortnightly Rev., Nov., 1901, 76: 902-10, by W. L. 
 Courtney; Reader, Dec, 1902. 1: 179-80. by J. D. Barry. 
 
 Lady Bountiful; a story of years; a play in four 
 
 acts. 200 p. S. Lond., 1892. Heinemann, 2s. 6d. 
 
 The effects of indiscriminate liberality in money matters. 
 "Distinguished ... by purpose and originality and possesses 
 qualities of high literary merit. It abounds in contrasts of 
 character." Critic. 
 
 Reviewed in .Athenaeum, Mar., 1891. 1: 354; Critic, Nov. 21, 
 1891, 19: 2S5; Theatre, Apr.. 1891, 26: 202-04. 
 
 Letty; an original drama in four acts and an epi- 
 
 logue. 254 p. D. Lond., 1904. Heinemann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1905. 225 p. D. paper. 
 50c.
 
 52 PIXERO 
 
 The temptations of a young girl exposed to rather dubious 
 society. The ending is conventional and the play as a whole 
 is superficial. 
 
 Reviewed in Academy. Oct. 17, 1903. 65: 418-19; Jan. 23. 
 1904. OG: 104; Bookman, Nov., 19&1, 20: 184; Athenaeum, 
 Oct. 17. 1903, 2: .523-4; Current Literature, Nov., 19tM, 37: 
 453-4; Reader, Feb.. 1905. 5: 361-2; Saturday Rev.. Oct. 17. 
 24. 1903. 96: 487-9. 511-12. by Max Beerbohm. 
 
 Pinero, Sir Arthur Wing. Magistrate; a farce in 
 three acts. 178 p. S. Lond.. 1>S92. Heinemann. 2s. 6d. 
 
 -Vction revolves around the attempt of a woman to hide from 
 her second husband the real ages of herself and her son by 
 her first husband. Thoroughly farcical without being coarse. 
 A great success on the stage. 
 
 Reviewed in .Vcademy. Mar. 28. 1885. 27: 231; Jan. 16. 
 1886. 29: 50; Athenaeum, Mar., 1885, 1: 418. 
 
 Mid-channel; a play in four acts. 224 p. D. Bost., 
 
 1910. W. H. Baker, 50c. 
 
 .•V study of middle-class life of low ideals. 
 
 "A disagreeable but exceedingly able work; a dreary tale set 
 forth with great skill and compelling power." Nation. 
 
 "In Mid-channel there is but one person who is not saliently 
 vulgar and this is an elderly woman who has little to do with 
 the play." Beerbohm. 
 
 Reviewed in Eaton, W. P. At the New Theatre and 
 others, 1910; Athenaeum, Sept. 11, 1909, 2: 307-08; Bookman. 
 Mar.. 1910. 31: 68-70; by C. Hamilton; Nation, Feb. 3, 1910, 
 90: 120; Saturday Rev., Sept. 11. 1909. 108: 310-11, by Max 
 Beerbohm. 
 
 The monev spinner; an original comedy in two acts. 
 
 43 p. D. N. Y., 1900. S. French, paper. 25c. 
 
 One of Pinero's first successes. (Produced Nov.. 1880.) 
 The "money spinner." so called from her skill at cards, risks 
 disgrace to save her husband from financial ruin. While 
 conventional in theme the play shows promise of the author's 
 later success in stagecraft and character delineation. 
 
 Reviewed in Academy, Jan. 29, 1881, 19: 89; Critic, Jan. 28. 
 1882. 2: 30; Theatre. Feb.. 1881. n. s. 3: 113-14; Dec. 1880. 
 n. s. 2: 372-3. 
 
 Notorious Mrs. Ebbsmith; a drama in four acts. 
 
 232 p. D. Lond., 1895. Heinemann.' 2s. 6d. 
 
 Published also by W. H. Baker. Bost.. 1900. 200 p. S. paper. 
 50c. 
 
 Generally considered one of the author's best plays. 
 
 "He has used the popular sex interest as a peg on which to 
 hang a problem of far finer value — the fallacy of resigning 
 our ideals to suit the exigencv of our environment." A . Waugh. 
 
 Reviewed in Academy. Mar. 23, 1895. 47: 262-3. by W. H. 
 Davenport Adams; Athenaeum. Mar.. 1895. 1: 353; Critic. 
 Mar. 30. 1895, 26: 248; May 18, 1895, 26: 356, bv I. Zangvvill. 
 Saturday Rev.. Mar. 9. 1901. 91: 300-1. by Max Beerbohm. 
 
 Preserving Mr. Panmure; a comic plav in four acts. 
 
 137 p. D. Lond.. 1910. Chiswick Press. 
 
 Pinero's latest production. Excellent in its stage-craft but 
 perilously near bad taste in parts. The setting, like all of 
 Pinero's later work, involves much social vulgarity. 
 
 Reviewed in .Athenaeum, Jan.. 1911. 1: 107; Academy. 
 Jan. 28, 1911, 80: 108-10; Saturday Rev.. Jan. 28. 1911, 111: 
 75. 
 
 Princess and the butterfly, or The fantastics; a 
 
 comedy in five acts. 250 p. D. Lond., 1898. Heine- 
 mann, 2s. 6d.
 
 PIXERO 53 
 
 Published also by S. French. N. Y. D. 50c. 
 
 A fantastic sketch centerinR around two middle-aged char- 
 acters who demonstrate the perennial youth of love. 
 
 "A good old-fashioned, well-seasoned bit of sentimental 
 drawing-room fiction." G. B. Shaw. 
 
 Reviewed in .-Academy, Apr. 3, 1897, 51: 383-4. by G. B. 
 Shaw; Athenaeum, Apr. 3, 1897, 1: 454; Critic, Apr. 17, 1897, 
 30: 277, by Arthur Waugh; Nov. 27. 1897, 31: 327-8; Fort- 
 nightly Rev., May, 1897. 67: 740-56, by \V. L. Courtney; 
 Saturday Rev., Apr. 3, 1897, 83: 348-9, by G. B. Shaw. 
 
 Pinero, Sir Arthur Wing. (The) profligate; a play in 
 four acts. 14S p. S. Lonfl., 1891. Heinemann, 2s. 6d. 
 
 Published also by \V. H. Baker. Bost., 1894. D. paper. 50c. 
 
 Shows the retribution which comes from a dissolute life and 
 the power of a good woman in uplifting a man. A powerful, 
 unconventional play. 
 
 Reviewed in Athenaeum, Apr. 1889, 1: 546; Academy, June 
 8, 1889. 35: 403-04, by Frederick VVedmore; Theatre, May 7, 
 1889, 13: 322-4; June, 1889, 22: 331-4. 
 
 (The) rocket; an original comedy in three acts. 
 
 80 p. D. N. Y. 1905. S. French, 50c. 
 
 A rascally old "Chevalier" attempts to getawealthy husband 
 for his pretended daughter. Her real father, long missing, 
 returns, proves his relationship and the Chevalier's dreams 
 of wealth come down like a rocket. Farce of the broadest 
 and most extravagant kind, but does not transgress the bounds 
 of good taste. 
 
 Reviewed in Athenaeum, Dec, 1883, 2: 786; Saturday Rev., 
 Dec. 29, 1883, 56:834. 
 
 (The) school-mistress; a farce in three acts. 176 p. 
 
 S. Lond., 1894. Heinemann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1894. 177 p. D. paper. 
 50c. 
 
 The mistress of a boarding school, in order to keep her 
 impecunious husband in style, determines to go on the stage. 
 A fire brings her home unexpectedly, to her husband's dis- 
 comfiture. Unpretentious in plot and treatment, it is a suc- 
 cessful farce. 
 
 Reviewed in Academy, July 3, 1886, 30: 17; Athenaeum, 
 Apr., 1886, 1: 465; Theatre, May 10, 1886, n. s. 1 : 228. 
 
 Second Mrs. Tanqueray. 202 p. D. 1-ond., 1S95. 
 
 Heinemann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1894. 174 p. D. paper. 
 50c. 
 
 Probably the best known and one of the most esteemed 
 of the author's works. A powerful and relentless statement 
 of the fact that a past can never be entirely overcome even 
 with the greatest effort. 
 
 Reviewed in Academy, Feb. 24, 1894, 45: 174-5; June 10, 
 1893, 43: .509-10, by Frederick Wedmore; Athenaeum, Sept., 
 1901, 2: .360; Critic, Oct. 14. 1893. 23: 244; Gentleman's Mag., 
 Jan., 1894, 276: 98-102; Saturday Rev., 23 Feb., 1895, 79: 250- 
 1, by G. B. Shaw; Theatre. Sept., 1893, 34: 139^4; Mar., 
 1895. .37: 152-4, by A. Brereton. 
 
 (The) squire; an original comedy in three acts. 
 
 81 p. D. N. Y., cl905. S. French, paper. 25c. 
 
 This play roused a storm of controversy when produced in 
 1882 because of its alleged resemblances to Thomas Hardy's 
 "Far from the madding crowd." 
 
 (For both sides of controversy see Theatre Mag., Feb., Apr., 
 Oct., 1882, ser. 3, 5: 107-10; 202-04; 6: 246-7. Oct.. 1882.) 
 
 Reviewed in .•Vcademy, Jan. 14, 1882, 21: 34; Critic, Oct. 21, 
 1882, 2: 287-8.
 
 64 PINERO 
 
 Pinero, Sir Arthur Wing. Sweet Lavender; a do- 
 iiu-stic tlrania in three acts. 192 p. S. Lond., 1S93. 
 Heineinann, 2s. Gd. 
 
 PublislK'd also by W. H. Baker. Bost., 1893. S. paper. 50c. 
 
 .\ clean, wholt-sonic play which, with all its defects, deserved 
 its long stage popularity. 
 
 Reviewed in Academy. Mar. 31, 1888. 33: 228, by Frederick 
 Wedmore; Critic. Nov. 24, 1888, 13: 262-3; Athenaeum, Mar., 
 1888, 1: 382; Theatre, May, 1888. 20: 263-5; Nov., 1890: 
 25: 234-5. 
 
 (The) thunderbolt; an episode in the history of a 
 
 provincial family; in four acts. 270 p. D. Lond., 1909. 
 Heinemann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1909. 237 p. D. 
 paper. 50c. 
 
 "Has caught to a nicety the manners, tricks of speech and 
 idiosyncrasies of many well-to-do folk of the midlands. The 
 strength of the piece lies in its technical perfection." Athevirum. 
 
 "It is probable that Mr. Pinero has never written a play of 
 such excellence as this one." Academy. 
 
 Reviewed in Academy, May 16, 1908, 74: 792; Athenaeum, 
 May, 1908, 1: 615; Bookman, Jan., 1911, 32: 464-7, by C. 
 Hamilton; Current Literature, Feb., 1911, 50: 184-91(excerpts); 
 Everybody's, Mar., 1911, 24: 412-14; Munsey, Jan. 11, 562- 
 3, bv M. White, Jr.; Nation, Oct. 27, 1910, 91: 398; Nov. 17. 
 1910, 91: 479; Saturday Rev., May 16, 1908, 105: 624-5, by 
 Max Beerbohm. 
 
 (The) times; a corned V in four acts. 204 p. S. Lend., 
 
 1891. Heinemann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1894. D. paper. 50c. 
 
 .A wealthy merchant with social and parliamentary ambi- 
 tions has his plans frustated by the marriage of his son to a 
 pretty but vulgar girl. 
 
 "It lays bare no horrid social wound, it wrangles over no 
 vital problems of inextricable perplexity." Preface. 
 
 Reviewed in Athenaeum, Oct., 1891, 2: 593. 
 
 Trelawny of the "Wells"; a comedietta in four acts. 
 
 224 p. S. Lond., 1899. Heinemann, 2s. Gd. 
 
 "The primary object of it is entertainment, which it provides 
 in most liberal measure, and the distinctive merit of it is that 
 the entertainment is not only light but intellectual." Critic. 
 
 "Such dramatic effect as it embodies is obtained by contrast, 
 the inner life of the stage, with its tawdry squalor being thrown 
 into sharp relief against a background of West End society." 
 Academy. 
 
 Reviewedin Academy, Jan. 29, 1898, 53: 133-4; Athenaum, 
 Jan. 3. 1898, 1: 159; Bookman, Jan., 1899, 8: 424-8, by Nor- 
 man Hapgood; Critic, Jan., 1899, 34: 41-3; Munsey's Mag., 
 Feb., 1911, 44: 710; Saturday Rev., Feb. 5, 1898, 85: 170-2, 
 by G. B. Shaw. 
 
 (The) weaker sex; a comedy in three acts. p. S. 
 
 Lond., 1894. Heinemann, 2s. Gd. 
 
 Published also by W. H. Baker. Bost., 1894. 133 p. S. 
 paper. 50c. 
 
 "Mr. Pinero's vigorous hits at a world of 'gentlemanly ladies 
 and zoological gentlemen.' " Academy. 
 
 Reviewed in Academy, Apr. 13, 1889, 35: 260-1, by Frederick 
 Wedmore; Athenaeum, Mar., 1889, 1: 385; Theatre; Apr., 1889, 
 22: 218-20. 
 
 Wife without a smile; a comedy in disguise. 230 p. 
 
 D. Lond., 1905. Heinemann, 2s. 6d. 
 
 Published also by W. H. Baker. Bost., 1905. 166 p. D. 
 paper. 50c. 
 
 Severely criticized at the time of its production (Oct., 1904) 
 on account of some ill-advised stage effects.
 
 PINERO 55 
 
 "Dubbed 'a comedy in disguise' but in reality an unpleasant 
 problem treated with unbecoming levity. ... A farce which 
 is not comic. . . . When not unpleasant it degenerates into 
 buffoonery." 
 
 Reviewedin Academy. Oct. 22, 1904,67: 367-8; Athenaeum, 
 Oct. 22, 1904. 2: 523; Saturday Rev., Oct. 22. 29, 1904. 98: 
 511-12, 545-6, by Max Beerbohm. 
 
 Pinero, Sir Arthur Wing. Carr. J. Comyns. and Sul- 
 livan, Sir Arthur. (The) beauty stone; an original 
 romantic musical drama in three acts. 101 p. O. Lond., 
 1898. Chappell & Co.. Is 
 
 Libretto by Pinero and Carr. Also, with music, Chappell & 
 Co., 1898. 217 p. Q. o. p. 
 
 "That Mr. Pinero in association with Sir Arthur Sullivan 
 should have failed to make Mephisto interesting is certainly 
 a very remarkable fact; but so it is." Academy. 
 
 "The indisputable dullness of their 'Beauty stone' comes 
 mainly from their pseudo-archaic manner. Their primary 
 idea for the play is rather charming. . . . The story of the 
 play is pretty and simple. The scenes are nicely ordered and 
 constructed." Beerbohm. 
 
 Reviewed in Academy. June 4, 1898, 53: 611-12; Saturday 
 Rev., June 4, 1898, 85: 744-5. 
 
 Non-dramatic Works 
 
 Pinero, Sir Arthur Wing. Modern British drama. 
 {See Theatre, June, 1895. 37: 346-8.) 
 Brief statement of Pinero's theories of dramatic art. 
 
 Robert Louis Stevenson, the dramatist; a lecture 
 
 delivered ... to the members of the Philosophical 
 Institution of Edinburgh . . . 24th Feb.. 1903. 35 p. 
 O. Lond., 1903. o. p. 
 
 Of considerable value not only as an estimate of Stevenson 
 but for the author's excellent statements of the characteristics 
 of modern dramatic art in general. 
 
 Published also in Critic, Apr.. 1903. 42: 341-53, and printed 
 separately by Critic Co.. N. Y., 1903. 15 p. O. 
 
 Reviewed in Blackwood's Mag.. Apr., 1903. 173: 559-C3. 
 
 Criticism 
 
 Archer, William. English dramatists of today. P. 
 Lond.. 1882. 
 Contains section on Pinero. 
 
