LIBRARY 
 
 UNIVERSITY OF CALIFORNIA. 
 
 GIFT OF 
 
 Class 
 
Bulletin of Bibliography Pamphlets, No. J8 
 
 READING LIST ON 
 
 MODERN 
 DRAMATISTS 
 
 D'Annunzio, Hauptmann, Ibsen, 
 
 Maeterlinck, Phillips, Rostand, 
 
 Shaw and Sudermann 
 
 By CLARA A. MULLIKEN, B. A. 
 
 B. L. S., NEW YORK STATE LIBRARY SCHOOL, 1906 
 
 Price 20 Cents 
 
 BOSTON 
 
 THE BOSTON BOOK CO. 
 J907 
 
Reprinted from 
 
 BULLETIN OF BIBLIOGRAPHY 
 
 Vol. 5, No. 2 July 1907 and 
 
 following numbers 
 
 
 ...THE... 
 
 RIVERDALE PRESS 
 
 BROOKLINE 
 
 MASS. 
 
READING LIST ON MODERN 
 DRAMATISTS 
 
 PREFACE. 
 
 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 parti- 
 cular 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 bibliographical 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 abbreviations 
 not immediately intelligible to the user have been in- 
 cluded. With few exceptions the books listed have been 
 personally examined by the compiler. 
 
 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, y. i. 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, Nov. 
 17, 1904, 79:400. 
 
Archer, William. Study and stage, a yearbook of 
 criticism. 250 p. D. Lond., 1899. Richards, 53. 
 
 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 I 
 dramas, and writes as fluently in the Scandinavian tongue V 
 as in English. 
 
 Reviewed in Academy, Dec., 1899, 57 : 7*5-6 ; Saturday 
 Rev., Nov. 18, 1899, 88 : 643 ; Spectator, June 30, 1900, 84 : 903. 
 
 Clapp, Henry Austin. Reminiscences of a dramatic 
 cntic, with an essay on the art of Henry Irving. 241 p. 
 O. Bost., 1902. Houghton, $1.75. 
 
 The American stage during the last 30 years. His criti- 
 cisms are full of taste and penetration. Spectator. 
 
 Courtney, William Leonard. Modern social drama as 
 influenced by the novel. (See Fortnightly Rev., 1902, 
 77 : 666-74.) 
 
 A lecture delivered in Feb., 1902, at the Birmingham and 
 Midland Institute. Mr. Courtney is editor of the Fort- 
 nightly Review and is foremost as a dramatic critic. 
 
 Faguet, Emile. The -symbolical drama. (See Inter- 
 national Mo., Dec., 1903, 8: 329-41.) 
 
 This member of the French Academy gives definite ideas ( 
 as to the existence of symbolism in the different dramas of 9 
 Ibsen and Maeterlinck. 
 
 Filon, Pierre Marie Augustin. The English stage, being an 
 account of the Victorian drama; tr. from the French by 
 Frederic Whyte, with an introduction by H. A. Jones. 
 319 p. O. N. Y., 1897. Dodd, $2.50. 
 
 Appeared first in Revue des deux mondes. Includes sum- 
 maries, criticisms and prophecies, with chapters on Pinero 
 and Ibsen. 
 
 Reviewed in Westminster Rev., Feb., 1897, U7- 151-5, by 
 Stoddard Dewey. 
 
 Fiske, Mrs. Minnie M.addern. 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, $2.50. 
 
 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. 
 
 Frey tag, 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. 
 
 Gaffney, Fannie Humphreys. Modern dramatic realism. 
 (See Arena, Ap., 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. 
 
 Hale, Edward Everett, jr. Dramatists of today : Ros- 
 tand, Hauptmann, Sudermann, Pineiro, 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 con- 
 sult first, but one which he may safely neglect for the 
 further study of any particular author. 
 
 Reviewed in Atlantic Mo., June, 1905, 95:842; Nation, 
 July 6, 1905, 81 : 14; Outlook, May 13, 1905, 80: 138; 'Dial, 
 May 16, 1905, 38 : 357 ; Critic, July, 1905, 47 : 90. 
 
 Hapgood, Norman. Stage in America, 1897-1900. 408 p. 
 D. N. Y., 1901. Macmillan, $1.75. 
 
 Discusses the syndicate, theatrical conditions, prevailing 
 types of plays, prominent actors, plays and dramatists. 
 " Even those who are unable to agree unreservedly with his 
 precepts and conclusions will appreciate the vigor and 
 general intelligence of his convictions and his comprehen- 
 sion of the fundamental principles upon which the theatre 
 must be conducted if it is to demonstrate its right to be con- 
 sidered an art." 
 
 Reviewed in Bookman, 13:241; Nation, 72:401; Dial, 
 Spectator, May, 1901, 1:704; Literature, 8:465; 
 41 : 129. 
 
 Hapgood, Norman. 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. 
 
 Hennequin, Alfred. Art of playwriting ; being a prac- 
 tical treatise on the elements of dramatic construc- 
 tion, intended for the playwright, the student and the 
 dramatic critic. 187 p. D. Bost., ^1890. Houghton, 
 
 $1.25. 
 
 Herrmann, Oscar. Living dramatists: Pinero, Ibsen, 
 D'Annunzio; introduction by W. W. Massee. O. 
 N. Y., 1905. Brentano, $5 net. 
 
 Huneker, James Gibbons. Iconoclasts, a book of drama- 
 tists : Ibsen, Strindberg, Becque, Hauptmann, Suder- 
 mann, Hervieu, Gorky, Duse and D'Annunzio, Maeter- 
 linck and Bernard Shaw. 430 p. O. N. Y., 1905. 
 Scribner, $1.50 net. 
 
 S:335; 
 ritic, 4 
 
Brilliant and original characterizations of the symbolistic 
 and revolutionary dramatists. The subjects of the essays 
 
 misses in his work is repose and finish and a careful 
 avoidance of too general 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 West- 
 minster Rev., Ap., 1901, 155 : 444-50.) 
 
 Answer to Allan Laidlaw's What are immoral flays ? 
 challenging his theory and presenting a more solid and 
 tempered argument. 
 
 Laidlaw, Allan. Drama on the downward grade, 1868- 
 
 1898. (See Westminster Rev., Mar., 1900, 153 : 317-23.) 
 
 Scattered and unique remarks to prove that one form of 
 
 drama is degenerating and giving place to a form of a higher 
 
 kind. 
 
 Laidlaw, Allan. What are immoral plays ? (See West- 
 minster 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 answer is found in S. P. Kerr's article in West- 
 minster 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 stan- 
 dards of the tenements. 
 
 Published also in the Outlook, May, 1902, 71: 169-78. 
 Maeterlinck, Maurice. The modern drama. (See his 
 The double garden. 1904.) 
 
 Published by Dodd, D. $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. 
 
 Maeterlinck, Maurice. Of our anxious morality. (See 
 Fortnightly Rev., Jan., 1906, 85 : 46-61.) 
 
 Translated by Alexander Teixeira de Mattos. 
 Matthews, Brander. Development of the drama. 351 p. 
 D. N. Y., 1903. Scribner, $1.25 net. 
 
 Mr. Matthews is a playwright and a critic of distinction 
 who writes with charm, sincerity and effect. 
 
 Reviewed in Nation, Oct. 29, 1903, 77 : 346-7 ; Lamp, Nov., 
 1903, 27 : 329-3 2 - 
 
Matthews, Brander. Makers of drama of today. (See 
 Atlantic Mo., Ap., 1903, 91 : 504-12.) 
 
 A historical sketch of dramatic progress during the nine- 
 teenth century. Mr. Matthews is distinguished as a critic 
 of French drama. 
 
 Merington, Marguerite. What constitutes a play ? (See 
 North American Rev., Dec., 1902, 175 : 863-70.) 
 
 " That the persons of the play, under extraordinary con- 
 ditions, shall produce on an audience the effect of human 
 nature, is the touchstone of the playwright's art." 
 
 Price, William T. Technique of the drama; a statement 
 of the principles involved in the value of dramatic 
 material, in the construction .of plays and in dramatic 
 criticism. 287 p. D. N. Y., 1897. Brentano, $1.50. 
 
 Potter, Helen. The drama of the twentieth century. 
 (See Arena, Feb., 1900, 23: 157-66.) 
 
 A rambling attempt to show the evolution toward the 
 realization oT a new ideal that of a "conditioned stage 
 with a conditioned audience." 
 
 Scott, Clement. Drama of yesterday and today. 2 v. 
 O. Lond., 1899. Macmillan, $7. 
 
 " 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 repeti- 
 tion, gossip, and needless bulk detract from its readable 
 interest." 
 
 Reviewed in Athenaeum, Dec. 23, 1899: 874-5. 
 
 Scott, Clement. Two dramatic revolutions. (See North 
 American Rev., 157 : 476-84.) 
 
 A non-Puritanic, impressionable and violent attack on 
 Ibsen's "Ghosts" and the " Second Mrs. Tanqueray," de- , 
 crying their pessimism and irreverence and the " art that i 
 makes evil good upon the stage." Mr. Scott is dramatic ( 
 critic for the Daily Telegraph. 
 
 Shaw, George Bernard. Dramatic opinions and essays 
 containing ... a word on the dramatic opinions and 
 essays of G. Bernard Shaw, by James Huneker. 2 v. 
 D. N. Y., 1906. Brentano, $2.50 net. 
 
 Criticisms of Ibsen, Sudermann and Rostand are scattered 
 through 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. 
 
 Symons, Arthur. Plays, acting and music. D. N. Y., 
 1903. Dutton, $2 net. 
 
 " Leader and follower of the school of symbolists, Mr- 
 Symons with true critical gifts here uncovers the veil 
 01 mysticism 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, 
 1903. 65 : 261 ; Athenaeum, 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. Dramatic criticism ; three 
 
 lectures delivered at the Royal Institution, February, 
 
 1903. 125 p. D. Lond., 1903. Murray, 55. net. 
 
 These lectures on The Ideal Spectatpr, The Dramatic 
 
 Critic, Old and New Criticism, dealing with stage criticism 
 
 in the main, are lucid and reliable. 
 Wedmore, Frederick. Literature and the theatre. (See 
 
 Nineteenth Century, Ap., 1902, 51 : 568-80.) 
 
 Claims that the two can be divorced. Studies of Pinero, 
 
 Becque and Hervieu 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 
 responsibilities in interpreting the public taste. 
 Woodbridge, Elisabeth. The drama, its laws and its 
 technique. 181 p. D. . Bost., 1898. Allyn, 8oc. net. 
 
 Founded on Freytag's Technique of the Drama adapted 
 to modern American use. Contains a good, short bib- 
 liography. A. L. A. Catalog, 1904, p. 181. 
 
 D'ANNUNZIO. 
 
 Annunzio, Gabriele d'. (The) dead city : a tragedy, 
 rendered into English by G. Mantellini ; illustrated 
 from the stage productions of Eleonora Duse. 282 p. 
 D. Chic., 1902. Lairdi#i.2S. 
 
 A sympathetic and admirable translation. William Sharp. 
 Action takes place in Greece on the plain of Argolis. The 
 play, showing 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, Tune 2. 1900, 58 : 464-6 ; Saturday 
 Rev., Sep. 22, 1900, 90 : 366 : Dial, Jan. i, 1903, 34 : 8-9, by H. 
 D. Sedgwick, Jr. ; Critic, Dec., 1902, 41 : 574-5. 
 
 Annunzio, Gabriele d'. (The) dream of an autumn sun- 
 set; 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 dreami- 
 ness of his Spring Morning. 
 
 Annunzio, Gabriele d'. Dream of a spring morning; a 
 play ; tr. from the Italian by Anna Schenck. (See 
 Poet-lore, 1902, 14: 6-36.) 
 
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 possibilities. 
 
 Annunzio, Gabriele d'. Francesca da Rimini ; tr. by 
 Arthur Symons. 223 p. D. N. Y., C i902. Stokes, $i. 
 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 i3th century in Italy." The long, beauti- 
 fully 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 
 translated drama. 
 
 Reviewed in Kuhns, L. O., Great poets of Italy, 1903. p. 
 331-9; Fortnightly Rev., Feb. 1902, 77 : 237-46, by Arthur 
 Symons ; Athenaeum, Ap. n, 1903, i : 475 ; Dial, Jan. i, 1903, 
 34 : 9, by H. D. Sedgwick, Jr. ; Saturday Rev., July 25, 1903, 
 96:114. 
 
 Annunzio, Gabriele d'. Gioconda; tr. by Arthur Symons. 
 144 p. D. N. Y., 1902. Russell, $i. 
 
 Has been 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 
 development as not to allure the average reader or listener. 
 Its constructive fault is its excess of dialogue over move- 
 ment. 
 
 Reviewed in Academy, Oct., 1901, 61 : 336-8; Critic, Dec., 
 1902, 41 : 574-5. 
 
 Criticism. 
 
 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. 186-218.) 
 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' Annunzio " 
 which appeared in the Fortnightly Rev., Mar., 1897, 67: 349- 
 73. A clear exposition of his mind and literary tendencies. 
 Fornaro, Carlo de. DAnnunzio, the man. (See Critic, 
 Aug., 1904, 45 : 137-41-) 
 
 A personal sketch with pictures. 
 
Fornaro, Sofia de. Italian writers of today. (See Critic, 
 
 Aug., 1902, 41 : 103-5.) 
 
 , Contains a slight characterization of D'Annunzio. 
 
 J Herrmann, Oscar. Living dramatists : Pinero, Ibsen, 
 D' Annunzio ; introduction by Will W. Massee. 187 p. 
 O. N. Y., 1905. Brentano, $5 net. 
 
 Italian poets of today. (See Quarterly Rev., 1902, 196: 
 246-68.) 
 
 D' Annunzio's dramas, characteristics, melancholy and 
 love of the mysterious 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. D. Bost., 1903. Houghton, $2 
 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. i, 1903, 35: 418, by W. M. Payne. 
 Sedgwick, Henry Dwight. D'Annunzio, poet and play- 
 wright. (See Dial, Jan. i, 1903, 34 : 7-10.) 
 
 In his volume of Essays on Great Writers Mr. Sedgwick 
 gives a longer and closer study of " D'Annunzio, the nov- 
 elist," which throws light on the general style and character 
 of the man. 
 
 Sharp, William. The dramas of Gabriele D'Annunzio. 
 (See Fortnightly Rev., Sep., 1900, 74:391-409.) 
 
 Minutely detailed and competent analysis of each of his 
 published dramas. 
 
 Symons, Arthur. D'Annunzio. (See his Studies in 
 prose and verse. 1904. p. 129-42.) 
 
 A significant work of criticism by a stable 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. 
 
 HAUPTMANN. 
 