 Real conversations — Conversation I with Mr. 
 
 Arthur VV. Pinero. (See Pall Mall Mag., Feb. 2, 1901, 
 23:388-99.) 
 
 Published also by W. Heinemann. Lond., 1904. D. 6s. 
 (Conversation with Pinero. p. 5-28.) 
 
 Beers, Henry A. English drama of todav. (See North 
 American Rev., May, 1905, 180: 746-57.) 
 Includes estimate of Pinero. 
 
 Borsa, Mario. English stage of today. Lond.. 1908. 
 
 S2.50. 
 
 Includes section on Pinero with brief characterizations of 
 some of his best plays. 
 
 Pinero and the Italian stage. (.See English Illus- 
 
 trated Mag., June. 1901, 25: 216-20.) 
 (A) candid friend to Mr. A. W. Pinero. (See 
 Theatre, July, 1893, 34: 30-4.) 
 Attacks many of Pinero's mannerisms.
 
 66 PIXERO 
 
 Filon, Pierre Marie Augustin. English stage, being 
 an account of tlie \'ictorian drama, tr. from the 
 French by Frederic Why te. N. Y. 1897. $2.50. 
 Includes chapter on Pinero giving a French estimate of his 
 
 skill as a playwright. 
 
 Fyfe, H. Hamilton. Arthur Wing Pinero, playwright; 
 a study. 250 p. D. Lond., 1902. Greening & Co. 
 Includes "bibliography of Mr. Pinero's plays," p. 231-50. 
 
 Plays of Pinero as literature. {See Theatre, Dec, 
 
 1S9.5. 3.S: 324-8.) 
 
 Hale, Edward Everett, Jr. Dramatists of today. 1905. 
 Includes section on Pinero. 
 
 Hamilton, J. A. Arthur Wing Pinero, {See Munsey, 
 Dec, 1N93, 10: 247-51.) 
 
 Herrmann, Oscar. Living dramatists. 1905. 
 Opening sections deal with Pinero. 
 
 Hyde, G. M. .Arthur W. Pinero, with bibliography of 
 his plays. {See Book-buyer, Nov., 1S98, 17: 301-05.) 
 
 Kobbe, Gustav. Plays of Arthur Wing Pinero. {See 
 Forum, Sept., 1898, 26: 119-28.) 
 Valuable for the concise characterization of the different 
 
 plays mentioned. 
 
 Pinero, Sir Arthur Wing. Bygones. 1880. 
 
 An early play, delicate in touch but too slight and conven- 
 tional to be enduring. 
 
 Reviewed in Athenaeum, Sept., 1880, 2: 410; Illustrated 
 London News, Oct. 2, 1880, 77: 327. 
 
 Daisy's escape. 1879. 
 
 The heroine narrowly escapes eloping with a cad by meeting 
 the right man at the psychological moment. A forerunner 
 of the author's later and better farces, but with slight merit 
 of its own. 
 
 Reviewed in Athenaeum, Sept., 1879, 2: 412; Theatre, Oct., 
 1879, ser. 3,v. 3:164. 
 
 Girls and boys. 1882. 
 
 "Dramatic contrast between simplicity and worldliness." 
 Theatre. 
 
 Reviewed in Athenaeum, Nov. 1882, 2: 606; Saturday Rev., 
 Nov. 25, 1882, 54: 700; Theatre, Dec, 1882, ser. 3, 6: 355-7. 
 
 Imprudence. 1881. 
 
 "An attempt to imitate the extravagant class of French 
 pieces associated with the name of the Palais Royal. . . . 
 More complicated than ingenious." Graphic. 
 
 Reviewed in Saturday Rev., Aug. 6, 1881, 52: 171; Theatre, 
 Sept. 1, 1881, 3d ser., 4: 74-7. 
 
 Iron master. 1884. 
 
 A close paraphase of "Le maitre des forges." 
 
 "A strong rather than a pleasing or sympathetic work." 
 
 Alhencsum. 
 
 Reviewed in Athenaeum, Apr., 1884, 1: 546; Theatre. 1881. 
 
 n. s., V. 2: 263-5. 
 
 Lords and commons. 1883. 
 
 A healthy social study, based on the Swedish Mannen af 
 bord och gvinnan af lovel. 
 
 Reviewed in Academy, Dec. 1, 1883, 24: 371-2, by F. 
 Wedmore; Athenaeum, Dec, 1883, 2: 710; Theatre, Jan., 1884, 
 n. s., v. 3: 1-7. 
 
 Low water. 1884. 
 
 A stage failure and disclaimed by its author but interesting 
 as an example of the differences of critical opinions regarding 
 the author.
 
 PINERO 87 
 
 Reviewed in Academy, Jan. 26, 1884, 25: 69; Athenaeum, 
 Jan., 1884, 1: 97; Saturday Rev., Jan. 19, 1884. 57: 83; Theatre, 
 Feb., 1884, n. s., v. 3: 86-8. 
 
 Pinero, Sir Arthur Wing. Mayfair. 1885. 
 
 English version of Sardous "Maison neuve." The improba- 
 bility of the plot spoils the dialogue. 
 
 Reviewed in Athenaeum, Nov., 1885, 2: 613. 
 
 Rector; a story of four friends. 1883. 
 
 An unsuccessful play with many good points of dialogue 
 and character drawing. 
 
 Reviewed in Athenaeum, Mar., 1883, 1: 419; Academy, Apr. 
 7, 1883, 23: 248. 
 
 Pinero and his critics. {See Blackwood's Mag., June, 
 
 I'.IOO, 167: 837-40.) 
 Pinero and the literary drama. {See Theatre, July, 
 
 1.S93, 34: 3-8.) 
 Pinero's skill as a dramatist. {See Nation, Sept. 6, 
 
 1906, 83: 211.) 
 Recent English dramatists. 129 p. O. Phil., 1901. 
 
 (Booklovers' library.) o. p. 
 Includi-s criticisms of Pinero. 
 
 Rideing, W. H. Some women of Pinero's. {See North 
 American Rev., July, 1908, 188: 38-49.) 
 
 Salaman, M. C. Pinero, the man and the dramatist. 
 {See Cassell's family mag., Sept., 1899, n. s. 19: 354- 
 62.) 
 Popular, illustrated sketch. 
 
 Sharp, R. Farquharson. Pinero and farce. {See 
 Theatre, Oct., 1N92, 29: 1.54-7.) 
 Criticism of the comic elements of his earlier plays. 
 
 Tarpley, W. Kingsley. English dramatists of today. 
 {Sec Critic. Aug., 1900, 37: 117-23.) 
 
 Walkley, Arthur Bingham. Drama and life. 1908. 
 Includes criticism of several of Pinero's best plays. Lelty, 
 His house in order, etc. 
 
 Playhouse impressions. Lond., 1892. 
 
 Criticisms of several of Pinero's works by a well-known 
 dramatic critic. 
 Waugh, Arthur. London letter. {See Critic, Feb. 24, 
 1S94, 24: 1:^4.) 
 General criticism of Pinero's ability as a playwright. 
 
 Wedmore, Sir Frederick. Literature and the theatre. 
 {See Ninteenth Century, Apr. 1902. 51: 568-80.) 
 
 Incidentally compares Pinero with two French contempo- 
 raries, Becque and Hervieu.
 
 ROSTAND 
 
 Rostand, Edmond. Chantecler; a play in four acts; tr. 
 by Gertrude Hall. D. N. Y., 1910. Duffield, SI. 25. 
 
 "Chantecler, sure that his song makes the sun rise, loves the 
 beautiful hen-pheasant. She, jealous of his devotion to 
 the dawn, tricks him into neglecting his morning song. The 
 sun rises without it, to Chantecler's great surprise and dis- 
 apfKjintment, but he rises superior to his disillusionment, and 
 the pheasant in remorse risks her life to save his from a sudden 
 danger. A strong social satire in the symbolic form of a barn- 
 yard drama." 
 
 Reviewed in Bookman. Oct., 1910. 32: 154-5; Mar., 1911. 
 33: 19-27; Book News, Oct., 1910. 29: 85-91; Current Litera- 
 ture, Mar., 1911, 50: 313-15; Delineator. Feb., 1911, 97: 94. 
 159-60; Dial, Aug. 16, 1910. 49: 84; Independent, Feb. 23. 
 1911, 70: 406-07; Literary Digest, Feb. 4, 1911. 42: 208-09; 
 Nation, Sept. 15, 1910, 91: 249; Munsey. Mar.. 1911. 44: 871- 
 2; Outlook, Oct. 29. 1910, 96: 575; Feb. 4, 1911, 97: 251-2; 
 Libermer, M. F.. Story of Chantecler. 97 p. D. N. Y.. 1910. 
 Moffatt. 75c. 
 
 Cyrano de Bergerac; a play in five acts; tr. from 
 
 the French by Gladys Thomas and M. F. Guillemard. 
 294 p. D. N. Y.. 1900. Russell, $1. 
 
 A romantic play of high literary and histrionic value. Of 
 the translations this in blank verse is perhaps the best. N. Y. 
 State Library, Bulletin of Best Books. 
 
 Cyrano de Bergerac; an heroic comedy in five acts; 
 
 tr. from the French by Charles Renauld, with an intro- 
 duction by Adolphe Cohn. 233 p. D. N. Y., cl898. 
 Stokes, 50c. 
 
 Cyrano de Bergerac; tr. from the French by Ger- 
 
 trude Hall. 235 p. S. N. Y.. 1898. Doubleday. 50c. 
 Reviewed in Archer, William, Study and stage, 1899, 
 p. 44-50; Crawford, V. M., Studies in foreign literature, 
 1899. p. 27-48; Poet-lore. Jan.-Mar.. 1899. 11: 118-24; Nine- 
 teenth Cent., July, 1898, 44: 102-15. by Stanley Young; 
 Athenaeum, Apr. 28, 1900, 1 : 538 (Rev. of the Ogilvie & Parker 
 translation) ; Forum, Dec, 1898,26: 502-12, by Gustave Kobbe; 
 Saturday Rev., 86: 42; 89: 524, by Max Beerbohm; National 
 Mag., 9: 471, Coquelin's French version of the play, by P. S. 
 Vimbert; Bookman, Dec, 1899. 11: 363-6. by Paul Wilstach. 
 Scribner's Mo.. Nov., 1908, 44: 533-41. by P. Wilstach. 
 
 Cyrano, Rostand, Coquelin. {See Current Literature, 
 
 July, 1900. 29: 26-7.) 
 
 Extract from Eliot Gregory's Reading from the Ways of 
 Men. 
 
 Rostand, Edmond. (The) Fantasticks; a romantic 
 comedy in three acts; freely done into English verse by 
 George Fleming. 150 p. D. N. Y. Heinemann, 2s. 6d. 
 
 La Princesse Lointaine (The princess Far-away); 
 
 a play in four acts in verse; tr. into English verse with 
 a preface by Charles Renauld. 110 p. D. N. Y., 
 cl899. Stokes. 50c. 
 
 A poor translation. 
 
 Reviewed in Saturday Rev., June 22, 1895, 79: 828-9. by 
 G. B. Shaw. 
 
 58
 
 ROSTAND 59 
 
 Rostand, Edmond. L'Aiglon; a play in six acts; 
 adapted into English by L. N. Parker. 2G1 p. O. N. Y., 
 1900. Russell, SI. 50. 
 
 This tragedy, with its poor, weak little hero (the young 
 king of Rome, son of Napoleon I), its frivolity and its de- 
 cadent circumstance, makes a stronger effect than Cyrano — 
 stronger even though less obvious. 
 
 Reviewed in Adrich, T. B., Note on L'Aiglon. (See his 
 Ponkapog papers. 1903. p. 73-81); Athenaium, Mar. 17, 
 
 1900, 1: 334-5, by Jules Claretie; June 8. 1901, 1: 735; Nation, 
 May 10. 1900, 70: 356-7; Feb. 7, 1901, 72: 114. 
 
 The romancers; a comedy in three acts; tr. by Mary 
 
 Hendee. 134 p. S. N. Y.. 1899. Doubleday. 50c. 
 net. 
 
 "Scene is laid in a bright garden of flowers and trees, with- 
 out regard to special time or place. Fanciful, jesting, and 
 gay — a merry burlesque of the scheme of Romeo and Juliet." 
 A. Henderson. 
 
 "A remarkable play in execution." Jules Lemaitre. 
 Reviewed in Athenaeum, June 2, 1900, 1 : 699. 
 
 Criticism 
 
 (The) case against Rostand. (.See Bookman, Nov., 1910, 
 
 32: 217-18.) 
 Chesterton, Gilbert Keith. Rostand. (See his Varied 
 
 types. 1903. p. 73-82.) 
 For reviews see G. K. Chesterton entry under Maeterlinck. 
 
 Filon, Augustin. [P. M.] Modern French drama, seven 
 essays, tr. by J. E. Hogarth, with an introd. by W. L. 
 Courtney. 304 p. D. Lond., 1898. Chapman, 7s. 6d. 
 
 Reprinted from Fortnightly Rev., July, 1898, 70: 98-114. 
 
 Chapter 7 is a criticism of Cyrano de Bergerac with a few 
 personal notes on the original Cyrano and Rostand himself. 
 
 Hapgood, Norman. Rostand. (See his Stage in America, 
 1897-1900. 1901. p. 249-78.) 
 Criticism of Rostand's plays and the acting of them. 
 
 Henderson, Archibald. The theatre of Edmond Ros- 
 tand. {See Arena, Sept., 1905, 34: 225-.34.) 
 
 Full and informing criticism, but extravagant in praise. 
 A good portrait of Rostand accompanies the article. 
 
 Howells, William Dean. The new poetic drama. (See 
 North American Rev., May. 1901. 172: 794-800.) 
 Comparison of Rostand with Stephen Phillips. 
 
 James, Henry. Edmond Rostand. (See Critic, Nov., 
 
 1901, 39: 437-50.) 
 
 A broad-minded and penetrative analysis. 
 Published also in Cornhill Mag., 84: 577-98. 
 
 Master of great plays. (See Outlook. Nov. 27, 1909, 93: 
 663-5.) 
 
 Brief sketch of Rostand's work, with portrait. 
 M. Edmond Rostand. (See Critic, Oct., 1901, 39: 299.) 
 A brief, personal sketch with a full length, highly char- 
 acteristic portrait. 
 
 and the literary prospects of the drama. (See 
 
 Edinburgh Rev., July-Q£t-. 1900, 192: 307-21.) 
 
 Analyzes five of his plays, and indicates their literary 
 spirit. 
 MoSett, Cleveland. The author of Cyrano; a study 
 of Edmond Rostand's personality and methods of 
 writing. (See McClure's Mag., Mar., 1900, 14: 4.37-45.) 
 \ personal sketch; a talk with Coquelin and Rostand; 
 how Cyrano was written.
 
 CO ROSTAND 
 
 On displaying celebrities. (See Nation. June 25, 1903, 
 76: 510-11.) 
 Account of Rostand's reception into the French Academy. 
 
 Representations of Christ on the American stage. (See 
 Current Literature. Feb.. 1911, 50: 193-6.) 
 
 Extended note on La Samaritaine, with extracts from the 
 play, and comparison with the similar plays of Maeterlinck. 
 
 Rostand, Edmond. (La) Samaritaine. 
 
 A novel but reverent treatment of the Scriptural story, 
 similar to and yet unlike Maeterlinck's Mary Magdalene. 
 
 Reviewed in Bookman, Feb.. 1911, 23: 002-04; Current 
 Literature, Feb.. 1911. 50: 193-6; Literary Digest. Dec. 24, 
 1910, 41: 1203. 
 
 Sedgwick, EUery. M. Edmond Rostand. (See Atlantic 
 Mo.. Dec. 1898, 82: 826-33.) 
 