 Hauptmann, Gerhart. Coming of peace; a family catas- 
 trophe; 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. 
 
 Hauptmann, Gerhart. Elga ; tr. from the German by 
 Mary Harned. (See 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 epis9des, but 
 Hauptmann's standard of best work in naturalistic drama 
 is not maintained. 
 
Scene from Gerhart Hauptmann's latest play [Elga]. 
 (See Current literature, Sep., 1905, 39 : 318-22.) 
 Reviewed in Academy, Mar., 1905, 68 : 243. 
 
 Hauptmann, Gerhart. Hannele : a dream poem ; tr. 
 from the German by William Archer. 195 p. D. 
 Loud., 1894. 
 
 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 " himmelfahrt" 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 soar- 
 ing 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, 26:6; Critic, Feb. 10, 
 1894, 24 : 97, by Arthur Waugh. 
 
 Hauptmann, Gerhart. Lonely lives : a drama; tr. from 
 the German by Mary Morison. 179 p. D. Lond., 1898. 
 Heinemann, 28. 6d. 
 
 Unmistakeably 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 construction of all modern stage plays. 
 
 Reviewed in Athenaeum, Ap. 6, 1901, i : 443 Critic, 35 : 
 840 ; Dial, June i, 1900, 28 : 430, by E. E. Hale, Jr. ; Specta- 
 tor, Sep. 30, 1893, 7i : 437- 
 
 Hauptmann, Gerhart. (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., 45. 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 beauti- 
 ful to see as it is to read. 
 
 Reviewed in Francke, Kuno, Glimpses of modern Ger- 
 man culture, 1898, p. 85-97; Spectator, Ap., 1900,84:602; 
 Dial, June i, 1900, 28 430, by E. E. Hale, Jr. ; Academy, 
 May, 1900, 58: 448; Athenaeum,, Feb. 21, 1903, 121 : 252. 
 
 II 
 
Hauptmann, Gerhart. (The) weavers, a drama of the 
 forties ; tr. from the German by Mary Morison. 148 p. 
 D. Lond., 1899. Heinemann, 2S. 6d. 
 
 The author 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 
 remarkable judgment of man's cruelty to his fellow beings. 
 Hauptmann's characteristic failure logically to work out {he- 
 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 spokes- 
 man other than as one exists abstractly in the hunger of the 
 masses. 
 
 Reviewed in Critic, Sep., 1899, 35 : 839 ; Dial, June i, 1900, 
 28: 432, by E. E. Hale, Jr. ; Spectator, Sep. 30, 1893, 71 : 436-7. 
 
 Criticism. 
 
 Barker, Thomas Stockham. Gerhart Hauptmann and 
 his work. (See Critic, Mar., 1899, 34 : 225-31.) 
 
 An unfavorable review of the only single "biography of 
 Hauptmann yet published. Gerhart Hauptmann, sein 
 Lebensgang und seine Dichtttng, by Paul Schlenther, pub- 
 lished in Berlin in 1898, amounts to a general sketch of 
 Hauptmann and a criticism of his plays. 
 
 ! Coar, J. Firman. Three contemporary German dram- 
 atists. (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. 
 
 (See his 
 
 p. 85-98.) 
 )f the 
 
 Francke, Kuno. Hauptmann's Sunken Bell. 
 Glimpses of modern German culture. 1898. 
 
 Gerhart Hauptmann. (See Warner's library o: 
 world's best literature, 17 : 7025-40.) 
 
 A general sketch with an extract from Hannele. 
 
 Grummann, Paul H. Recent German criticism com- 
 prising Bulthaupt's interpretation of Hauptmann. 
 (See Poet-lore, 1905, 16 : 117-26.) 
 
 A reply to a criticism of Hauptmann in Heinrich Bult- 
 haupt's Dramatiirgie des Schauspiels, 1902. 
 
 Guthrie, William Norton. Gerhardt Hauptmann. (See 
 Sewanee Rev., May, 1895, 3:2" 
 
 A well written appreciation with some sane comparisons 
 of Hauptmann with other dramatists. 
 
 Heller, Otto. Studies in modern German literature: 
 Sudermann, Hauptmann ; women writers of the igth 
 century. 301 p. D. Bost., 1905. Ginn, $1.25. 
 
 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 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 Athenaeum, Nov. 18, 1905,2:685; Poet-lore, 
 Sep., 1905, 16: 127-8. 
 
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: 156-66.) 
 
 A clear indication of the character and tendencies of the 
 modern drama as shown in Hauptmann and Sudermann. 
 Marshal], Beatrice. Gerhart Hauptmann. (See Fort- 
 nightly Rev., Sep., 1901, 76:459-81.) 
 
 A review and an abstract of Dr. Schlenther's biography of 
 Hauptmann. See also Baker, 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. 
 
 Miiller, Margarethe. Gerhart Hauptmann. (See At- 
 lantic Mo., Sep., 1900, 86 : 368-77.) 
 
 Nordau, Max. [Gerhart Hauptmann, his writings thus 
 far.] (See his Degeneration. 1895. p. 523-30, 547.) 
 
 Plays of Gerhart Hauptmann. (See Living Age, Sep., 
 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. 
 
 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. 
 
 Stoeckms, Alfred. Naturalism in the recent German 
 drama with special reference to Hauptmann. 36 p. 
 . O. N. Y., 1903. 
 
 A thesis presented for the degree 9f Doctor of Philosophy 
 at Sdumbia' University, containing a valuable biblio- 
 graphy of German titles and a chronological list of Haupt- 
 mann's works. Of special interest to students. 
 
 IBSEN. 
 
 Ibsen, Henrik. Works ; rev. and ed. by William Archer. ' 
 ii v. D. N. Y., 1906. Scribner, $1.25 ea. 
 
 Contents: .. 
 
 V. i. Feast at Solhaug; Lady Inger of Ostrat ; Love's 
 comedy. 
 
 2. The Vikings at Helgeland ; The Pretenders. 
 
 3. Brand. 
 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. 
 
 13 
 
The introduction to each play throws valuable light both 
 on the plays and their author. These introductions taken 
 together form a pretty complete review of Ibsen's life and 
 art. The volumes of this set are sold separately. 
 
 Ibsen, Henrik. 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 
 relating to Ibsen's dramas. 
 
 Reviewed in Fortnightly Rev., Mar., 1905, 83 : 428-41 ; In- 
 ternational Quar., Jan., 1905, 10:261-77; Dial, Dec., 1905, 
 39 : 429-32 ; Nation, Mar., 1906, 82 : 243-4. 
 
 Ibsen, Henrik. 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 
 pursuit of national and Christian ideals. While so intensely 
 national it also has universal application in that it 
 advocates self-realization regardless of the sacrifice in 
 volved. The language and thought are stern and solemn 
 symbolic and impressive. 
 
 Reviewed in Arena, Dec., 1890, 3 : 81-90, by W. L. Cross ; 
 Contemporary Rev., Mar., 1891, '59:407-22, by C. H. Her- 
 ford; Fortnightly Rev., Aug., 1899, 72 : 227-39, by M. A. 
 Stobart; Dial, Ap. 16, 1894, 16:236-40, by W. H. Payne; 
 Atlantic Mo., Dec., 1890, 66: $56. 
 
 Ibsen, Henrik. (A) doll's house. 
 
 A moral essay calling for more equality in marriage. 
 Nora, who furnishes the example of the customary sacrifice 
 of woman's individuality, is one of the most distinctive of 
 Ibsen's characters. 
 
 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. 
 
 Reviewed in Saturday Rev., May 15, 1897, 83 : 539-41, by G. 
 B. Shaw. 
 
 Ibsen, Henrik. Emperor and Galilean. 
 
 His largest work, consisting of two five-act epic-dramas, 
 Casar'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." 
 
 Ibsen, Henrik. Enemy of the people. 
 
 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, Ap. 5, 1902, i : 444. 
 
Ibsen, Henrik. 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 youth- 
 ful experiences must lie behind it." Brandes' Ibsen, p. 92-3. 
 
 Ibsen, Henrik. Ghosts. 
 
 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, 6:356; Saturday Rev., July 3, 
 1897, 84: 12-14, by G. B. Shaw; Athenaeum, Ap. 5, 1902, 
 i : 444, by N. Hapgood ; Nation, Feb. 10, 1887, 44 : 116-7. 
 
 Ibsen, Henrik. Hedda Gabler. 
 
 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 cur- 
 tain drawn to exclude the sunlight. 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 char- 
 acters pursue their destinies in such wise as might the eye- 
 less fish in a subterranean cavern. 
 
 Reviewed in Fortnightly Rev., Jan., 1891, 55: 4-13, by 
 Edmund Gosse. 
 
 Ibsen, Henrik. John Gabriel Borkman. 
 
 Published also by Stone & Kimball. 198 p. D. N.Y.,i897- 
 $1.50. (Green tree library.) Tr. by William Archer. 
 
 Mr. Huneker speaks of the simple, logical structure, the un- 
 flinching criticism of life and the perfection of the character 
 drawing and dialogue. 
 
 Reviewed in National Mag., 8 : 120; Poet-lore, 9 : 302-6; 
 ii : 116 ; Saturday Rev., 82 : 654. 
 
 Ibsen, Henrik. Lady from the sea. 
 
 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 common- 
 place and vulgar actualities. 
 Reviewed in Westminster Rev., July, 1902, 158 : 105-6. 
 
 Ibsen, Henrik. 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 few of his social dramas. 
 An improbable plot but an actable play, produced in 1855. 
 
 IS 
 
Ibsen, Henrik. League of youth. 
 
 The singeing 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. 
 
 Ibsen, Henrik. Little Eyolf. 
 
 Published also by Stone & Kimball. 164 p. D. Chic., 1804. 
 (Green tree library.) Tr. by William Archer. 
 
 Represents the spectacle of a handful of people all making 
 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 
 feature of the play. Mystery and the secret ways of fate t 
 form the aesthetic basis of the theme, and the difficult feat 
 is accomplished of presenting horror in the sunshine. A 
 loveless marriage is the problem. 
 
 Reviewed in Stevens, G. W., Things Seen ; Fortnightly 
 Rev., 63 : 277-84, by W. L. Courtney ; Saturday Rev., 1896, 
 82 : 563, 623, by G. B. Shaw ; Dial, Jan. i, 1895, 18 : 5-6, by 
 W. M. Payne; Dublin Rev., Jan., 1895, I2 : 112-25, by A. S. 
 Spender. 
 
 Ibsen, Henrik. Love's comedy. 
 
 Published also byScribner, N. Y., 1900. $1.40. Tr. by C. 
 H. Herford, William Archer and Edmund Gpsse. 
 
 The scene is laid in 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 
 three great satiric dramas in verse has much lyrical beauty 
 
 and force, but slight dramatic interest due to its burden of 
 philosophy and the tedious movement. George Brandes 
 and P. H. Wicksteed among critics have each met its 
 puzzles in interesting argument. This is a brilliant trans- 
 lation to which is added a valuable critical estimate. 
 Reviewed in Athenaeum, June 16, 1900, i :76a-3 ; Academy, 
 
 June 23, 1900, 58 : 527-8 ; Fortnightly Rev., Feb., 1900, 73: 191- 
 9, by C. H. Herford ; Fortnightly Rev., Jan., 1873, 19 : 77-88, 
 by Edmund Gosse. 
 Ibsen, Henrik. (The) master builder; a play in 3 acts. 
 
 Published also by Heinemann, new ed. 256 p. D. Lond., 
 1893. 2s. 6d. Tr. by E. W. Gosse and William Archer. 
 
 Brandes writes, " This is a play that echoes and re-echoes 
 in our minds 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- 
 allegorical form, the tragedy of a great ambitious artis- 
 whose ideals can never be realized even though he is successt 
 ful." 
 
 Reviewed in Saturday Rev., Mar. 4, 1893, 75 : 241 ; Specta- 
 tor, Mar. 4, 1893, 70 : 285 ; Poet-lore, 12 : 95. 
 
 Ibsen, Henrik. Peer Gynt. 
 
 A masterpiece of poetic drama ; a piece of world-litera- 
 ture into whose lines one can read new and ever new mean- 
 ings, 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. 
 
 16 
 
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, Solyeig, 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 Crit- 
 icism, 1896, p. 283-96 ; Saturday Rev., Sep. 19, 1896,82:321; 
 Contemporary Rev., 56:274, by P. H. Wicksteed ; Book- 
 man, 3 = 535. 
 Ibsen, Henrik. Pillars of society. 
 
 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 
 community, who are lined up like whited sepulchres. The 
 plot is simple and the art grim, yet there is dramatic interest 
 in the swift action, biting sarcasm and skilful grouping of 
 incidents. 
 
 Reviewed in Saturday Rev., May 18, 1901, 91 : 631, by M. 
 Beerbohm. 
 Ibsen, Henrik. The Pretenders. 
 
 The theme is the struggle for the vacant throne of Sverre 
 in the romantic epoch of the thirteenth century in Nor- 
 wegian 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." 
 Ibsen, Henrik. Rosmersholm. 
 
 Several characters of the savage, free, northern type 
 dreamily aspire to moral liberty. The subtle psychology of 
 the problem enshrouds the reader with perplexity and 
 gloom. So slight are the incidents 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 Nation, Mar. 12, 1891, 52 : 216-7, by E. R. 
 Pennell ; Saturday Rev., Feb. 28, 1891, 71 : 258. 
 
 Ibsen, Henrik. 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, Ap. 25, 1903, 121 : 539-40. 
 
 Ibsen, Henrik. 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 picture of the kind of death that life without love 
 assuredly is. A play of engaging interest and masterly 
 work. Intended for reading rather than acting. 
 
 Reviewed in Fortnightly Rev., Ap., 1900, 73 : 575-90, by. J. 
 A. Joyce; Academy, Ap. 14, 1900, 58 : 307-8; Nation, Feb. i, 
 1900, 70 : 94, by W. M. Payne; Athenaeum, Ap. 7, 1900, 1:442. 
 
Ibsen, Henrik. (The) wild duck. 
 
 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. Here again we see clearly 
 the tyranny of Ibsen's "ideal-demand" as it appears in 
 Rosmersholm and Enemy of the People. Considered dramat- 
 ically there is masterly character drawing, but an unhappy 
 mixture of satire and tragedy as well as a lack of skill in 
 effecting climaxes. 
 
 Ibsen, Henrik. Young men's league: tr. by Henry Car 
 starphen ; ed. by Edmund Gosse. Bost., 1900. W. H. 
 Baker. Pap. 250. 
 
 Criticism. 
 
 Archer, William. 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. 
 
 Archer, William. (The) real Ibsen. (See International 
 Mo., Feb., 1901, 3: 182-201). 
 