 Slight biographical and critical sketch. Readable yet 
 hardly more than a surface criticism of the plays.
 
 SHAW 
 
 Shaw, George Bernard. Plays, pleasant and unpleasant. 
 2 V. D. X. v., I'JUU. Brentano, S2.50. 
 
 Published also by Constable. Lend. 2v. 10s. 6d., and sepa- 
 rately at 2s. net each. 
 
 "A delight to the intellectual, a mockery to the brainless, a 
 confusion to those who, having brains, cannot use them." 
 Baltimore Sun. 
 
 In the preface of each volume Shaw expounds in a his- 
 torical and highly personal way his views as to the relation 
 between the players and the play. 
 
 Contents: — 
 
 V. 1. The unpleasant plays: 
 
 Widowers' houses. 
 
 The philanderer. 
 
 Mrs. Warren's profession. 
 V. 2. The pleasant plays: — 
 
 You never can tell. 
 
 Arms and the man. 
 
 Candida. 
 
 The man of destiny. 
 
 Reviewed in Dial, July 16. 1898. 25: 43-5, by E. E. Hale, 
 Jr.; Nation, July 14, 1898, 67: 36-7; Athenaeum, May 28. 1898, 
 1: 703-4; Bookman, July, 1898, 7: 416-17, by Paul Wilstach; 
 Academy, 53: 461-3; 490-2; 613-14; Bookbuyer, July, 1898, 26: 
 503-5. by J. R. Sullivan. 
 
 Doctor's dilemma; Getting married; and The shew- 
 ing up of Blanco Posnet. 535 p. D. N. Y., 1911. 
 Brentano, $1.50. 
 
 First two published also by Constable, Lond., 6s. 
 
 Three plays each preceded by a characteristic preface. The 
 first preface deals with the medical profession and vivisection; 
 the second with the marriage question; the third, freedom of 
 the drama and stage censorship. 
 
 Reviewed in Forum, Mar., 1911, 45: 334-54, by Temple 
 Scott. 
 
 — —   John Bull's other island and Major Barbara. Sq. D. 
 X. Y.. 1907. Brentano. S1.50. 
 
 Published also by Constable, Lond., 6s. 
 
 Includes also How he lied to her husband. Has char- 
 acteristic prefaces to each play and, as an introduction, the 
 author's "First aid to critics." 
 
 Reviewed in Academy, June 29, 1907, 72: 621; Athenaeum, 
 July 27. 1907. 2: 107; Independent. Oct. 10, 1907, 63: 879; 
 North American Rev., Oct., 1907, 186: 284-8; Outlook, 
 July 20, 1907, 86: 610; Review of Rev.. Sept.. 1907. 36: 386. 
 
 Three plays for Puritans; being a third volume of 
 
 his collected plays. 315 p. D. N. Y., 1906. Brentano, 
 $1.25. 
 
 "This volume is not edifying, but it is entertaining; and 
 what is more, if you have never read a play, or if, having 
 read one. you regretted the effort, the present volume will be 
 a revelation." Baltimore Sun. 
 Contents: — 
 Devil's disciple. 
 Caesar and Cleopatra. 
 Captain Brassbound's conversion. 
 
 61
 
 62 SHAW 
 
 Reviewed in Dial. May 16. 1901, 30: 343; Nation, June 6, 
 1901, 72: 400; Literary World, Aug. 1, 1901, 32: 12G; Saturday 
 Rev., Jan. 2C. 1901. 91: 107-8. by Max Beerbohm; Athenaeum, 
 Feb. 9, 1901, 1: 186-7; Spectator. Apr. 13. 1901. 86: 634-6. 
 
 Shaw, George Bernard. Arms and the man. 
 
 Scene is kiid in a Bulgarian mountain hotel in 1885. "Amus- 
 ingly iconoclastic with Mr. Shaw's notion of conventional 
 heroism as its target." 
 
 For review of comic opera The Chocolate Soldier (by M. 
 Bernauer and 1. Jacobson with music by O. Strauss) founded 
 on Arms and the man, see Academy, Sept. 17, 1910, 79: 278; 
 Illustrated London News, Sept. 17. 1910. 137: 410; Saturday 
 Rev., Sept. 17, 1910. 110: 355. 
 
 Caesar and Cleopatra. 
 
 Setting is on the Syrian border of Egypt toward the end 
 of the 23d dynasty. A study of antiquity, humorous and 
 truth-telling, and tending to be both real and fantastic. 
 
 Candida. 
 
 A comedy of more depth than others of the "mere plays" 
 in the "plays pleasant." The characterization is varied. 
 The clergyman and Candida herself are particularly true 
 studies, the former being the exponent of Christian socialist 
 idealism. 
 
 Reviewed in Walkley, A. B., Drama and life. 1908. p. 214- 
 18; London Times, Apr. 30, 1904, p. 133; Athensum, Apr. 30, 
 1904. 1: 570; Academy, May 7. 1904, 66: 528. 
 
 Captain Brassbound's conversion. 
 
 The author claims to have stolen "the scenery, atmos- 
 phere and knowledge of the East" from Cunningham Grahame's 
 Morocco the Most Holy. A farce so bound to tickle the 
 humor of the reader that he forgets to be dissatisfied with its 
 cynicism. 
 
 The devil's disciple. 
 
 Published also separately by Constable, Load., 1906. 88 p. 
 D. 2s. 
 
 In the preface, "On Diabolian ethics," the author refers 
 to this as "the novelty of the advanced thought of rny day — 
 a play certain to be written at the end of the nineteenth 
 century." It has some tragic situations mingled with mali- 
 cious, roistering humor. 
 
 Doctor's dilemma. 
 
 A satire on the medical profession. Various types of doc- 
 tors, old-school, new-school, surgeons and quacks serve to 
 show the confusion of medical science. 
 
 Reviewed in Walkley. A. B., Drama and life. 1908. p. 239- 
 44; Forum, Mar., 1911, 45: 343-6, by Temple Scott. 
 
 Getting married. 
 
 "The whole subject of marriage as it is understood and prac- 
 tised at present is exemplified in several ways and discussed 
 and turned into ridicule." Temple Scott. 
 
 Reviewed in Forum, Mar., 1911, 45: 346-50, by Temple 
 Scott. 
 
 How he lied to her husband. 
 
 "Admittedly a jeux d'esprit, this barefaced and indubitably 
 'original' little farce is as preposterously veracious and as iin- 
 mensely telling as anything that he has done, trifle though it 
 is; and it is full ... of vivid and irresistible divinations of 
 character. ' ' Laurence Gilman. 
 
 John Bull's other island. 
 
 The action arises from the opposition of English and Irish 
 types and conditions. Both nations are impartially treated 
 both as to their merits and their weaknesses. Shows com- 
 plete contempt of conventional dramatic technique.
 
 SHAW 63 
 
 Reviewed in Walkley, A. B., Drama and life. 1908. p. 219- 
 23. Borsa. Mario. English drama of today. 1908. p. 156-60. 
 
 Shaw, George Bernard. Man of destiny. 
 
 An original one-act complication in which Napoleon, lead- 
 ing the French army into Italy in 1796, Quarters himself at a 
 little inn and at a Milanese repast carries on a very engrossing 
 dialogue with "The Lady." Shaw makes Napoleon a mouth- 
 piece with which he lectures Englishmen in his own whimsical 
 fashion. 
 
 Reviewed in Bookman, Apr., 1904, 19: 160, by F. M. Colby. 
 
 Major Barbara. 
 
 The central figure is a girl of good family who has become 
 an officer in the Salvation Army without losing touch with her 
 relatives. The most extreme theories of social reform are 
 thrown together in one confused jumble. 
 
 "As a study of actual social conditions or as drama quite 
 worthless . . . but entertaining, paradoxical and irrespon- 
 sible." 
 
 Reviewed in Walkley, A. B., Drama and life, 1908. p., 233- 
 8; Current Literature. Feb., 1906. 40: 191-3; Aug., 1907, 
 43: 193-8; Nation, July 4, 1907. 84: 19; Saturday Rev.. Aug. 
 28, 1909, 108: 254. 
 
 Mrs. Warren's profession. 
 
 Based on the Socialists' plea that the necessary result of 
 poverty is vice. Unpleasant as are all the convincing argu- 
 ments to those who would rather shut their eyes and ears 
 than be convinced and convicted, it is nevertheless made 
 entertaining by the charm of the characters. Frank, "the 
 good-for-nothing." is especially delightful. Structurally the 
 interest is held by the brilliancy of the dialogue rather than 
 by action, and surprise is substituted for climax. 
 
 Reviewed in Saturday Rev., 1898, 85: 651, 679, by Max 
 Beerbohm; Westminster Rev., Mar., 1902. 157: 344-7. 
 Author's apology; from Mrs. Warren's profession; 
 with an introd. by John Corbin. 67 p. S. N. Y., 
 1905. Brentano, paper. 60c. net. 
 
 (The) Philanderer. 
 
 This play points out the fact that certain usages of society 
 are being outgrown — for instance, marriage in its present 
 form. But as no practical substitute is suggested, the point 
 is weakened. It loses prominence also through the develop- 
 ment of the humorous situations wherein lies the chief merit 
 of the play. Incidental is a subtle attack on vivisection. 
 As a whole it is slightly tragic and very amusing. 
 
 Reviewed in Walkley, A. B., Drama and life, 1908. p. 245- 
 50. 
 
 Shewing up of Blanco Posnet. 
 
 A moral conflict between Posnet and the Almighty in which 
 Posnet is brought to see God's purposes in the suffering and 
 mental agony he has undergone. "Forbidden by the censor 
 in England, because it was considered blasphemous and 
 immoral." 
 
 Reviewed in Forum, Mar., 1911, 45: 334-54; Saturday 
 Rev., Aug. 28, 1909, 108: 254. 
 
 Widowers' houses. 
 
 Middle class respectability and younger son gentility 
 fattening on the poverty of the slum as flies fatten on filth." 
 is the way Shaw puts it. His own feeling on the subject is 
 so strong that his irony becomes too bitter to be entertaining 
 and the didactic trend encumbers the dramatic power with the 
 result that the whole is rather ineffectual. The characters 
 are nearly all "villains" and are treated in an unnatural and 
 old-fashioned style. 
 
 You never can tell. 
 
 A successful comedy with a theme that is both droll and 
 complex, but realistically developed. The characters make 
 but a feeble impression, except i>erhaps that of an eldi-rly
 
 64 SHAW 
 
 waiter who, in the farcical ending, dances through the hotel 
 rooms with a young lady who is saucy, pert and in some 
 ways delightful. 
 
 Reviewed in Athenaeum, May 12, 1901, 1: 603. 
 
 Works Published Separately 
 
 Shaw, George Bernard. Cashel Byron's profession . . . 
 also, The adiiiirablc Bashville; or, Constancy unre- 
 warded; being the novel of Cashel Byron's profession 
 done into a stage play in three acts and blank verse. 
 376 p. D. N. Y., 1906. Brentano, $1.50. 
 
 An exceedingly clever and ruthlessly disagreeable eluci- 
 dation of a phase of life generally avoided. Cashel Byron is 
 a prize fighter, a champion light-weight, well-born and clean- 
 minded. A young woman, rich, refined and bookish, falls 
 helplessly in love with him and marries him in desperate 
 defiance of social laws. 
 
 Reviewed in Critic, Feb., 1902, 40: 179; Saturday Rev., 
 Nov. 2, 1901, 92: 550, by Ma.x Beerbohm. 
 
 Man and superman; a comedy and a philosophy. 
 
 244 p. D. N. Y.. 1904. Brentano. $1.25 net. 
 
 Published also by Constable, Lond., 6s. 
 
 A clever, satirical play which is made the vehicle of a very 
 daring theory of social life, matrimony, and the development 
 of the "superman." 
 
 Reviewed in Athenaeum, Sept. 26, 1903, 2: 422-3, by William 
 Archer; Spectator, Nov. 21, 1903, 91: 840-1; Dial, July 16, 
 
 1903, 37: 33-4, by A. Henderson; Nation. Dec. 15, 1904, 79: 
 486; Critic, Oct., 1903, 43: 310-12, by William Archer; Aug.. 
 
 1904, 45: 186-7, by O. H. Dunbar; Bookman, Aug., 1903. 
 19: 609-10, bv F. M. Colby; Blackwood's Edinburgh Mag.. 
 Oct., 1903, 174: 532-4. 
 
 Dramatic opinions and essays; containing ... a 
 
 word on the dramatic opinions and essays of G. Ber- 
 nard Shaw, by James Huneker. 2 v. D. N. Y.. 1906. 
 Brentano, S2.50 net. 
 
 Published also by Constable. Lond. 10s. 6d. 
 
 "Selections from dramatic criticisms which appeared in the 
 London Saturday Review, 1895-8. A combination of acute 
 and searching criticism of modern plays and players with 
 unlimited flippancy and egotism. Deliciously entertaining, 
 if not altogether profitable, reading for those familiar with 
 the plays and the actors." A. L. A. Booklist. 
 
 (The) Perfect Wagnerite. Constable. Lond.. 3s. 
 
 6d. 
 
 Quintessence of Ibsenism. Ed. 2. 170 p. D. N. Y., 
 
 1891. Brentano, SI. 
 
 This book, short as it is, affords the best key we have to 
 Shaw's doctrine. 
 
 Criticism 
 
 An Irish bull in the china shop. (See Independent, 
 Nov. 2. 1905, 59: 1060-1.) 
 Editorial on Shaw and prudish "Comstockery." 
 
 Archer, William. Mr. Bernard Shaw's plays. (See his 
 Study and stage — a year-book of criticism. 1899. 
 p. 1-22.) 
 
 Balanced criticism and praise by a well-known theatrical 
 critic. 
 
 Barnicoat, Constance A. Mr. Bernard Shaw's counter- 
 feit presentment of women. (See Fortnightly Rev., 
 Mar., 1906, 85: 516-27.)
 
 SHAW 65 
 
 A match for Shaw in clever audacity. She quotes freely 
 to illustrate his various methods of constructing woman's 
 nature. 
 
 Published also in Living Age. Apr., 1906, 249: 67-75. 
 
 Beers, Henry A. The English drama of today. (See 
 North American Rev., May, 1905, ISO: 740-57.) 
 
 Shaw, Phillips, Yeats and others are considered with rather 
 secondary critical treatment. 
 
 Borsa, Mario. G. B. S. (See his EngUsh drama of today. 
 
 1908. p. 120-66.) 
 "Shaw's dramatic work is pure journalism, destined to enjoy 
 
 a certain vogue and then to be swallowed up in the deep pit 
 
 of oblivion." Includes brief analyses of several of Shaw's best 
 
 known plays. ' 
 
 Gary, Elizabeth Luther. Apostles of the new drama. 
 
 (See Lamp, Jan., 1904, 27: 593-8.) 
 These apostles are W. B. Yeats and G. B. Shaw. 
 Chesterton, Gilbert Keith. Mr. Bernard Shaw. (.See 
 
 his Heretics. 1905. p. 54-61.) 
 
 George Bernard Shaw. 249 p. D. N. Y., 1909. 
 
 Lane, $1.50. 
 
 "Sketch of the man and criticism of his works written . . . 
 by one 'who is kindly disposed toward Mr. Shaw personally 
 but who does not take his ideas altogether seriously.' " Book 
 Rev. Digest. 
 
 Paradoxical and clever, it treats its subject with a candor 
 and lack of respect not unlike Shaw's own treatment of other 
 writers. 
 
 Reviewed in Athenaeum, Sept. 11, 1909, 2: 291; Bookman. 
 Sept., 1909. 36: 270-1; Catholic World. Nov., 1909, 90: 244; 
 Current Literature. 47: 528-31; Dial. Oct. 16, 1909, 47: 280; 
 Nation, Oct. 21, 1909, 89: 375; Outlook, Nov. 13, 1909, 93: 
 574; Saturday Rev., Sept. 4, 1909, 108: 290. 
 