 A biographical sketch of real value, with incidental com- 
 ments on the beauty of Ibsen's verse in the original tongue. 
 Boyesen, Hjalmar Hjorth. (A) commentary on the 
 works of Henrik Ibsen. 317 p. D. Lond., 1894. 
 Heinemann, 75. 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 apprecia- 
 tion and good common sense. The style is easy and vivid, 
 but shows evidence of hurried construction and examples of 
 poor translation. 
 
 Reviewed in Dial, Ap., 1894, 16 : 236, by W. M. Payne; 
 Academy, Ap., 1894, 286: Spectator, May, 1894, 72:652; 
 Saturday Rev., 78 : 359 ; Critic, 25 : 119. 
 
 Brandes, Georg Moritz Cohen. Henrik Ibsen. (See his 
 Eminent authors of the igth 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. 
 
 Brandes, Georg Moritz Cohen. Henrik Ibsen ; Bjornst- 
 
 jerne Bjornspn; critical studies. 171 p. O. N. Y., 
 
 1899. Macmillan, $2.25. 
 
 Reviewed in Academy, July, 1899, 57 : 79-80; Athenaeum, 
 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 wood-cut pictures. 
 
 18 
 
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, Oswald. The Ibsen question. (See Fort- 
 nightly 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. I33-I73-) 
 
 Evans, Edward Payson. Henrik Ibsen ; his early career 
 as poet and playwright. (See Atlantic Mo., May, 
 1890,65:577-88.) 
 
 Garland, Hamlin. Ibsen as a dramatist. (See Arena, 
 June, 1890, 2: 72-82.) 
 
 Garland, Hamlin. Influence of Ibsen. (See his Crum- 
 bling 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 i, 1894, 17 : 11, by E. E. Hale^Jr. ; 
 Nation, July 19, 1894, 59 : 53; Critic, Sep. 15, 1894, 25 : 169. 
 
 Gosse, Edmund William. Henrik Ibsen. (See his 
 Studies in the literature of northern Europe. 1883. 
 P- 35-69.) 
 
 The enlargement of an article printed in the Fortnightly 
 Rev., Jan., 1873, 19 : 74-88. Published also in his Northern 
 Studies, 1890. p. 38-104. 
 
 Gosse, Edmund William. Ibsen's social dramas. (See 
 Fortnightly Rev., Jan., 1889, 51 : 107-21.) 
 
 An excellent, discriminating critique. Lighter in treat- 
 ment than Brandes. 
 
 Hapgood, Norman. Ibsen. (See his Stage in America, 
 1897-1900. 1901. p. 206-18.) 
 
 Some thoughtful interpretation of Ibsen's dramas as pro- 
 duced on the American stage. 
 
 Henderson, Archibald. Henrik Ibsen and social pro- 
 gress. (See Arena, Jan., 1905, 33 : 26-30.) 
 
 Herrmann, Oscar. Living dramatists: Pinero, Ibsen, 
 D'Annunzio; introduction by Will W. Massee. 187 p. 
 O. N. Y., 1905. Brentano, $5 net. 
 
 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 biog- 
 raphy [tr.] from the Norwegian by W. M. Payne. 
 Ed. 2. 320 p. illus. 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 i, 1902,32: 16-7, 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 pointed, clever style so char- 
 acteristic of Mr. James. In the few pages on Ibsen, the 
 author is pointedly on the side of the angels, in that he con- 
 
 /siders only Ibsen's successes as a dramatist and ignores the 
 prevalent question of his " morality and immorality." 
 A Reviewed in Athenaeum, 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 evolution ot the ethical drama through its 
 earlier representatives: Dumas, Angier and Ibsen, with 
 Ibsen as its master. 
 
 Lord, Walter Frewen. Works of Henrik Ibsen. (See 
 Nineteenth century, Aug., 1889, 26: 241-56.) 
 
 A faint outline of the plays, considered in chronological 
 order. 
 
 Matthews, Brander. Ibsen the playwright. (See Book- 
 man, Feb., 1906, 22 : 568-75 ; Mar., 1906, 23 : 18-27.) 
 
 An interesting summary with especial attention given to 
 the stage success of the plays. 
 
 Monkhouse, Allan. Ibsen's social plays. (See his Books 
 and plays. 1894. p. 155-185.) 
 
 Reviewed in Spectator, Aug., 1894,73:242-3; Literary 
 world, Sep. 8, 1894, 25 : 282 ; Academy, Oct., 1894, 46 : 252. 
 Nordau, Max. Ibsenism. (See his Degeneration. Ed. 5. 
 1895. p. 338-4I5-) 
 
 Nordau has undertaken to prove in a scientific and elabo- 
 rate argument that a large percentage of society has 
 developed 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- 
 ded. 
 
 hea 
 
 by Kenyon Cox ; Bookman, i : 178 ; Saturday Rev. 
 
 Reviewed in North American Rev., June, 1895, J 6o : 735-40, 
 
 R 
 
 y enyon ox ; ooman, i : 17 ; aturay ev., ar. 9, 
 1895, 79 : 323 ; Dial, Ap. 16, 1895, 18 : 236, by E. E. Hale, Jr. ; 
 Nation. 60 : 327. 
 
 Payne, William Morton. Henrik Ibsen. (See Outlook 
 May 24, 1902, 71 : 240-7.) 
 
 Schofield, William Henry. Personal impressions of 
 Bjornson and Ibsen. (See Atlantic Mo., Ap., 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. 
 
 
Shaw, George Bernard. Quintessence of Ibsenism. 
 170 p. D. Bost. 1891. B. R. Tucker, pap. 2$c. 
 (Tucker's library, v. i, no. 7.) 
 
 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 immoral, cynical and para- 
 doxical, but stimulates one's desire to read more deeply into 
 Ibsen's philosophy. 
 
 Reviewed in Nation, Oct. 6, 1904, 79: 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 Rosmersholm. 
 
 Stampenbourg, Baron de. (The) passing of Ibsen. (See 
 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, 28. 6d. 
 
 Invaluable lectures, including some representative selec- 
 tions from Ibsen's works. 
 
 Winter, William. (The) Ibsen drama. (See his Shadows 
 of 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 
 literature. " 
 
 MAETERLINCK. 
 
 Maeterlinck, Maurice. Plays; tr. by Richard Hovey. 
 2 v. D. Chic., 1896-1902. Stone & Kimball, $1.25 ea. 
 (Green tree library.) 
 
 Contents: 
 V. i. Princess Maleine. 
 The intruder. 
 The blind. 
 
 The seven princesses. 
 V. 2. Alladine and Palomides. 
 PelleasandMelisande. 
 Home. 
 
 The death of Tintagiles. 
 Reviewed in Critic 26:379; Literary World, 26 : 68. 
 
 Maeterlinck, Maurice. Aglavaine and Selysette ; a 
 drama in 5 acts, tr. by Alfred Sutro. 172 p. O. Lond., 
 1897. Richards, 35. 6d. net. 
 
 Published also by G. Allen, no p. O. Lond., 1904. is. 
 net. Acting version. 
 
 A modern wrestle with the old story of Platonic friendship. 
 Aglavaine, a high minded and cultured girl, shares the love qf 
 the husband of Selysette, the sweet self-belittlin:g 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., Ap., 1899, 151: 409-16; 
 Fortnightly Rev., Aug., 1897, 68 : 185-6, by V. M. Crawford ; 
 Living Age, 235 : 193. 
 
 Maeterlinck, Maurice. Alladine and Palomides. 
 
 A love drama in which all the moods, the naively childish 
 characters and the bare little externals of plot and movement 
 resemble Pelleas a nd Metis ande. 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. 
 
 Maeterlinck, Maurice. (The) Blind. 
 
 A one-act, one-scene play, in which a group of blind men 
 helplessly grope about in a cavern-like forest place, seeking 
 in vain 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. 
 
 Maeterlinck, Maurice. Death of Tintagiles. 
 
 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 Athenaeum, June 24, 1899, i : 794-5. 
 
 Maeterlinck, Maurice. (The) Home. 
 
 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. 
 
 Maeterlinck, Maurice. (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. 
 
 22 
 
Reviewed in Caine, Hall, Introduction to Maeterlinck's 
 Princess Maleine, tr. by William Wilson, 1892, p. 8-19; 
 Fortnightly Rev., Sep., 1891, 56 ; 346-54, by William Archer. 
 
 Maeterlinck, Maurice. Joyzelle; a drama in 5 acts, tr. by 
 Clarence Stratton. (See Poet-lore, 1905, 16: 1-45.) 
 
 As the author expresses the motive, " it is the triumph of 
 love and will over fatality. " In its vague dealing with 
 unseen 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: 114-5, by Grace 
 Corneau. 
 
 Maeterlinck, Maurice. Monna Vanna ; a play in 3 acts, 
 tr. by A. I. D. Coleman. 143 p. O. N. Y., 1904. 
 Harper, $1.20 net. 
 
 The scene is laid at Pisa at the close of the i5th century 
 when Pisa, as an ally of Venice, was beseiged by the Floren- 
 tines. The motive is the heroism of a pure-minded woman 
 who sacrifices herself for the city, and discovers the differ- 
 ence 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 
 
 Reviewed in Dial, Oct. 16, 1903, 35 : 257-8, by E. E. Hale, 
 Jr. ; Nation, Oct. 15, 1903, 77 1307; Athenaeum, June 28, 1902, 
 1:827; Nineteenth Cent., July, 1902, 52:72-5, 282-91; Fort- 
 
 nightly Rev., Aug., 1902, 78: 183-6, by L. A. Tadema ; 
 Harper's Weekly. Nov. 11, 190 
 1902, 16 : 46-9, by F. T. Cooper. 
 
 Harper's Weekly, Nov. n, 1905, 49:1640; Bookman, Sep., 
 
 Maeterlinck, Maurice. Peleas and Melisande. 
 
 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 
 passion and profound dramatic truth. 
 
 Reviewed in Archer, William, Study and the stage, 
 J 899, p- 133-7; Symons, Arthur. Plays, acting and music, 
 1903 ; Dial, 18: 174, by E. E. Hale, Jr. 
 
 Maeterlinck, Maurice. Princess Maleine ; a drama in 5 
 acts, tr. by Gerard Harry, and The intruder, a drama 
 in i act, based on a tr. of William Wilson ; with an 
 introduction by Hall Caine. 255 p. D. Lond., 1892. 
 Heinemann, 53. 
 
 . 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 climax is 
 reached. Many commentators refer to it as a " Shakespeare 
 anthology" by reason of its marked likeness to various parts 
 of Hamlet, Macbeth and Lear. 
 
 Reviewed in Caine, Hall, Introduction to Maeterlinck's 
 Princesse Maleine, tr. by Gerard Harry, 1892, p. 1-8 ; Critic, 
 June 22, 1895, 26 : 451-3, by Israel Zangwill ; Academy, Mar. 
 
 23 
 
IQ, 1892, 41 : 270-2, by William Sharp: Fortnightly Rev., Sep., 
 1891, 56 : 346-54, by William Archer. 
 
 Maeterlinck, Maurice. (The) seven princesses; tr. by 
 Charlotte Porter and Helen A. Clarke. (See Poet- 
 lore, 1894, 6:29-32; 87-93; 150-61.) 
 
 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 g^ves no impression of 
 preaching a moral lesson there is, lurking back of every line 
 and incident, a hidden meaning suggesting greater and 
 deeper things. 
 
 Maeterlinck, Maurice. Sister Beatrice and Ardiane 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. 
 
 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 correctly describes Ardiane 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 Ardiane, 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, i : 554-5 ; Critic, 
 Sep., 1902, 41:275. 
 
 Criticism. 
 
 Archer, William. Maeterlinck as a pessimist playwright. 
 (See Fortnightly Rev., Sep., 1891, 56 : 346-54.) 
 
 Burton, Richard. Maurice Maeterlinck ; a dramatic im- 
 pressionist. (See 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. 
 
 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 Melisande is cited as an illustration. 
 
 Chesterton, Gilbert Keith. Maeterlinck. (See his Varied 
 types. 1903. p. 209-14.) 
 
 Reviewed in Nation, Dec. 24, 1903, 77 : 509; Atlantic Mo., 
 Sep., 1904, 94 : 423-4 ; Athenaeum, Dec. 27, 1902, 2 : 845-6. 
 
 24 
 
Courtney, William Leonard. Development of Maurice 
 Maeterlinck and other sketches of foreign writers. 
 Lond., 1904. Richards, 35. 6d. net. 
 
 The " other foreign writers" include Rodenbach, Huys- 
 mans, D'Annunzio, Turgenieff, Tolstoi and Gorky. Mr. 
 Courtney is sympathetic and acute in his interpretation 
 of Maeterlinck's philosophy and development. 
 
 Reviewed in Contemporary Rev., Sep., 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, symbolist 
 and mystic. (See Arena, Feb., 1906, 35 : 115-24.) 
 
 M. Maurice Maeterlinck, moralist and artist. (See Living 
 Age, July, 1901, 230:201-20.) 
 
 Published also in the Edinburgh Rev., Ap., 1901, 193:35- 
 77- 
 
 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. 
 
 Maeterlinck, Maurice. (The) modern drama; tr. by 
 Alfred Sutro. (See his The double garden. 1904. 
 P- H5-35-) 
 
 Of valuefor a close study of the ideas that are at the bottom 
 of all his work. Marked by his distinction of style and 
 freshness of vision. Suggestive if not convincing. 
 
 Published also in the Cornhill Mag., 80:166-73; tr. by A. 
 T. de Mattos. 
 
 Maurice Maeterlinck. (See Living Age, Oct., 1902, 
 235:193-205.) 
 
 Newman, Ernest. Maeterlinck and music. (See Atlantic 
 Mo., Dec., 1901, 88 : 769-77.) 
 
 Emphasizes the sympathy in dramatic theory between 
 Wagner, the musician, and Maeterlinck, the mystic. 
 
 Nordau, Max. Maurice Maeterlinck. (See his De- 
 generation. 1895. p. 232-40.) 
 
 Osgood, Hamilton. Maeterlinck and Emerson. (See 
 Arena, Mar., 1896, 15 : 563-73.) 
 
 Traces Emerson's influence upon Maeterlinck. 
 
 25 
 
Phelps, Albert. Later work of Maurice Maeterlinck. 
 (See Poet-lore, July-Sep., 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. 
 
 Pidoux, 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 Players 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 25 years. 
 
 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 as well to the school of symbolists. 
 
 Reviewed in Athenaeum, Mar. 24, 1900, i : 360. 
 
 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. " 
 
 26 
 
Reviewed in Saturday Rev., 90 : 754 ; Spectator, Dec. 15, 
 1900,85:887; Athenaeum, Jan. 5, 1901, 1 127 ; Nation, Ap. 25, 
 1901, 72:343; Atlantic Mo., 87:421; Contemporary Rev., 
 Jan., 1901, 79:32-7, by Stephen Gwynn; Fortnightly Rev., 
 Jan., 1901, 75: 178-86. 
 