 Chilton, C. B. Shaw contra mundum. (5ee Independent, 
 
 Mar. S. 190G, 60: 550-6.) 
 Deacon, Renee M. Bernard Shaw as artist-philosopher; 
 an exposition of Shavianism. 106 p. D. N. Y., 1910. 
 Lane, SI. 
 
 "A sort of student's primer of Shavian philosophy, in which 
 Mr. Shaw's dramatic theory, conception of life, and artistic 
 function are laid down with an uncritical admiration." Dial. 
 Reviewed in Dial, Oct. 16, 1910, 49: 283; Independent, 
 Oct. 6, 1910, 69: 775. 
 France, Wilmer Cave. Philosophy of George Bernard 
 Shaw. (See Bookman, June, 1905, 21: 428-31.) 
 Brief, but well summarized. 
 George Bernard Shaw, an enquiry. (See Academy, 
 Feb. 9, 1901, 60: 127-8.) 
 
 Reply by P^lorence Norman in Academy, Mar. 2, 1901, 
 00: 192-3. 
 Grendon, Felix. Some misconceptions concerning 
 Shaw. (See Poet-lore, Sept.-Oct., 1909. 20: 376-88.) 
 An extreme euloRy, not a criticism. 
 Hamon, Augustin. Un noveau Moliere. (See Nine- 
 teenth Century, July. 1908, 64: 48-63.) 
 
 A French view of Shaw. Asserts that he is at his best in 
 comedy and that in his intellectual make-up he is more French 
 than English. 
 Henderson, Archibald. Arnold Daly and Bernard 
 Shaw; a bit of dramatic history. (See Arena, Nov., 
 1904, 32: 489-96.) 
 
 Philosophy of Shaw. (See Atlantic Mo., Feb., 1909, 
 
 103: 227-37.)
 
 66 SHAW 
 
 Discusses Shaw as a socialist and social evolutionist. Appre- 
 ciative in tone. 
 Is Bernard Shaw a menace to morals? {See Current 
 literature, Nov., 1905, 39: 551-2.) 
 
 Some discussion provoked by the comments of Mr. A. E. 
 Bostwick of the New York Public Library on circulating 
 Shaw's books. 
 Jackson, Holbrook. Bernard Shaw; a study and an 
 appreciation. 2:i3 p. D. Phil., 1907. Jacobs, $1.50. 
 (Lond., Richards, 6s.) 
 
 "I am not playing the part of commentator, but of interpreter. 
 My one aim is to induce people to refuse Shaw on any but first- 
 hand terms — to read him." Preface. 
 Contents: — 
 The man. 
 The Fabian. 
 The playwright. 
 The philosopher. 
 Reviewed in Atheneeum, Sept. 28, 1907, 2: 376; Dial, Nov. 16, 
 1907. 43: .321; Literary Digest, Oct. 19, 1907, 35: 578; Nation, 
 Oct. 10. 1007. So: 334. 
 Loraine, Robert. Where does Shaw leave you? (See 
 
 Cosmopolitan, Jan., 1906, 40: 339-44.) 
 Lewis, Austin. The Nemesis of Bernard Shaw. (See 
 Overland Mo., Oct., 1905, 61: 369-71.) 
 
 Mr. Lewis is a socialistic writer of San Francisco and a 
 friendly commentator who considers Shaw a man who has 
 failed to "make good." 
 
 The point of view of Bernard Shaw. (See Overland 
 
 Mo., Jan.. 1904, 58: 43-6.) 
 Mencken, Henry Louis. George Bernard Shaw, his 
 plavs; a critical analysis of all Shaw's literary and 
 dramatic work. 107 p. D. Bost., 1905. Luce, $1. 
 Reviewed in Nation, Feb. 1, 1906, 82: 103-4. 
 Well written and informing. Mr. Mencken is, obviously, 
 an admirer of Shaw, but he is no mere idolater. His book 
 comprises an essay on Shaw as a dramatist which is remark- 
 ably comprehensive in its scope, and perhaps open to argu- 
 ment as to its doctrine. But it is good reading. Then follow 
 chapters descriptive and amiably critical on Shaw's plays. 
 Mosley, J. K. Modern attacks on Christian ethics. 
 (See Contemporary Rev., Apr., 1908, 93: 422-35.) 
 Same article in Living Age, May 9, 1908, 257: 358-62. 
 Discusses Shaw's views on state supervision of children and 
 the marriage relation. 
 Norman, Florence. George Bernard Shaw. (See 
 Academy, Mar. 2, 1901, 60: 192-3.) 
 
 Reply to an article entitled, "George Bernard Shaw, an 
 Enquiry," that appeared in Academy, Feb. 9, 1901, 60: 127-8. 
 Plays of Mr. Bernard Shaw. (See Edinburgh Rev., 
 1905,201:498-523.) „ . 
 
 An acceptable study of all the published collections of 
 Shaw's plays. Treats him seriously as a dramatist of genius 
 and an earnest reformer. 
 Rogers, A. K. Bernard Shaw's philosophy. (See Hib- 
 
 bert-Journal, July. 1910, 8: 818-37.) 
 Walkley, Arthur Bingham. George Bernard Shaw. 
 (See his Frames of mind, 1899.) 
 Rcview^ed in Athenfrum, Jan. 13, 1900, 1: 40. 
 (The) yellow dramatist. (See Outlook, Nov. 25, 1905, 
 
 81: 701.) ^ , 
 
 Shaw, George Bernard. Dark lady of the sonnets. 
 
 A burlesque "interlude" on a Shakespearean subject 
 treated with the author's characteristic lack of reverence. 
 
 Reviewed in Academy, Dec. 3. 1910, 79: 543-4; Current 
 Literature, Feb., 1911, 50: 196; Literary Digest, Dec. 17, 1910. 
 41: 1155.
 
 SUDERMANN 
 
 Sudermann, Hermann. Fires of St. John, a drama in 
 four acts; tr. and adapted by Charles Swickard. 
 139 p. O. Bost.. 1904. Luce. SI. 25. 
 
 An old German peasant custom of lighting bonfires and 
 dancing around them on St. John's eve is used as an alle- 
 gorical background for this romantic drama. The custom 
 symbolizes "the outburst in the human soul, after Christian 
 centuries, of the wild yearnings and primeval passions of 
 unregenerate man." One follows the plot with the feeling 
 that it is an unsatisfactory play with a conclusion that is 
 unforgivable. 
 
 Fires of St. John, a drama in four acts; tr. from the 
 
 German by Charlotte Porter and H. C. Porter. (5e« 
 Poet-lore, Jan.-Mar., 1904, 15: 1-71.) 
 
 Published also separately by R. Badger. Bost., 1911. $1.50. 
 
 St. John's fire; tr. from the German by G. E. Polk. 
 
 108 p. O. Minneapolis, 1905. Wilson, SI. 
 
 "Miss Polk's translation is at once faithful to the spirit of 
 the original and to the idiom of our own tongue. It is neither 
 slavish nor careless." M. G. Peck. 
 
 Reviewed in Outlook. May 27, 1905, 80: 247; Review of 
 Reviews, July. 1905, 32: 127. 
 
 Johannes; [a play in five acts] tr. from the German 
 
 by W. H. Harned and Mary Harned. (See Poet-lore, 
 Apr.-June, 1899, 11: 161-236.) 
 
 A tragedy of great dramatic and religious interest. The 
 Jewish prophet, in struggling for a Christ ideal too visionary 
 and austere for his human followers, becomes disenchanted 
 with himself and tragically falls. In the fall he awakens to 
 his weak hold on the power of Love. The Gospel story is 
 enlarged to show the psychological purpose of the play. There 
 is lack of unity in the whole and the main lines are common- 
 place and conventional. 
 
 Reviewed in Francke, Kuno, Sudermann's John the Bap- 
 tist. (See his Glimpses of modern German culture. 1898. p. 
 142-53.) 
 
 John the Baptist: a play, tr. by Beatrice Marshall. 
 
 201 p. D. N. Y., 1908. Lane, Sl.oO. 
 
 Reviewed in Athenaeum, Jan. 9, 1909, 1: 52; Nation, Dec. 24, 
 1908. 87: 636. 
 
 (The) Joy of living ... a play~-in five acts; tr. 
 
 from the German by Edith Wharton. 185 p. D. N. Y., 
 1903. Scribner, SI. 25 net. 
 
 Published also by Heinemann, Lond. 4s. 6d. 
 
 The well-drawn characters typify the Berlinese aristoc- 
 racy who live in an environment wholly political. The 
 truthful art of the author brings his message and psychology 
 before our minds brutally "as it is." 
 
 He would have us see that there are personalities — such 
 as the one typified in the high-minded Beata — so big that 
 they can beg reasons for transcending moral laws. The 
 point of the title is the proposal of a '"Toast to life" by the 
 guilty Beata herself at the moment when her own self-inflicted 
 death is near. The fine workmanship of the play and the 
 opportunities it offers for artistic interpretation have given 
 it great stage success. 
 
 67
 
 68 SUDERMANN 
 
 Reviewed in Poet-lore, Jan.-Mar., 1903. 14: 114-20, by P. H. 
 Grummann; Apr.-June, 1903, 14: 5-11, by H.A. C; Nation, 
 Feb. 27, 1902, 74: 169-70. by Charles Harris; Fortnightly 
 Rev.. Sept., 1902. 78: 429-40. by W. S. Lilly; Athenaeum. Feb. 
 28. 1903. 1: 283; July 4. 1903. 2: 38; July 18, 1903, 2: 103. 
 
 Sudermann, Hermann. Magda, a play in four acts; 
 tr. from the German by C. E. A. Winslow. 161 p. 
 D. Bost., 1895. Lamson, 50c. net. 
 
 Published also by S. French. N. Y.. 50c. 
 
 Pre-eminently a study of character and environment, 
 offering, in the characters of Schwartzc and his outcast daugh- 
 ter Magda. a contrast between provincial and cosmopolitan 
 ideals, the petty narrowness of the one and the irresponsible 
 lawlessness of the other. The Pastor, the real hero of the play, 
 represents the true sanity, order and law of life. Technically 
 perfect as an acting drama it is also an intensely interesting 
 one to read. 
 
 Reviewed in Poet-lore, Oct.-Dec, 1896, 8: 557-63; Atlantic 
 Mo., Jan.. 1898, 81: 71-80, by J. F. Coar. 
 
 Morituri; three one-act plays: Teja; Fritzchen; 
 
 The eternal masculine. Tr. by Archibald Alexander. 
 159 p. D. N. Y., 1910. Scribner. $1.25. 
 "The English of the translation is far from faultless." 
 The famous Morituri group is closely related to the best of 
 the author's work as a whole. 
 
 Reviewed in Dial. Dec. IG, 1910, 49: 522. 
 
 Morituri: Teias; tr. by Mary Harned. {See Poet- 
 
 lore, July-Sept., 1897, 9: 330-52.) 
 
 Morituri: (The) eternal masculine. 
 
 "A satire . . . has a court setting and concerns the love of a 
 queen for an artist. When he declares his love she turns 
 against him for his presumption and asks another lover, the 
 marshal, to despatch him. An amusing denouement disallu- 
 sions all three." Book Review Digest. 
 
 Morituri: Fritzchen. 
 
 "Tragic story of a young German whose father advises him 
 to see life before he settles down. This he does, becomes 
 involved in an affair with another man's wife, is challenged by 
 the husband to a duel and brings home to his father the terrible 
 result of his suggestion before he goes forth to certain death." 
 Book Review Digest. 
 
 Roses; four one-act plays: Streaks of light; the last 
 
 visit; Margot; the Far-away princess; tr. from the 
 German bv Grace Frank. 186 p. D. N. Y., 1909. 
 Scribner. $1.25. 
 
 "Presents four one-act plays, one of which is a pleasant 
 comedy of a young student and a princess incognita. . . . The 
 other three plays are studies of feminine pathology of the most 
 pronounced type." Outlook. 
 
 "The first of the plays is a frankly repulsive study, and the 
 second is distressingly pathetic. 'The last visit' is more human 
 and also more dramatic. The last play is wholly charming." 
 N. Y. Times, Oct. 13. 1909. 
 
 Reviewed in Independent. Oct. 21. 1909, 67: 932; Nation, 
 Oct. 14, 1909, 89: 364; Outlook, Nov. 6. 1909. 93: 558. 
 
 Teja. 
 
 A one-act drama in one brief scene. Gloomy in theme, it 
 shows the stern Ostrogothic character as the king and his 
 people face death from starvation and an encircling enemy. 
 
 (The) three heron's feathers; tr. by H. T. Porter. 
 
 (See Poet-lore. Apr.-June. 1900. 12: 161-234.) 
 
 An unsuccessful venture away from the use of prose and 
 naturalistic construction into the employment of poetic 
 artifice and the fairy tale. Allegorical and fanciful, the
 
 SUDERMANN 69 
 
 drama is intended to symbolize the same restless cravings 
 of the same emotional idealist that Hauptmann symbolizes, 
 but with more beauty, in The Sunken Bell. 
 
 Reviewed in Francke, Kuno, German ideals of today. 
 1907. p. 249-57. 
 
 Criticism 
 
 Coar, J. Firman. Three contemporary German drama- 
 tists. {See Atlantic Mo., Jan., 1898, 81: 71-80.) 
 
 .\ comparison of Sudermann, Hauptmann and Wilden- 
 brucli. 
 Florer, Warren Washburn. Recent German criticism; 
 Hermann Sudermann. {See Poet-lore, Sept., 1905, 
 16: 116-23.) 
 Heller, Otto. Studies in modern German literature: 
 Sudermann, Hauptmann, women writers of the 19th 
 century. 301 p. D. Bost., 1905. Ginn, S1.25. 
 
 Distinctly popular essays indicating, in a way adapted to 
 readers who have little first-hand information, the chief 
 aspects of the work of Sudermann, Hauptmann and some 
 minor women writers. The critic, while not great, is always 
 sensible and genuinely interested and interesting. He shows 
 his high estimate of the two great dramatists in an unduly 
 favorable and somewhat too detailed analysis of their plays, 
 arranged in chronological order. 
 
 Reviewed in Athenffium, Nov. 18, 1905, 2: 685; Poet-lore, 
 Sept., 1905, IG: 127-8. 
 Jones, Dora M. Plays of Hermann Sudermann. {See 
 Westminster Rev., Nov., 1900, 154: 553-60.) 
 
 A general characterization, slight in substance and value. 
 
 Lee, Elizabeth. German drama of to-day- {See Living 
 Age, 2.34, 156-66.) 
 
 Discussion of Hauptmann and Sudermaim as representatives 
 of modern German drama. 
 Meyer, Edward Stockton. Modern German drama. 
 {See Critic, July, 1905, 47: 61-70.) 
 
 Treats of the features of German naturalism as developed 
 in Sudermann and Hauptmann. 
 Meyer, Richard M. Hermann Sudermann. {See Inter- 
 national Mo.. 1902, 6: 140-54.) 
 
 Biographical and critical. Fair and to the point. 
 
 Phelps, William Lyon. Hermann Sudermann. {See 
 his Essays on modern novelists. 1910. Macmillan, 
 $1.50. p. 132-58.) 
 Discusses Sudermann's fiction rather than his dramas. 
 
 Steiner, Edward A. Two German dramatists. {See 
 Outlook, Jan. 5, 1901, 67: 74-7.) 
 
 Based on personal visits to Sudermann and Hauptmann, 
 and condensed into a brief analysis of a few stage plays. 
 Strang, Lewis C. Sudermann and Maeterlinck. {See 
 his Players and plays of the last quarter century. 
 1903. V. 2. p. 259-71.) 
 A concise biographical and critical sketch. 
 Wells, Benjamin Willis. Hermann Sudermann. {See 
 Forum, Nov., 1898, 26: 374-84.) 
 