 Phillips, Stephen. Nero. 200 p. D. N. Y., 1906. Mac- 
 millan, $1.25. 
 
 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, A p. 19, 1906, 82 : 325 ; Fortnightly 
 Rev., Jan., 1906, 86^ : 83-95, by J. S. Roberts. 
 
 Phillips, Stephen. Paolo and Francesca; a tragedy in 
 four acts. 120 p. D. Lond., 1903. Lane, $1.50. 
 
 A rarely beautiful poem which is at the same time a 
 fairly good acting drama, based on the story of Paolo and 
 Francesca 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 
 Review. 
 
 Reviewed in Ainger, Rev. Alfred, Lectures and essays, 
 v. 2, p. 1 68-8 1 ; 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. 
 
 Phillips, Stephen. 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 Athenaeum, Feb. 4, 1905, i : 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. 
 
 Phillips, Stephen. Ulysses; a drama in a prologue and 
 3 acts. 148 p. D. N. Y., 1902. Macmillan, $1.25. 
 
 Selected episodes from the Odyssey "rearranged, re- 
 imagined, unsparingly accelerated and cut down." 
 
 " A poem that can be read (except for the prologue) with 
 unalloyed satisfaction, and a play that deserves to hold the 
 stage." 
 
 Reviewed in Dial, May i, 1902, 32 : 317 ; Saturday Rev., 
 Feb. 22, 1902, 93:236-7; Spectator, Feb. 15, 1902, 88:254-5; 
 Atlantic Mo., A p., 1902, 89 : 565-7; Bookman, Ap., 1902, 15: 
 168-70, by Edith Wharton; Nineteenth Cent., Mar., 1902, 
 51 : 434-43, by Stephen Gwynn ; Poet-lore, Oct., 1902, 14 : 126. 
 
 2? 
 
Criticism. 
 
 Archer, William. Real conversations ; Conversation 3 
 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 uncertain interest. 
 
 Archer, William. 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 be- 
 tween praise and fault-finding. 
 
 Boynton, Henry Walcott. Poetry and the stage. (See 
 Atlantic Mo., July, 1903, 92 : 120-6.) 
 
 A prophecy of the stage success of Paolo and Francesca. 
 
 Gosse, Edmund. Revival of poetic drama. (See 
 Atlantic 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. 
 
 Gosse, Edmund. Stephen Phillips. (See Century Mag., 
 Jan., 1901, 61 : 430-3.) 
 A personal sketch. 
 
 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. 
 
 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 : 486-500.) 
 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's "Paolo and Francesca" 
 and Swinburne's " Rosamund. " (See Poet-lore, Jan.- 
 Mar., 1900, 12: 126-36.) 
 
 Recent British poetry. (See Nation, 70 : 361.) 
 A comparison between Swinburne and Phillips. 
 
 Savage, Ernest A. Stephen Phillips. (See Westminster 
 Rev., Aug., 1901, 156 : 187-96.) 
 
 The dramatic works of Phillips are criticized at length. 
 
 28 
 
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 line with some comparisons. 
 
 Todhunter, John. Poetic drama, and its prospects on 
 the stage. (See Fortnightly Rev., Ap., 1902, 77 : 713-25.) 
 
 Makes special reference to Phillips. 
 
 Wharton, Mrs. Edith. The three Francescas. (See 
 North American Rev., July, 1902, 175 : 17-30.) 
 A comparison of Phillips, Crawford and D'Annunzio. 
 
 Wodehouse, E. A. Valuation of Mr. Stephen Phillips. 
 (See Fortnightly Rev., May, 1905, 83:830-42.) 
 
 ROSTAND. 
 
 Rostand, Edmond. Cyrano de Bergerac ; a play in 5 
 acts; tr. from the French by Gladys Thomas and 
 M. F. Guillemard. 294 p. D. N. Y., 1900. Russell, 
 Jtl. 
 
 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. 
 
 Rostand, Edmond. Cyrano de Bergerac; an heroic 
 comedy in 5 acts ; tr. from the French by Charles 
 Renauld, with an introduction by Adolphe Cohn. 233 
 p. D. N. Y., 0x898. Stokes, SOG. 
 
 Rostand, Edmond. Cyrano de Bergerac ; tr. from the 
 French by Gertrude Hall. 235 p. S. N. Y., 1898. 
 Doubleday, 5oc. 
 
 Reviewed in Archer, William, Study and stage, 1899, 
 p. 44-50; Crawford, V. M., Studies in foreign literature, 
 X 899, p. 27-48; Poet-lore. Jan.-Mar., 1899, 11:118-24; Nine- 
 teenth Cent., July, 1898, 44: 102-15, by Stanley Young; 
 Athenaeum, Ap. 28, 1900, i : 538 (Rev. of the Ogilvie & Parker 
 translation); Forum, Dec., 1898, 26 : 502-12, by GustavKobbe: 
 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, n : 363-66, by Paul Wilstac. 
 
 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 3 acts ; freely done into English verse by 
 George Fleming. 150 p. D. N. Y. Heinemann, 
 2S. 6d. 
 
 29 
 
Rostand, Edmond. La Princesse Lointaine (The 
 princess Far-away) ; a play in 4 acts iri verse ; tr. into 
 English verse with a preface by Charles Renauld. 
 no p. D. N. Y., 01899. Stokes, 5oc. 
 A poor translation. 
 
 Reviewed in Saturday Rev., June 22, 1895, 79 : 828-9, by 
 G : B. Shaw. 
 
 Rostand, Edmond. L'Aiglon ; a play in 6 acts ; adapted 
 into English by L. N. Parker. 261 p. O. N. Y., 1900. 
 Russell, $1.50, 
 
 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 Aldrich, T. B., Note on L'Aiglon (See 
 his Ponkapog papers. 1903. p. 73-81); Athenaeum, Mar. 17, 
 1900, i : 334-5, oy Jules Claretie ; June 8, 1901, i : 735 ; Nation, 
 May 10, 1900, 70 : 356-7 ; Feb. 7, 1901, 72 : 114. 
 
 Rostand, Edmond. The romancers ; a comedy in 3 
 acts; tr. by Mary Hendee. 134 p. S. N. Y., 1899. 
 Doubleday, 5oc. net. 
 
 Scene is laid in a bright garden of ilowers and trees, 
 without 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, i =699. 
 
 Criticism. 
 
 Chesterton, Gilbert Keith. Rostand. (See his Varied 
 types. 1903. p. 73-82.) 
 
 For reviews see G. K. Chesterton entry under Maeterlinck. 
 
 Filon, Augustin. Modern French drama, 7 essays, tr. by 
 J. E. Hogarth, with an introd. by W. L. Courtney. 
 304 p. D. Lond., 1898. Chapman, 75. 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 Amer- 
 ica, 1897-1900. 1901. p. 249-78.) 
 
 Criticism of Rostand's plays and the acting of them. 
 
 Henderson, Archibald. The theatre of Edmond Rostand. 
 (See Arena, Sep., 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. 
 
 30 
 
James, Henry. Edmond Rostand. (See Critic, Nov., 
 1901, 39:437-5-) 
 
 A broad minded and penetrative analysis. 
 Published also in Cornhill Mag., 84: 577-98. 
 