 A biographical and critical sketch of Sudermann by the 
 author of "Modern German Literature." Of the plays men- 
 tioned in this list Mr. Wells considers two — Magda and 
 Johannes (John tlie Baptist). 
 Witkowski, Georg. Hermann Sudermann. {See his 
 German drama of the nineteenth century. 1909. p. 
 152-61.) 
 Treats especially of Sudermann's skill in stage technique.
 
 Part II 
 
 MODERN OPERAS 
 
 by 
 
 FANNY ELSIE MARQUAND 
 B. A. (Wellesley), B. L. S. (N. Y. State Library School)
 
 DEBUSSY 
 
 Debussy, Claude Achille, 1862-. Debussy's songs. 
 (in Mus. Cour. v. 42, no. 23. June 5, 1901. p. 7.) 
 
 — — Claude Debussy, (in Mus. Cour. v. 44, no. 24. 
 June 11, 1902. p. 11-12.) 
 
 Work of Debussy, (in Harp. W. 49. Mar. 4, '05. 
 
 p. 337.) 
 Oilman. Lawrence. Poet and dreamer, (in Harp. 
 
 W. 50. Mar. 31, '06. p. 452.) 
 
 Melody lacking in Debussy's works, (in Mus. 
 
 Amer. v. 4, no. 14. Aug. 18, 1906. p. 14.) 
 
 Gilman, Lawrence. Claude Debussy, poet and 
 
 dreamer, (in No. Amer. Rev. v. 183, Nov., 1906. 
 p. 877-86.) 
 
 Gilman, Lawrence. Debussy. (in his Music of 
 
 tomorrow. 1907. p. l(>-46.) 
 
 Gilman, Lawrence. Debussy's The sea. (in 
 
 Harp. W. 51. Mar. 23, '07. p. 438.) 
 
 Debussy and the music of tomorrow, (in Cur. Lit. 
 
 V. 43. Aug., 1907. p. 198-9.) 
 Review of Gilman, Lawrence. Music of tomorrow. Por- 
 trait of Debussy from painting by J. Blanch. 
 
 Debussy. (in Nation, v. 86. Mar. 5, 1908'. 
 
 p. 223-4.) 
 Review of Liebich, Mrs. Franz. Claude Achille Debussy. 
 
 — Liebich, Mrs. Franz. Claude Achille Debussy. 92 
 p. Lane. 1908. 
 Review Athenaeum v. 132. Aug. 1, 1908. p. 134-5. Spec- 
 tator V. 100. Feb. 29, 1908. p. 339-40. 
 
 Bauer, E. F. Debussy talks of his music, (in Harp. 
 
 W. 52: 32. Aug. 29, '08.) 
 — Gilman, Lawrence. Debussy, (in his Aspects of 
 modern opera. 1909. p. 143-215.) 
 
 Keeton, A. E. Debussy: his science and his music. 
 
 (in 19th Cent. v. 66. Sept., 1909. p. 492-502.) 
 Same as article in Liv. Age. v. 263. Oct. 30, 1909. p. 270-8. 
 
 — Biographical sketch with portrait. (in Etude. 
 V. 28. Nov., 1909. p. 735-6.) 
 
 Portrait, (in Etude 28, Nov., 1909. p. 735-6; Gaz. 
 
 d. Beaux Arts. 1903. ser. 3, v. 29. p. 453; 111. Lond. 
 N. V. 134. Mar. 20, 1909. p. 419; 111. Lond. N. v. 
 134. May 29, 1909. p. 798; Internat. Stud. v. 21, 
 p. 199. 1904: Put. Mo. v. 4. Apr. 1908. p. 124; 
 Mus. Cour. V. 60, no. 16. Apr. 20, 1910. p. 8.) 
 
 Pelleas and Melisande. Debussy, C. A. Pelleas and 
 Melisande; Drame lyrique en 5 actes and 12 tableau.x 
 de Maurice Maeterlinck. 409 p. Par E. Fremont. 
 C1904. 
 The full score; to be found in the Library of Congress. 
 
 Archer, William. Pelleas and Melisande. (in his 
 
 Study of the stage. 1899. p. 133-7.) 
 Review of the play. 
 
 73
 
 74 DEBUSSY 
 
 Pelleas and Melisande. Gilman. Lawrence. De- 
 bussy's Pcllcas and Melisande; a guide to the opera, 
 
 with musical examples from the score. 84 p. il. D. 
 
 N. Y. Schirmer, 1907. 
 Krehbiel, E: H: Pelleas and Melisande. (in his 
 
 Chapters of opera. 1909. p. 393-7.) 
 Melitz, Leo. Pelleas and Melisande. (in his 
 
 Opera-goers' complete guide. 1909. p. 292-7.) 
 Singleton, Esther. Pelleas and Melisande. (in 
 
 her Guide to modern opera. 1909. p. 243-58.) 
 Hale, E. E., jr. The antennae in poetry, (in Dial. 
 
 V. 18. Mar. 1895. p. 174-5.) 
 Review of the play. 
 Pelleas and Melisande. (in Mus. Cour. v. 44, no. 
 
 21. May 21, 1902. p. 11.) 
 Pelleas and Melisande in Paris, (in Mus. Cour. 
 
 V. 44, no. 22. May 28, 1902. p. 17-18.) 
 Pelleas and Melisande. (in Mus. Cour. v. 45, 
 
 no. 3. July 16, 1902. p. 10.) 
 Pelleas and Melisande. (in Mus. Cour, v. 45, 
 
 no. 4, p. 18. July 23, '98.) 
   The individual art of Claude Debussy, as shown in 
 
 Pelleas and Melisande. (in Mus. Amer. v. 6, no. 22. 
 
 Oct. 12, 1907. p. 16.) 
 Van Vechten, Carl. The coming opera season, il. 
 
 (in Bkman. v. 26. Nov., 1907. p. 256-65.) 
 Oilman's guide to Pelleas and Melisande. (in 
 
 Nation, v. 85. Dec. 26, 1907. p. 595.) 
 Review. 
 
 Gilman, Lawrence. Debussy's Pelleas and Meli- 
 sande. il. (in Harp. W. v. 52. Mar. 7, 1908. p. 25.) 
 
 Concerning an epoch making score, (in Harp. W. 
 
 v. 52. Mar. 21, 1908. p. 25.) 
 
 A drama of decoration. (in Outlook. v. 88. 
 
 Mar. 28, 1908. p. 673-4.) 
 
 Musical significance of Pelleas and Melisande. il. 
 
 (in Cur. Lit. v. 44. Apr., 1908. p. 426-9.) 
 Partly a rev. of Gilman's book and quoting Gilman in 
 
 Harp, w., Krehbiel in Tribune, DeKoven in World, Finck in 
 
 Ev. Post and H. T. Parker in Bost. Transcript. 2 ill. Miss 
 
 Garden as Melisande; M. Pener as Pelleas. 
 Appreciation of Pelleas and Melisande. il. (in 
 
 Theatre, v. 8. Apr., 1908. p. 112-14.) 
 Production at Manhattan Opera House. (in 
 
 Theatre, v. 9. Feb., 1909. p. 43-4.) 
 Production at Covent Garden, Lond. il. (in 
 
 111. Lond. N. v. 134. May 29, 1909. p. 778-9.) 
 G., C. L. Critical notice, (in Spectator, v. 102. 
 
 June 12, 1909. p. 936-7.) 
 Pelleas and Melisande at Manhattan Opera House. 
 
 (in Mus. Cour. v. 60, no. 14. Apr. 6, 1910. p. 32.)
 
 PUCCINI 
 
 Puccini, Giacomo, 1858-. Apthorp. W: F. Puccini. 
 
 (in his Opera past and present. 1901. p. 202-3.) 
 
 Dry, Wakeling. Giacomo Puccini. 144 p. Lane, 
 
 1906. 
 Rev. in Ath. 128: 840-1. Dec. 29. '06. 
 Review of Dry, Wakeling. Giacomo Puccini, (in 
 
 Mas. Amer. v. 5, no. 6. Dec. 22, 190G. p. 7.) 
 il. Puccini in his study. 
 
 — The musical message of Puccini; a review of Dry, 
 Wakeling. Giacomo Puccini, (in Cur. Lit. v. 42. 
 May. 1907. p. 549-51.) 
 
 Elson, Arthur. Puccini, (in his History of opera. 
 
 1906. p. 302-14.) 
 
 Elson, Arthur. Puccini. (in his Modern com- 
 posers of Europe. 1905. p. 170-4.) 
 
 Gilman, Lawrence. Life of Puccini. (in his 
 
 Eminent foreign composers as guests of America. 
 R. of R. V. 34. Dec. 1906. p. 698-702.) 
 
 — Gilman, Lawrence. Puccini, (in his Aspects of 
 modern opera. 1909. p. 33-63.) 
 
 Streatfeild, R. A. Puccini, (in Grove's Dictionary 
 
 of music and musicians. 1908. v. 3, p. 847-8.) 
 
 — Streatfeild, R. A. Puccini, (in his Masters of 
 Italian music. 1895. p. 189-213.) 
 
 Streatfeild, R. A. Puccini, (in his The opera. 
 
 1897. p. 279-82.) 
 — The Covent Garden season, (in Sat. Rev. v. 77. 
 May 12, 1894. p. 494-5.) 
 
 Veit, Alfred. Puccini; rival of Mascagni and Leon- 
 
 cavallo, (in Music, v. 13. Jan. 1898. p. 296-300.) 
 
 — The clever Puccini, (in Mus. Cour. v. 44, no. 2. 
 Jan. 8. 1902. p. 22-3.) 
 
 Letter from Puccini, (in Mus. Cour. v. 46, no. 13. 
 
 Apr. 1, 1903. p. 24.) 
 — Puccini scores modern music, (in Mus. Amer. 
 V. 5. Dec. 1. 1906. p. 5.) 
 
 Gorst, Harold E. Puccini's record, (in Sat. Rev. 
 
 V. 103. Jan. 5. '07. p. 10-11.) 
 Review of W. Dry's Giacomo Puccini. 
 Puccini's operas, (in Nation, v. 84, Jan. 24, 1907. 
 
 p. 89.) 
 
 Puccini interviewed, (in Mus. Amer. v. 5, no. 11. 
 
 Jan. 26, 1907. p. 3.) 
 
 Puccini had to be tempted to study music, (in 
 
 Mus. Amer. v. 5. no. 11. Jan. 26, 1907. p. 14.) 
 — Puccini in America, (in Ind. v. 62. Jan. 31, 1907. 
 p. 255 6.) 
 
 Caruso entertains Puccini, (in Mus. Amer. v. 5. 
 
 no. 16. Mar. 2, 1907. p. 17.) 
 — His impressions of America. (in Mus. Amer. 
 V. 5. no. 17. Mar. 9. 1907. p. 3.) 
 Port, of Puccini. 
 
 75
 
 76 PUCCINI 
 
 Puccini, Giacomo, 1858-. Impressions of America, (in 
 Mus. Amer. v. 5, no. 22. Apr. 13. 1907. p. 17.) 
 
 Praises Americans as critics, (in Mus. Amer. v. 5, 
 
 no. 25. May 4. 1907. p. 15. 
 111. Puccini's triumphal return to Italy. From Ars et 
 Labor. Cartoon. 
 Sketch, (in Theatre, v. 9. June, 1909. p. 198.) 
 Portrait. (in Baker, Dictionary of musicians. 
 
 1900. p. 465; Cur. Lit. v. 39. Sept., 1905. p. 316; 
 
 Elson, Modern composers of Europe, p. 170; Etude. 
 V. 27. Oct., 1909. p. 663-4; Ind. v. 62. Jan. 31, 
 
 1907. p. 255; Munsey. v. 24. Mar., 1901. p. 881; 
 
 Munsey. v. 28, pt. 2. Mar., 1903. p. 932; Mus. 
 
 Amer. v. 5. no. 6. Dec. 22, 1906. p. 7; Mus. 
 
 Amer. v. 5. no. 17. Mar. 9, 1907. p. 3; R. of R. 
 
 V. 34. Dec. 1906. p. 699; Theatre, v. 9. June. 
 
 1909. p. 198.) 
 La Boheme. La Boheme; libretto with Italian and 
 
 English text; as sung by Ellis opera CO. 67 p. Boosey 
 
 & CO., 1898. 
 La Boheme. (in Famous composers and their works, 
 
 ed. byL. C. Elson; new ser., v. 2. 1900. p. 160.) 
 Elson. Arthur. La Boheme. (in his Critical 
 
 history of opera. 1901. p. 307-9.) 
 
 Hughes. Rupert. La Boheme. (in Hughes, 
 
 Rupert. Musical guide. 1903. p. 345-6.) 
 — Klein, Hermann. La Boheme. (in Klein, Her- 
 mann, Thirty years of musical life in London. 1903. 
 p. 436-7.) 
 
 Krehbiel. H: E: La Boheme (in his Chapters on 
 
 opera. 1909. p. 285-7.) 
 
 — Law, F: S. The Bohemians, (in Law. F: S. 
 Operatic tales. cl907. p. 324-38.) 
 
 — Mehtz. Leo. La Boheme. (in his Opera-goers' 
 complete guide. 1909. p. 173-5.) 
 
 — Singleton. Esther. La Boheme. (in her Guide to 
 modern opera. 1909. p. 178-94.) 
 
 Puccini's La Boheme. (in Music, v. 15. Dec, 
 
 1898. p. 215-17.) 
 — La Boheme in New York, (in Mus. Cour. v. 42, 
 no. 1. Jan. 2. 1901. p. 24.) 
 
 La Boheme in Berlin, (in Mus. Cour. v. 45, no. 4. 
 
 July 23. 1902. p. 5.) 
 — Puccini's opera a bone of contention, (in Mus. 
 Amer. v. 4. no. 22. Oct. 13, 1906. p. 7.) 
 
 Hammerstein may give La Boheme. (in Mus. 
 
 Amer. v. 5, no. 9. Jan. 12. 1907. p. 11) 
 
 Settlement of litigation between Conried and Hammerstein. 
 — La Boheme at the Manhattan Opera House, (in 
 Mus. Amer. v. 5, no. 17. Mar. 9. 1907. p. 4.) 
 La Boheme at Covent Garden, un Ath. v. 128. 
 
 Oct. 13, '06. p. 451; v. 129. May 25. '07. p. 643.) 
 
 May 25. '07; 128: 451. Oct. 13. '06) 
 Edgar. Elson. Arthur. Edgar, (in his Critical history 
 
 of opera. 1901. p. 304-5.) 
 Girl of the golden west. Puccini, Giacomo. America 
 
 as a centre of world opera. Cur. Lit. v. 50. Feb., 
 
 '11. p. 196-200. 
 Extended note on "Girl of the golden west" and Humper- 
 
 dinck's Konigskinder.
 
 PUCCINI 77 
 
 Madam Butterfly, Puccini, Giacomo. Madam But- 
 terfly. 3 V. Milano (etc.) Ricordi. cl907. 
 Full score, to be found in the Library of Congress. 
 
 Krehbiel, H: E: Madama Butterfly. (in his 
 
 Chapters on opera. 1909. p. 340-2.) 
 
 Law, F: S. Madam Butterfly, (in his Operatic 
 
 tales. cl907. p. 360-70.) 
 Melitz, Leo. Madam Butterfly, (in his Opera- 
 goers' complete guide. 1909. p. 238-40.) 
 
 Singleton. Esther. Madam Butterfly. (in her 
 
 Guide to modern opera. 1909. p. 274-92.) 
 — Madam Butterfly, (in Mus. Cour. v. 41, no. 13. 
 Sept. 26, 1900. p. 19.) 
 
 An Italian opera with a Japanese American theme. 
 
 (in Cur. Lit. v. 39. 1905. p. 316.) 
 Port, of Puccini and ref. to Lend. Times, Ath. and III. Lond. 
 News. 
 
 Puccini's best work, (in Mus. Amer. v. 4, no. 8. 
 
 July 7, 1906. p. 10.) 
 
 Brilliant audience delighted by Madam Butterfly 
 
 premiere, il. (in Mus. Amer. v. 4, no. 23. Oct. 20, 
 1906. p. 5.) 
 
 Madame Butterfly at Covent Garden, (in Ath. 
 
 V. 126. July 15. '06. p. 90-91; v. 29. May 25, '07. 
 p. 642; V. 128. Oct. 13. '06. p. 451; v. 130. Aug. 
 24. '07. p. 129; v. 130. Oct. 12, '07. p. 453.) 
 
 Madam Butterfly at Lyric Theatre, (in Ath. v. 130. 
 
 Aug. 24. '07. p. 219.) 
 
 Madam Butterfly in English. (in Mus. Amer. 
 
 V. 4. no. 25. Nov. 3. 1906. p. 14.) 
 
 K., P. M. Madam Butterfly captivates New 
 
 York audiences, (in Mus. Amer. v. 5, no. 1. Nov. 17. 
 1906. p. 5.) 
 Three ill. of scenes. 
 Oilman, Lawrence. A new opera and a new con- 
 ductor, (in Harp. W. v. 50. Nov. 24, 1906. p. 1686.) 
 Madam Butterfly. (in Mus. Amer. v. 5. no. 3. 
 
 Dec. 8, 1906. p. 4.) 
 
 Paris likes "Butterfly." (in Mus. Amer. v. 5, no. 
 
 8. Jan. 5, 1907. p. 7. one-fifth col.) 
 
 Indianapolis hears Madam Butterfly, (in Mus. 
 
 Amer. v. 5, no. 10. Jan. 19. 1907. p. 5.) 
 — Chicago applauds Madam Butterfly. (in Mus. 
 Amer. v. 5, no. 11. Jan. 26. 1907. p. 7.) 
 
 Madama Butterfly in Italian at the Metropolitan 
 
 Opera House, N. Y. city, (in Mus. Amer. v. 5, no. 
 14. Feb. 16. 1907. p. 4.) 
 
 Milwaukee hears Madam Butterfly. (in Mus. 
 
 Amer. v. 5. no. 14. Feb. 16, 1907. p. 7.) 
 
 Minneapolis hears Madam Butterfly, (in Mus. 
 
 Amer. v. 5, no. 15. Feb. 23, 1907. p. 16.) 
 
 Madam Butterfly in Buffalo. (in Mus. Amer. 
 
 V. 5. no. 23. Apr. 20, 1907. p. 8.) 
 
 Madam Butterfly in Brooklyn. il. (in Mus. 
 
 Amer. v. 5, no. 24. Apr. 27, 1907. p. 5.) 
 
 Madame Butterfly again in English, il. (in Mus. 
 
 Amer. v. 6. no. 23. Oct. 19, 1907. p. 21.) 
 
 Oilman, Lawrence. Madam Butterfly again, il. 
 
 (in Harp. W. v. 51. Oct. 26. 1907. p. 1572.)
 
 78 PUCCINI 
 
 Msnon Lescaut. Puccini, Giacomo. Manon Lescaut. 
 
 3 V. Milan, G. Ricordi. cl893. 
 
 The full score: to be found in the Library of Congress. 
 Elson, Arthur. Manon Lescaut. (in his Critical 
 
 history of opera. 190L p. 305-7.) 
 Krehbiel, H: E: Manon Lescaut. (in his Chapters 
 
 on opera. 1909. p. 337-40.) 
 Singleton, Esther. Manon Lescaut. (in her Guide 
 
 to modern opera. 1909. p. 148-61.) 
 Manon Lescaut at Covent Garden, (in Ath. v. 103. 
 
 May 19. '94. p. 654-5; Acad. v. 45. May 19, '94. 
 
 p. 423.) 
 
 The opera, (in Sat. Rev. v. 77. May 19, 1894. 
 
 p. 525.) 
 
 Puccini's La Boheme and Manon Lescaut. (in 
 
 Music. V. 15. Dec, 1898. p. 215-17.) 
 
 Conried produces Manon Lescaut. (in Mas. Cour. 
 
 V. 5, no. 11. Jan. 26, '07. p. 13.) 
 
 Melitz, Leo. Manon Lescaut. (in his Opera-goers' 
 
 complete guide. 1909. p. 246-8.) 
 La Tosca. Elson, Arthur. La Tosca. (in his Critical 
 
 history of opera. 1901. p. 309-13.) 
 Klein, Hermann. La Tosca. (in his Thirty years of 
 
 musical life in London. 1903. p. 455-6.) 
 
 Krehbiel, H: E: La Tosca. (in his Chapters of 
 
 opera. 1909. p. 300-04.) 
 
 Law. F : S. La Tosca. (in his Operatic tales. cl907. 
 
 p. 348-59.) 
 
 Melitz, Leo. La Tosca. (in his Opera-goers' com- 
 plete guide. 1909. p. 193-5.) 
 
 Singleton, Esther. La Tosca. (in her Guide to 
 
 modern opera. 1909. p. 215-32.) 
 — Premiere, (in Mus. Cour. v. 40, no. 5. Jan. 31. 
 1900. p. 29.) 
 
 La Tosca in Rome, (in Mus. Cour. v. 40, no. 7. 
 
 Feb. 14, 1900. p. 35-6.) 
 
 Puccini's La Tosca. (in Sat. Rev. v. 90. July 14, 
 
 1900. p. 46-7.) 
 
 Runciman, J. F. Puccini and Kubelik. (in Sat. 
 
 Rev. V. 90. July 14, 1900. p. 81-2.) 
 
 Music in London, (in Mus. Cour. v. 41, no. 6. 
 
 Aug. 8. 1900. p. 17.) 
 
 La Tosca at Covent Garden, Lond. (in Ath. July 
 
 21, 1900, p. 96.) 
 
 • La Tosca in Naples, (in Mus. Cour. v. 42, no. 4 
 
 Jan. 23, 1901. p. 21.) 
 Tosca at Metropolitan Opera House, (in Mus. 
 
 Cour. V. 42, no. 6. Feb. 6, 1901. p. 24-5.) 
 Tosca in Boston, (in Mus. Cour. v. 42, no. 15. 
 
 Apr. 10, 1901. p. 18.) 
 
 La Tosca in Dresden, (in Mus. Cour. v. 45, no. 23. 
 
 Dec. 3, 1902. p. 5.) 
 — The Grau opera, (in Mus. Cour. v. 45, no 25. 
 Dec. 17, 1902. p. 33.) 
 
 Tosca in Brooklyn, (in Mus. Cour. v. 47, no. 15. 
 
 Oct. 7. 1903. p. 8.) 
 
 La Tosca in Paris, (in Mus. Cour. v. 47, no. 18. 
 
 Oct. 28, 1903. p. 8. 9-10.)
 
 PUCCIXI 79 
 
 La Tosca. Immense audience greets Emma Eames. 
 
 (in Mus. Amer. v. 5. no. 9. Jan. 12, 1907. p. 4.) 
 Savage opera reaps success, (in Mus. Cour. v. 48, 
 
 no. 2. Jan. 13. 1904. p. 17.) 
 
 La Tosca in Paris, (in Mus. Cour. v. 48, no. 3. 
 
 Jan. 20, 1904. p. 6.) 
 La Tosca at Covent Garden. (in Ath. v. 128. 
 
 Oct. 20. 1906. p. 487; v. 129. June 22, 1907. p. 770; 
 
 V. 130. Oct. 26, 1907. p. 526.) 
 Portrait of Emma Eames as Tosca. (in Harp. W. 
 
 V. 51. Mar. 9, 1907. p. 352.) 
 Oilman L. Production of La Tosca. (in Harp. W. 
 
 V. 52. Nov. 21, 1908. p. 28.) 
 Le villi. Elson, Arthur. Le villi, (in his Critical his- 
 tory of opera. 1901. p. 304.) 
 
 Melitz, Leo. Le villi, (in his Opera-goers' complete 
 
 guide. 1909. p. 214-16.) 
 Singleton, Esther. Le villi. (in her Guide to 
 
 modern opera. 1909. p. 93-7.) 
 Production at Metropolitan Opera House. (in 
 
 Theatre, v. 9. Feb., 1909. p. 42.)
 
 STRAUSS 
 
 Strauss, Richard, 1864-. Bloomfield. Daniel. 
 
 Bibliography of Straussiana. (in Musician, v. 15, 
 Feb., 1910.) p. S7. 
 
 De Koven, Reginald. The modern revolt in music. 
 
 (in N. Am. Rev. v. 186. Nov., 1907. p. 360-9.) 
 Sketch, (in Baker, Dictionary of musicians. 1900. 
 
 p. 567.) 
 
 Elson, Arthur. Richard Strauss, (in his Modern 
 
 composers of Europe. 1905. p. 1-26.) 
 
 Gilman, Lawrence. Richard Strauss. (in his 
 
 Aspects of modern opera. 1909. p. 67-105.) 
 
 Gilman, Lawrence. Achievement of Richard 
 
 Strauss. (in his Phases of modern music. 1904. 
 p. 3-25.) 
 
 Henderson, W. J. Richard Strauss. (in his 
 
 Modern musical drift. 1904. p. 98-168.) 
 — Huneker, J. G. Richard Strauss, (in Hughes, 
 Rupert, Musical guide. 1903. p. 753-4.) 
 
 Huneker, J. G. Richard Strauss, (in his Overtones 
 
 1904. p. 1-63.) 
 
 — Klein, Hermann. Richard Strauss, (in his Thirty 
 
 years of musical life in London. 1903. p. 408.) 
 
 Kobbe, Gustav. Richard Strauss and his music. 
 
 (in his How to appreciate music. 1906. p. 207-23.) 
 — Maitland, J. A. Fuller-. Strauss, (in Grove's 
 Dictionary of music and musicians. 1908. v. 4, p. 
 717-20.) 
 
 Maitland. J. A. Fuller-. Richard Strauss, (in his 
 
 Masters of German music. 1894. p. 268-76.) 
 
 Newman, Ernest. Richard Strauss. 144 p. Lane, 
 
 1908. 
 
 Newman, Ernest. Richard Strauss and the music of 
 
 the future, (in his Musical studies. 1905. p. 249- 
 304.) 
 
 Paine, J. K. Richard Strauss, (in Famous com- 
 posers and their works. 1891. v. 2, p. 601.) 
 
 Streatfeild, R. A. Richard Strauss, (in his Modern 
 
 music and musicians. 1906. p. 326—45.) 
 
 Strauss, (in Sat. rev. v. 84, p. 661. 1898.) 
 
 Symons Arthur. The music of Richard Strauss. 
 
 (in Monthly Rev. v. 9 no. 3: p. 80. Rep. in Liv. Age. 
 
 236: p. 113.) 
 
 Symons, Arthur. Strauss, (in his Studies in seven 
 
 arts. 1906. p. 301-28.) 
 
 — Thus spake Richard Strauss, (in Mus. Cour. v. 40, 
 no. 13. Mar. 28, 1900. p. 25-6.) 
 
 — Richard Strauss, (in Mus. Cour. v. 40, no. 17. 
 Apr. 25. 1900. p. 19-20.) 
 
 Bird. Arthur. Richard Strauss, (in Mus. Cour. 
 
 V. 41, no. 25. Dec. 19, 1900. p. 32.) 
 — Strauss, (in Mus. Stand. Dec. 29, 1900.) 
 
 80
 
 STRAUSS 81 
 
 Strauss, Richard, 1864-. Richard Strauss, (in Mus- 
 Cour. V. 42. no. 3. Jan. 16, 1901. p. 25.) 
 
 Richard Strauss, (in Mus. Cour. v. 42, no. 24. 
 
 June 12. 1901. p. 19-20.) 
 
 Strauss, (in Mus. Cour. v. 44, no. 8. Feb. 19, 
 
 1902. p. 20.) 
 — Strauss in London. (in Mus. Cour. v. 44, no. 9. 
 Feb. 26, 1902 p. 33.) 
 
 Strauss contra Wagner, (in Mus. Cour. v. 44, 
 
 no. 11. Mar. 12. 1902. p. 22-4.) 
 Brecher, Gustav. Richard Strauss. (in Mus. 
 
 Cour. V. 44, no. 13. Mar. 26, 1902. p. 23-4.) 
 Review of Brecher's book. 
 Strauss, (in Mus. Cour. v. 44, no. 15. Apr. 9, 
 
 1902. p. 20.) 
 Strauss, (in Mus. Rec. &Rev. Apr., 1902. p. 31- 
 
 34.) 
 Marnold, M. Richard Strauss, (tr. in Music. 
 
 Apr., 1902. V. 21, p. 371-82; Sept.. 1902, v. 22, p. 
 
 28-39; Oct., 1902, v. 22, p. 101-10.) 
 Hanslick contra Strauss, (in Mus. Cour. v. 44, 
 
 no. 20. May 14, 1902. p. 22-3.) 
 
 Strauss in London, (in Mus. Cour. v. 44, no. 22. 
 
 May 28, 1902. p. 25.) 
 Kobbe, Gustav. Richard Strauss and his music. 
 
 (in No. Amer. Rev. v. 174. June, 1902. p. 785-95.) 
 Strauss, (in Mus. Stand. June 21, 1902. p. 390- 
 
 1, 393^.) 
 Strauss in London, (in Mus. Cour. v. 44, no. 26. 
 
 June 25. 1902. p. 14.) 
 Runciman, J. F. Concerning Richard Strauss, (in 
 
 Mus. cour. V. 44. no. 26. June 25, 1902. p. 17.) 
 Critical sketches, (in Mus. Cour. v. 45, no. 1. 
 
 July 2, 1902. p. 1, 5. 16, 17-19.) 
 
 Strauss, (in Mus. Cour. v. 45, no. 2. July 9, 1902. 
 
 p. 19-20.) 
 
 Runciman, J. F. Strauss, Huneker and others. 
 
 (in Sat. Rev. v. 94. July 19, 1902. p. 75-76.) 
 Does not discuss the operas. 
 
 Strauss is interviewed, (in Mus. cour. v. 45, no. 4. 
 
 July 23, 1902. p. 17.) 
 
 Richard Strauss' compositions. (in Mus. Cour. 
 
 V. 45, no. 5. July 30. 1902. p. 5-6.) 
 
 Modern song writer, (in Outlook, v. 71. Aug. 2, 
 
 1902. p. 876-7.) 
 
 Strauss in London, (in Mus. Cour. v. 45, no. 6. 
 
 Aug. 6. 1902. p. 5.) 
 Henderson, VV. J. The future of orchestral music. 
 
 Strauss, (in Atlan. Mo. v. 91. Jan., 1903. p. 
 
 70-7.) 
 Newman, Ernest. Richard Strauss and the music 
 
 of the future, (in Fortn. Rev. v. 79. Jan., 1903. 
 
 p. 30-15.) 
 Strauss, (in Mus. Times (Lond.). v. 44. Jan., 
 
 1903. p. 9-15.) 
 — Strauss, (in New York Tribune. Jan. 4. 1903. 
 
 p. 3.) 
 
 Critical sketch, (in Mus. Cour. v. 46, no. 1. 
 
 Jan. 7, 1903. p. 22, 29.)
 
 82 STRAUSS 
 
 Strauss, Richard, 1864-. Symons, Arthur. Music of 
 
 Richard Strauss, (in Liv. Age. v. 236. Jan. 10, 
 
 1903. p. 113-19.) 
 From the Monthly Rev. 
 G., C. L. Richard Strauss, (in Spectator, v. 90. 
 
 Jan. 24, 1903. p. 129-30.) 
 Strauss, (in Mus. Cour. v. 46. no. 4. Jan. 28. 
 
 1903. p. 5.) 
 Review of Newman's article in Fortnightly Review. 
 Newman, Ernest. Richard Strauss and the music 
 
 of the future, (in Cur. Lit. v. 34. Feb.. 1903. p. 
 
 Comment with quotations on Henderson's article in Atlan. 
 mo., Jan.. 1903. 
 
 Strauss the successor of Wagner, (in Mus. Cour. 
 
 V. 46, no. 6. Feb. 11, 1903. p. 20.) 
 
 Strauss, (in Mus. Cour. v. 46, no. 16. Apr. 22, 
 
 1903. p. 8.) 
 
 Modern music dilemma, (in Mus. Cour. v. 46, 
 
 no. 17. Apr. 29, 1903. p. 20-1.) 
 
 Keeton, A. E. Richard Strauss as man and mu 
 
 sician. (in Contemp. Rev. v. 83. June, 1903. p. 
 845-54.) 
 
 Strauss, (in New York Tribune. June 14. 1903. 
 
 p. 8.) 
 Strauss, (in Mus. Cour. v. 47. no. 3. July 15, 
 
 1903. p. 18.) 
 
 Strauss, (in Mus. Stand. Sept. 2. 1903.) 
 
 Richard Strauss festival in N. Y. (in Mus. Cour. 
 
 V. 47. no. 17. Oct. 21. 1903. p. 46.) 
 Riciiard Strauss, (in Mus. Cour. v. 47. no. 18. 
 
 Oct. 28. 1903. p. 25.) 
 Richard Strauss, (in Mus. Cour. v. 48. no. 6. 
 
 Feb. 10. 1904. p. 23.) 
 
 Strauss, (in New York Tribune. Feb. 28. 1904. 
 
 p. 9.) 
 
 Harris, G. W. Richard Strauss and his music. 
 
 (in Ind. v. 56. Mar. 3, 1904. p. 490-94.) 
 
 Strauss, (in New York Tribune. Mar. 4, 1904. 
 
 p. 9.) 
 
 Richard Strauss; an estimate (in Harp. W. v. 48. 
 
 Mar. 5. 1904. p. 373.) 
 
 Strauss, (in New York Tribune. Mar. 10. 1904. 
 
 p. 9.) 
 
 Richard Strauss, (in Bk. News. v. 22. Apr.. 1904. 
 
 p. 863.) 
 
 Oilman, Lawrence. Richard Strauss; an appre- 
 ciation, (in Critic, v. 44. Apr., 1904. p. 352-4.) 
 Sketch, (in Cur. Lit. v. 36. Apr., 1904. p. 402-4, 
 
 437-9.) 
 
 Port, of Strauss, p. 403, from Town and Country, p. 437-9 
 summary and quotations from Keeton in Cont. Rev.. June, 1903 
 and Huneker in Scr. Mag., Mar., 1904 and Harris in Ind., 
 Mar. 3, 1904. , ,^„^ 
 
 Strauss, (in Etude, v. 22, no. 4. Apr., 1904. 
 
 p. 147.) 
 
 The man Richard Strauss, (in the Acad. v. 68. 
 
 Feb. 11, 1905. p. 131.) 
 
 Strauss, (in Musician, v. 10. no. 5. May, 1905. 
 
 p. 190.)
 
 STRAUSS 83 
 
 Strauss, Richard, 1864-. Has Strauss been outdone. 
 
 (in Mus. Amer. v. 3, no. 6. Dec. 23, 1905. p. 9.) 
 Strauss excoriated by Hermann Klein, (in Mus. 
 
 Amer. v. 3, no. 17. Mar. 10. 1906. p. 12.) 
 
 Dr. Muck discusses Richard Strauss and Salome. 
 
 (in Mus. Amer. v. 5, no. 13. Feb. 9, 1907. p. 16.) 
 
 New love poem, (in Harp. VV. 48: p. Apr. 2, "04.) 
 
 529. 
 
 Ziegler, E. Revolutionist, (in Bkman 23: Aug., 
 
 ■06.) p. 634-7. 
 
 Richard Strauss' extension of the boundaries of 
 
 musical expression, (in Cur. Lit. v. 44. May, 1908. 
 p. 542-3.) 
 
 A summary with quotations from R. DeKoven's Modem 
 revolt in music, N. Am. Rev. 186: 360-9. 
 
 Strauss, (in Bost. Transcript. Oct. 5, 1908. p. 13.) 
 
 Strauss, (in Bost. Transcript. Oct. 7, 1908. p. 23.) 
 
 Richard Strauss, (in Nation, v. 87. Oct. 29, 1908. 
 
 p. 420.) 
 Review of Newman, E., Richard Strauss and the music of 
 the future. 
 Gilman, La\vrence. Study of Richard Strauss. 
 
 (in No. Amer. Rev. v. 188. Dec. 1908. p. 934-7.) 
 Mendelssohn and Strauss, (in Nation, v. 88. 
 
 Feb. 4, 1909. p. 122-3.) 
 
 Strauss, (in Athena?um. May 22, 1909. p. 020.) 
 
 Gideon. H: L. Music dramas of Richard Strauss. 
 
 (in Forum, v. 43. Apr.. 1910. p. 381-7.) 
 
 The composer of Salome and Elektra. (in Lit. 
 
 Digest. V. 40. Apr. 9. 1910. p. 731-2.) 
 
 From London Daily Mail. 
 — Portraits. Baker, Dictionary of musicians. 
 1900. p. 567; Bk. News. v. 22. Apr.. 1904. p. 863; 
 Cent. V. 75. Feb.. 1908. p. 497; Critic, v. 44. Apr., 
 1904. p. 304; Cur. Lit. v. 36. 1904. p. 402; 
 Elson, Arthur, Modern composers of Europe. 1905. 
 p. 1-26; Famous composers and their works. 1891. 
 V. 2. p. 604; Harp. W. v. 48. Mar. 5, 1904. p. 
 373; 111. Lond. N. v. 134. Jan. 23, 1909. p. 148; 
 Mus. Cour. V. 45. no. 1. July 2. 1902. p. 1; Mus. 
 Cour. V. 46, no. 1. Jan. 17, 1903. p. 1; Mus. Cour. 
 V. 47, no. 17. Oct. 21, 1903. p. 1; Munsey. 1903. 
 V. 30, p. 207; Theatre, v. 9. Apr., 1909. p. 12S; W. 
 W. V. 13. Mar., 1907. p. 8591; Cur. Lit. 46: 432, 
 Apr., '09; 111. Lond. N. 134: 148, Ja. 23, '09; 135: 
 262, Aug. 21, '09; Craftsman 17: 283, Dec, '09 (in 
 group).) 
 
 Portraits at various ages, (in 111. Lond. N. v. 134, 
 
 Feb. 6, 1909. p. 190.) 
 Electra. Hofmansthal, Hugo von. Electra, a tragedy 
 in one act; tr. by Arthur Symons. Brentanos, cl908. 
 The play from which the opera was taken. 
 
 Hofmannsthal's sensational tragedy, il. (in Cur. 
 
 Lit. Apr., 1908. v. 44, p. 429-32.) 
 
 Hutcheson, Ernest. Elektra. Schirmer, 1910. 
 
 Singleton, Esther. Electra. (in her Guide to 
 
 modern opera. 1909. p. 312-30.) 
 
 Elektra, another sensational work, (in Mus. Amer. 
 
 v. 6. no. 24. Oct. 26. '07. p. 2.)
 
 84 STRAUSS 
 
 Electra. Production at Garden Theatre, N. Y. city, 
 (in Theatre, v. 8. Mar.. 1908. p. 60.) 
 
 Portrait of Frau Krull as Elektra. (in 111. Lond. N. 
 
 V. 134. Jan. 30. 1909. p. 150.) 
 
 Premiere at Royal Opera House. Dresden, il. 
 
 (in Mus. Cour. v. 58. Feb. 17. 1909. p. 5-6.) 
 — Scenes from Electra. il. (in Harp. W. v. 53. 
 Mar. 27. 1909. p. 32.) 
 
 Musical value of Strauss' Elektra. il. (in Cur. Lit. 
 
 V. 46, Apr.. 1909. p. 431-5.) 
 
 Quotes from N. Y. Times; Bost. Transcript; Musical Leader 
 and Concert Goer, article by C.V. Kerr; Lond. Daily Telegraph; 
 Mus. Courier; Manchester Guardian by E. Newman. 
 
 Portrait of Strauss. 
 
 Cartoon in "Jugend" of Dresden Opera House after the 
 storm. 
 
 Schumann-Heink as Electra from N. Y. Times and one 
 scene, also from N. Y. Times. 
 
 Elektra. (in Lond. Times. Apr. 19. 1909. p. 8.) 
 
 Elektra. (in Lond. Times. Apr. 21. 1909. p. 10.) 
 
 Elektra. (in Lond Times. Apr. 24. 1909. p. 15.) 
 
 Elektra. (in Monthly journal of International 
 
 Musical Society. Apr., 1909.) 
 Synopsis and criticism of Elektra. il. (in Theatre. 
 
 V. 9. Apr.. 1909. p. 128-9.) 
 Premiere at Royal Opera House, Dresden, il. 
 
 (in Craftsman, v. 17, Dec, 1909. p. 281-95.) 
 
 Strauss' Elektra. (in Bost. Transcript. Feb. 2, 
 
 1910.) 
 
 Gilman, Lawrence. Strauss' Electra. (in Harp. W. 
 
 V. 54. Feb. 12. 1910. p. 25.) 
 
 American reception of Strauss' Elektra. il. (in 
 
 Cur. Lit. V. 48. Mar., 1910. p. 322-5.) 
 
 Quotes A. Farwell in Mus. Amer.; Mus. Courier; Henderson 
 in N. Y. Sun; Finck in Ev. Post.; Krehbiel in N. Y. Tribune; 
 Cartoon from Fliegende Blatter and three half tones of char- 
 acters in opera. 
 
 Baughan, E: A. Strauss' Elektra and the future 
 
 of music drama, (in Liv. Age. v. 265. Apr. 30, 1910. 
 p. 265-70.) 
 From English Review. 
 
 Elektra at the Manhattan Opera House, (in Mus. 
 
 Cour. V. 60, no. 14. Apr. 6, 1910. p. 31.) 
 Bernard Shaw's glorification of Elektra. (in Cur. 
 
 Lit. V. 48. May, 1910. p. 536-7.) 
 Feuersnot. Strauss. Richard. Feuersnot; ein sing- 
 
 gedicht in einem akt von Ernst von Wolzogen. Opus 
 
 50, 331 p. Berlin. Adolph Furstner. cl901. 
 The full score; to be found in the Library of Congress. 
 
 Melitz. Leo. Feuersnot. (in his Opera-goers' com- 
 plete guide. 1909. p. 118-19.) 
 
 Feuersnot. (in Mus. Wld. Jan.. '02. p. 157-8.) 
 
 Feuersnot in Vienna, (in Mus. Cour. v. 44. no. 10, 
 
 Mar. 5, 1902. p. 12.) 
 
 Feuersnot in Berlin, (in Mus. Cour. v. 45, no. 21, 
 
 Nov. 19, 1902. p. 5.)
 
 STRAUSS 85 
 
 Guntram. Strauss, Richard. Guntram; in drei Auf- 
 ziigen. Dichtung und Musik von R. Strauss. Opus 25, 
 525 p. Miinchen, Jos. Aible, cl895. 
 Full score; to be found in the Library of Congress. 
 
 Floersheim, Otto. First performance in Weimar. 
 
 (in Mus. Cour. v. 28. no. 23. June 6. 1894. p. 11-12.) 
 Melitz, Leo. Guntram. (in his Opera-goers' 
 
 complete guide. 1909. p. 13&-8.) 
 
 Guntram in Berlin, (in Mus. cour. June 20, 1901. 
 
 V. 42, no. 26, p. 5-6.) 
 
 Guntram. (in Boston Symphony Orchestra pro- 
 
 gram. 1904-5. no. 4, p. 222-7.) 
 
 Salome. Wilde, Oscar. Salome; a tragedy, with six- 
 teen full page illustrations by Aubrey Beardsley. 
 N. Y. Lane, 1906. S3.50. 
 The play from which the opera was taken. 
 Small ed. Lane. 
 
 Strauss, Richard. Salome; dramma musicale in 
 
 un atto di Oscar Wilde; tradotto da Alex. Lewington. 
 Opus. 54. 352 p. Berlin, Adolph Furstner, cl906. 
 Strauss, Richard. Salome; drame musicale en 
 
 un acte, poeme de Oscar Wilde. 352 p. Opus. 54. 
 Berlin, Adolph Furstner, cl906. 
 Full score; to be found in the Library of Congress. 
 
 Strauss, Richard. Salome; drama in einem Auf- 
 
 zuge nach Oscar Wilde's gleichnamiger Dichtung in 
 deutscher Ubersetzung von Hedwig Lachmann. Opus. 
 54. 352 p. Berlin, Adolph Furstner, cl905. 
 Full score; to be found in the hbrary of Congress. 
 Chop, Max. Strauss' Salome. Leipzic Reclam, 
 
 1907. (Universal Bibliothek 4955.) 
 — Oilman, Lawrence. Strauss' Salome; a guide to 
 the opera, with musical illustrations. Lane, 1906. 
 Gilman, Lawrence. Strauss' Salome. (in his 
 
 Musicof tomorrow and other studies. 1907. p. 81-98.) 
 — Krehbiel, H: E. Salome, (in his Chapters of 
 opera. 1909. p. 343-57.) 
 
 Melitz, Leo. Salome, (in his Opera-goers' com- 
 
 plete guide. 1909. p. 337-8.) 
 
 Singleton, Esther. Salome. (in her Guide to 
 
 modern opera. 1909. p. 293-311.) 
 
 — Salome, (in Mus. Stand. Dec. 16, 1905. p. 385.) 
 
 — Salome, (in Mus. Cour. Jan. 3. 1906. p. 5.) 
 
 — Strauss' Salome scores an overwhelming success, 
 (in Mus. Amer. v. 3. no. 8. Jan. 6. 1906. p. 9.) 
 
 Richard Strauss' Salome; the musical sensation of 
 
 the winter, (in Cur. Lit. v. 40. 1900. p. 307-10.) 
 Quotes from German papers and London Truth. 
 Portraits of Strauss and his wife. 
 Cartoon from "Jugend." 
 — Salome motifs dissected, (in Mus. Amer. v. 3, 
 no. 19. Mar. 24, 1906. p. 13.) 
 
 Salome in Leipzic. (in Mus. Amer. v. 4, no. 6. 
 
 June 23. 1906, p. 7.) 
 
 Thus spake Richard Strauss, (in Mus. Amer. 
 
 V. 4, no. 10. July 21. 1906. p. 6.) 
 
 Schneider, Louis. Salome's success. (in Mus. 
 
 Amer. v. 4, no. 13. Aug. 11, 1906. p. 2.)
 
 86 STRAUSS 
 
 Salome. Reception of Salome in N. Y. (in Mus. 
 
 Amer. v. 4, no. 20. Sept. 29. 1906. p. 5.) 
 Gilman, Lawrence. Richard Strauss' Salome. 
 
 (in No. Amer. Rev. v. 184. Jan., 1907. p. 180-5.) 
 Paris sopranos at odds over "Salome." (in Mus. 
 
 Amer. v. 5, no. 8. Jan. 5. 1907. p. 6.) 
 — Salome in Milan, (in Mus. Amer. v. 5, no. 9. 
 Jan. 12, 1907. p. 11-12.) 
 In Milan p. 11, one-sixth col. 
 In Berlin p. 11, one-fourth col. 
 VV. J. Henderson's lectures on Salome reviewed. 
 
 (in Mus. Amer. v. 5, no. 10. Jan. 19, 1907. p. 5.) 
 
 Richard Strauss' Salome. (in Nation, v. 84, 
 
 Jan. 24, 1907. p. 89.) 
 
 Chilton, C. B. Salome, a septic opera, (in Ind. 
 
 V. 62. Jan. 24, 1907. p. 186-8.) 
 
 Salome, (in Musician, v. 11, no. 5. p. 249-50.) 
 
 Gilman, Lawrence. Strauss' Salome. il. (in 
 
 Harp. W. V. 51. Jan. 26, 1907. p. 132; 53: Feb. 
 
 6. '09.) p. 27. 
 Salome creates a sensation at the Conried benefit. 
 
 il. (in Mus. Amer. v. 5, no. 11, Jan. 26. 1907. 
 
 p. 1 cont. on p. 8.) 
 
 Richard Strauss' Salome, il. (in Ind. v. 62. 
 
 Jan. 31, 1907. p. 252-5.) 
 
 Salome is barred from the Metropolitan Opera 
 
 House, (in Mus. Amer. v. 5, no. 12. Feb. 2, 1907. 
 p. 1 cont. on p. 8.) 
 
 Gilman, Lawrence. A maleficent music drama, il. 
 
 (in Harp. W. v. 51. Feb. 9, 1907. p. 206.) 
 
 Salome, (in Outlook, v. 85. Feb. 9, 1907. p. 
 
 294-5.) 
 
 Conried will give Salome on tour, (in Mus. Amer. 
 
 V. 5. no. 15. Feb. 23, 1907. p. 1.) 
 
 Emil Paur, conductor of the Pittsburg orchestra, 
 
 gives opinion of Salome, (in Mus. Amer. v. 5, no. 15, 
 Feb. 23, 1907. p. 7.) 
 
 Seven veil music at the Metropolitan, (in Mus. 
 
 Amer. v. 5, no. 16. Mar. 2, 1907. p. 2.) 
 
 Strauss making a standard interpretation of the 
 
 Salome music, il. (in Mus. Amer. v. 5, no. 17, Mar. 
 
 9. 1907, p. 18.) 
 Salome dropped, (in Mus. Amer. v. 5, no. 17. 
 
 Mar. 9, 1907. p. 1.) 
 Salome; the storm centre of the musical world. 
 
 (in Cur. Lit. v. 42. Mar., 1907. p. 294-8.) 
 Richard Strauss and the music of the future, (in 
 
 R. of R. v. 35. Mar., 1907. p. 354-5.) 
 Cost of withdrawing Salome, (in Mus. Amer. 
 
 V. 5. no. 17. Mar. 9, 1907. p. 17.) 
 Burlesque on Strauss' music drama, (in Mus. 
 
 Amer. v. 5, no. 18. Mar. 16, 1907. p. 14.) 
 
 Madame Fremstadt tells why opera was dropped. 
 
 (in Mus. Amer. v. 5, no. 22. Apr. 13, 1907. p. 21.) 
 — Paris audience cheers Salome, (in Mus. Amer. 
 v. 5. no. 26. May 11, 1907. p. 21.) 
 
 Too many Salomes spoil the opera, (in Mus. Amer. 
 
 V. 6. no. 2. May 25. 1907. p. 17.)
 
 STRAUSS 87 
 
 Salome. Salome in Paris, with portraits of Fremstadt, 
 Kam, Destinn and Larsen as Salome, (in Mus. Amer. 
 V. 6. no. 11. July 27. 1907. p. 7.) 
 
 Portrait of Maud Allen as Salome, (in Theatre. 
 
 V. 8. Sept.. 1908. p. 235.) 
 
 The vulgarization of Salome, (in Cur. Lit. v. 45. 
 
 Oct.. 1908. p. 437-40.) 
 
 Quotes Henderson in N. Y. Sun; N. Y. World; Evening Mail; 
 N. Y. Times. 
 
 Portrait of Emmy Destinn as Salome, (in Theatre. 
 
 V. 8. Dec. 1908. p. 335.) 
 
 Production at Manhattan Opera House, (in Mus. 
 
 Cour. V. 58. Feb. 3. 1909. p. 23-6.) 
 
 Gilman, L. Strauss' Salome again, (in Harp. W. 
 
 53: Feb. 6. '09) p. 27. 
 
 Production at Manhattan Opera House. (in N. 
 
 Music R. V. 8. Mar.. 1909. p. 219-20.) 
 
 Production at Manhattan Opera House, (in Crafts- 
 
 man. V. 15. Mar.. 1909. p. 741-2.) 
 — Production of Salome at Manhattan Opera House, 
 il. (in Theatre, v. 9. Mar.. 1909. p. 76-8.) 
 
 Portrait of Hedwig Reicher as Salome, (in Every- 
 
 body's, v. 20. Apr., 1909. p. 564.) 
 — Portrait of Bellincioni as Salome, (in Mus. Cour. 
 
 V. 59, no. 5. Sept. 22. 1909. p. 5.) 
 Maud Allen. Port, as Salome, (in Theatre 9: 130. 
 
 Apr., 1909.) 
 Portrait of Frau Krull as Salome, (in Craftsman. 
 
 v. 17. Dec, 1909. p. 284.)
 
 ABBREVIATIONS FOR PERIODICALS 
 REFERRED TO IN PART II 
 
 Acad. 
 
 Atlan. Mo. 
 
 Bkman. 
 
 Bk. News. 
 
 Cent. 
 
 Contemp. 
 
 Craftsman. 
 
 Critic. 
 
 Cur. Lit. 
 
 Dial. 
 
 Etude. 
 
 Everybody's. 
 
 Fortn. Rev. 
 
 Forum. 
 
 Gaz. d. Beaux Arts. 
 
 Harp. W. 
 
 111. Lond. N. 
 
 Ind. 
 
 Internat. Stud. 
 
 Lit. Digest. 
 
 Liv. Age. 
 
 Munsey. 
 
 Music. 
 
 Mus. Amer. 
 
 Mus. Cour. 
 
 Mus. Rec. & Rev. 
 
 Mus. Stand. 
 
 Mus. Times. 
 
 Mus. Wld. 
 
 Musician. 
 
 Nation. 
 
 No. Amer. Rev. 
 
 19th Cent. 
 
 Outlook. 
 
 Put. Mo. 
 
 R. of R. 
 
 Sat. Rev. 
 
 Spectator. 
 
 Theatre. 
 
 W. W. 
 
 The Academy. 
 
 Atlantic Monthly. 
 
 Bookman. 
 
 Book News. 
 
 Century magazine. 
 
 Contemporary Review. 
 
 Craftsman. 
 
 Critic. 
 
 Current Literature. 
 
 Dial. 
 
 Etude. 
 
 Everybody's Magazine. 
 
 Fortnightly Review. 
 
 Forum. 
 
 Gazette des Beaux arts. 
 
 Harper's Weekly. 
 
 Illustrated London News. 
 
 Independent. 
 
 International Studio. 
 
 Literary Digest. 
 
 Living Age. 
 
 Munsey's Magazine. 
 
 Music. 
 
 Musical America. 
 
 Musical Courier. 
 
 Musical Record and Review. 
 
 Musical Standard. 
 
 Musical Times. 
 
 Musical World. 
 
 Musician. 
 
 Nation. 
 
 No. American Review. 
 
 Nineteenth Century. 
 
 Outlook. 
 
 Putnam's Monthly. 
 
 Review of Reviews. 
 
 Saturday Review. 
 
 Spectator. 
 
 Theatre. 
 
 World's Work.
 
 TITLE -INDEX 
 
 OF 
 
 PLAYS AND OPERAS 
 
 Page 
 
 Admirable Bashville 64 
 
 Aglavaine and Selysette 41, 45 
 
 (L')Aiglon 55. 59 
 
 AUadine and Palomides 41 
 
 Amazons 50 
 
 And Pippa Dances 17, 21 
 
 Ariane and Barbe Bleu 44, 45 
 
 Arme Heinrich 23 
 
 Arms and the man 61, 62 
 
 Beauty stone 55 
 
 Bed of roses 34 
 
 Before dawn 21 
 
 Before sunrise, see Before dawn 
 
 Benefit of the doubt 50 
 
 Blind (The) 41, 42, 43 
 
 Blue bird 42 
 
 (La) Boheme 76 
 
 Brand 25 
 
 Breaking a butterfly 34 
 
 Bygones 56 
 
 Cabinet minister 50 
 
 Caesar and Cleopatra 61, 62 
 
 Caesar's apostasy, see Emperor and Galilean 
 
 Candida 61 . 62 
 
 Captain Brassbound's conversion 61, 62 
 
 Carnac Sahib 34 
 
 Case of rebellious Susan 34 
 
 Chance, the idol 39 
 
 Chantecler 58 
 
 Chatterton 39 
 
 Chevaleer 39 
 
 Clerical error 34 
 
 Coming of peace 21 
 
 Crusaders 34 
 
 Cyrano de Bergerac 58, 59 
 
 Daisy's escape 56 
 
 Dancing girl 34 
 
 Dandy Dick 50 
 
 Dark lady of the sonnets 66 
 
 Daughter of Jorio IS 
 
 89
 
 90 TITLE-INDEX 
 
 Page 
 
 Deacon 35 
 
 Dead city 18 
 
 Death of Tintagiles 41, 42 
 
 Devil's disciple 61, 62 
 
 Doctor's dilemma 61, 62 
 
 Doll's house 25. 26. 34 
 
 Dolly reforming herself 35 
 
 Dream of an autumn sunset 18 
 
 Dream of a spring morning 18 
 
 Edgar 76 
 
 Einsame menschen see Lonely lives 
 
 Electra 83. 84 
 
 Elektra see Electra 
 
 Elga 21, 24 
 
 Elopement 35 
 
 Emperor and Galilean, 25, 26 
 
 Emperor Julian see Emperor and Galilean 
 
 Enemy of the people 25, 26 
 
 Es lebe das leben see Joy of living 
 
 Eternal masculine 68 
 
 Evangelist 39 
 
 Fantasticks (Rostand) 58 
 
 Fantastics see Princess and the butterfly 
 
 Far away princess 68 
 
 Faust 48 
 
 Feast at Solhaug 25, 26 
 
 Feuersnot 84 
 
 Figlia di Jorio see Daughter of Jorio 
 
 Fires of St. John 67 
 
 Florian Geyer 24 
 
 Francesca da Rimini 18, 20 ,49 
 
 Friedensfest see Coming of peace 
 
 Fritzchen 68 
 
 Fuhrmann Henschel 21, 24 
 
 Gay Lord Quex 50 
 
 Getting married   61, 62 
 
 Ghosts 25, 26 
 
 Gioconda 19 
 
 Girl of the golden West 76 
 
 Girls and boys 56 
 
 Griselda 24 
 
 Guntram 85 
 
 Hannele 22. 23. 24 
 
 Harmony 35 
 
 Hearts of oak 35 
 
 Hedda Gabler 25. 27. 33 
 
 Herod 47 
 
 Hester's mystery 50 
 
 His house in order 51, 57 
 
 Hobby horse 51 
 
 Home 41, 42 
 
 Hoodman Blind 39 
 
 How he lied to her husband 61, 62 
 
 Hypocrites 35
 
 TITLE-INDEX 91 
 
 Page 
 
 Imprudence 56 
 
 In chancery 51 
 
 Interior see Home 
 
 Intruder 41, 42 
 
 Iris 51 
 
 Iron master 56 
 
 Johannes 67, 69 
 
 John Bull's other Island 61, 62 
 
 John the Baptist see Johannes 
 
 John Gabriel Borkman 25, 27 
 
 Joseph entangled 35 
 
 Joy of living 67 
 
 Joyzelle 43, 45 
 
 Judah 35 
 
 Kolster see Elga 
 
 Knife 39 
 
 Lachey's carnival 36 
 
 Ladv Bountiful 51 
 
 Lady from the sea 25, 26. 27, 33 
 
 Lady Inger of Ostrat 25, 27 
 
 Last visit 68 
 
 League of youth 25, 27 
 
 Letty 51 , 57 
 
 Liars 36 
 
 Little Eyolf 25, 27 
 
 Lonely lives 22 
 
 Lord Harry 39 
 
 Lords and commons 56 
 
 Love's comedy 25, 28 
 
 Low water 56 
 
 Madam Butterfly 77 
 
 Magda 68, 69 
 
 Magistrate 52 
 
 Maison neuve see Mayfair 
 Maitre des forges see Iron master 
 
 Major Barbara 61, 63 
 
 Man and Superman 64 
 
 Man of destiny 61, 63 
 
 Manoeuvres of Jane 36 
 
 Manon Lascaut 78 
 
 Margot 68 
 
 Martyrdom of St. Sebastian 19 
 
 Mary Magdalene 42 
 
 Masqueraders 36 
 
 Master builder 25. 28, 33 
 
 Mayfair 57 
 
 Michael and his lost angel 36 
 
 Michael Kramer 23 
 
 Mid-channel 52 
 
 Middleman 36 
 
 Mrs. Dane's defense 36 
 
 Mrs. Warren's profession 61. 63 
 
 Monev-spinner 52 
 
 Monna Vanna 42, 45. 46 
 
 Morituri f>8
 
 92 TITLE-INDEX 
 
 Page 
 
 Nero 47 
 
 Noble vagabond 39 
 
 Notorious Mrs. Ebbsmith 52 
 
 Old master 37 
 
 Paolo and Francesca 47, 49 
 
 Peer Gynt 25. 28 
 
 Pelleas and Melisande (Debussy) 73, 74 
 
 Pelleas and Melisande (Maeterlinck) 41, 43, 45 
 
 Philanderer 61, 63 
 
 Physician 37 
 
 Pietro of Siena 47 
 
 Pillars of Society 25, 28 
 
 Preserving Mr. Panmure 52 
 
 Pretenders 25, 29 
 
 Princess and the butterfly 52 
 
 Princess F'ar-away, see Princesse Lointaine 
 
 Princess Maleine 41, 44 
 
 Princess' nose 39 
 
 Princesse Lointaine 58 
 
 Profligate 53 
 
 Reconciliation 22 
 
 Rector 57 
 
 Red cock 23 
 
 Rocket 53 
 
 Rogue's comedy 37 
 
 Romancers 59 
 
 Rosa Bernd 23, 24 
 
 Roses 68 
 
 Rosmersholm 25, 29, 33 
 
 St. John's Fire, see Fires of St. John 
 
 Saints and sinners 37 
 
 Salome (Strauss) 79-81 , 85-87 
 
 (La) Samaritaine 60 
 
 San Sebastiano, see Martyrdom of St. John 
 
 Schluck und Jan 24 
 
 Schoolmistress 53 
 
 Second Mrs. Tanqueray 53 
 
 Seven princesses 41, 44 
 
 Shewing up of Blanco Posnet 61, 63 
 
 Sightless, see Blind 
 
 Silver King 37 
 
 Sin of David 47 
 
 Sister Beatrice 44 
 
 Squire 53 
 
 Streaks of light 68 
 
 Sunken bell 22, 23 
 
 Sweet Lavender 54 
 
 Sweet Will 37 
 
 Teamster Henschel, see Fuhrmann Henschel 
 
 Teja 68 
 
 Tempter 37 
 
 Three heron's feathers 68
 
 TITLE-INDEX 93 
 
 Page 
 
 Thunderbolt 54 
 
 Times 54 
 
 (La) Tosca 78 
 
 Trelawney of the "Wells" 54 
 
 Triumph of the Philistines 37 
 
 Ulysses 48 
 
 Und Pippa tanzt, see And Pippa passes 
 
 Vikings at Helgeland 25, 29 
 
 (Le) villi 79 
 
 We can't be as bad as all that 39 
 
 Weaker sex 54 
 
 Wealth 39 
 
 Weavers 23 
 
 Weber, see Weavers 
 
 White washing Julia 38 
 
 Widowers' houses 01, 63 
 
 Wife without a smile 54 
 
 Wild duck 25. 26, 29 
 
 You never can tell 61, 63 
 
 Young men's league, see League of youth
 
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