 M. Edmond Rostand. (See Critic, Oct., 1901,39:299.) 
 
 A brief, personal sketch with a full length, highly 
 characteristic portrait. 
 
 M. Edmond Rostand and the literary prospects of the 
 drama. (See Edinburgh Rev., July-Oct., 1900, 192: 
 307-21.) 
 
 Analyzes each of his five plays, and indicates their literary 
 spirit. 
 
 Moffett, Cleveland. The author of " Cyrano"; a study 
 
 of Edmond Rostand's personality and methods of 
 
 writing. (See McClure's Mag., Mar., 1900, 14:437-45.) 
 
 A personal sketch ; a talk with Coquelin and Rostand ; 
 
 how " Cyrano " was written. 
 
 On displaying celebrities. (See Nation, June 25, 1903, 
 76: 510-11.) 
 
 Account of Rostand's reception into the French Academy. 
 
 Sedgwick, Ellery. 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. Chic., 1898. Stone, $2.50. 
 
 A delight to the intellectual, a mockery to the brainless a 
 contusion to those who, having brains, cannot use them. 
 Baltimore Sun. 
 
 In the preface of each volume Shaw expounds in a 
 historical and highly personal way his views as to the relation 
 between the players and the play. 
 
 Contents : 
 
 V. i. 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. 
 
 T R M Vi f- wed J n i Dia1 ' J u o ly l6 ' 1898,25:43-5, byE. E. Hale, 
 Jr. ; Nation, July 14, 1808, 67 : 36-7 ; Athenseum, May 28, 1898 
 1:703-4; Bookman, July, 1898, 7:416-7, by Paul Wilstach; 
 Acaaemy, 53: 401-3 : 490-2; 613-4; Bookbuyer, July, 1898 26' 
 e/-.-_r- K.T T T> c,,Ti:..T: * ' ' **j"j j"*j> i "7", " 
 
Shaw, George Bernard. Arms and the man. 
 
 Scene is laid in a Bulgarian mountain hotel in 1885. 
 " Amusingly iconoclastic with Mr. Shaw's notion of con- 
 ventional heroism as its target. " 
 
 Shaw, George Bernard. 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 London Times, Ap., 1904, p. 133 , Athenaeum, 
 Ap. 30, 1904, i : 570; Academy, May 7, 1904, 66 : 528. 
 
 Shaw, George Bernard. Man of destiny. 
 
 An original one-act complicati9n in which Napoleon, 
 leading 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 mouthpiece with which' he lectures Englishmen 
 in his own whimsical fashion. 
 
 Reviewed in Bookman, Ap., 1904, 19 : 160, by F. M. Colby. 
 
 Shaw, George Bernard. Mrs. Warren's profession. 
 
 Based on the Socialists' plea that the necessary result of 
 poverty is vice. Unpleasant as are all the convincing 
 arguments 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 dial9gue 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, pap. 6oc. net. 
 
 Shaw, George Bernard. (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 gratifying though subtle attack 
 on vivisection. As a whole it is slightly tragic and very 
 amusing. 
 
 Shaw, George Bernard. 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. 
 
 32 
 
Shaw, George Bernard. 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 perhaps that of an elderly 
 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, i : 603. 
 
 Shaw, George Bernard. Three plays for Puritans ; 
 being a 3d volume of his collected plays. 315 p. D. 
 Chic., 1904. Stone. 
 
 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. 
 
 Reviewed in Dial, May 16, 1901, 30:343; Nation, June 6, 
 IQOI, 72 : 460; Literary World, Aug. i, 1901, 32 : 126 ; Saturday 
 Rev., Jan. 26, 1901, 91 : 107-8, by Max Beerbohm ; Athenaeum, 
 Feb. 9, 1901, i : 186-7; Spectator, Ap. 13, 1901, 86: 534-6. 
 
 Shaw, George Bernard. Caesar and Cleopatra. 
 
 Setting is on the Syrian border of Egypt toward the end 
 of the 230: dynasty. A study of antiquity, humorous and 
 truth-telling, and tending to be both real and fantastic. 
 
 Shaw, George Bernard. Captain Brassbound's con- 
 version. 
 
 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. 
 
 Shaw, George Bernard. The devil's disciple. 
 
 In the preface, " On Diabolian ethics," the author refers 
 to this as the novelty of the advanced thought of my day 
 a play certain to be written at the end of the nineteenth 
 century." It has some tragic situations mingled with 
 malicious, roistering humor. 
 
 Works published separately. 
 
 Shaw, George Bernard. Cashel Byron's profession . . . 
 also, The admirable Bashville ; or, Constancy unre- 
 warded ; being the novel of Cashel Byron's profession 
 done into a stage play in 3 acts and blank verse. 
 376 p. D. Chic., 1901. Stone, $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- 
 mmdied. A young woman, rich, refined and bookish, falls 
 helplessly in love with him and marries him in mute, des- 
 perate defiance of social laws. 
 
 Reviewed in Critic, Feb., 1902, 40 : 179 ; Saturday Rev. 
 Nov. 2, 1901, 92 : 556, by Max Beerbohm. 
 
 33 
 
Shaw, George Bernard. Man and superman ; a comedy 
 and a philosophy. 244 p. D. N. Y., 1904. Brentano 
 $1.25 net. 
 
 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, Sep. 26, 1903, 2 : 422-3, by William 
 91:840-1; Dial, T 
 
 Archer; Spectator, Nov. 21, 1903, 
 Henderson ; N 
 
 !, 43 : 3 IO ~ I2 tby 11110.111 .TIK.IIGI , ;xu^., 
 . H. Dunbar ; Bookman, Aug., 1903, 
 
 3,37:33-4, by A. Henderson; Nation, Dec. 15, 
 ; Critic, Oct., 1903, 43:310-12, by William Archer 
 
 1904, 45:186-7 
 19:609-10, by 
 Oct., 1903, 1 74 -,532-4. 
 
 July 16, 
 1904, 79: 
 Aug., 
 
 , -, by 
 
 19:609-10, by F. M. Colby; Blackwood's Edinburgh Mag., 
 
 Shaw, George Bernard. Dramatic opinions and essays ; 
 containing ... a word on the dramatic opinions and 
 essays of G. Bernard Shaw, by James Huneker. 2 v. 
 D. N. Y., 1906. Brentano, $2.50 net. 
 
 Selections from dramatic criticisms which appeared in the 
 London Saturday Review, 1895-98. 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. 
 
 Shaw, George Bernard. Quintessence of Ibsenism. 
 Ed. 2. 170 p. D. Bost., 1891. Brentano, $i. 
 
 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 theatre 
 critic. 
 
 Barnicoat, Constance A. Mr. Bernard Shaw's counter- 
 feit presentment of women. (See Fortnightly Rev., 
 Mar., 1906, 85:516-27.) 
 
 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, Ap., 1906, 249 : 67-75. 
 
 Beers, Henry A. The English drama of today. (See 
 North American Rev., May, 1905, 180:746-57.) 
 
 Shaw, Phillips, Yeats and others are considered with 
 rather secondary critical treatment. 
 
 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. 
 
 34 
 
Chilton, C. B. Shaw contra mundum. (See Indepen- 
 dent, Mar. 8, 1906, 60: 550-6.) 
 
 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.) 
 
 Henderson, Archibald. Arnold Daly and Bernard 
 Shaw; a bit of dramatic history. (See Arena, Nov., 
 
 1904, 32 : 489-96.) 
 
 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. 
 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". 
 
 Lewis, Austin. The point of view of Bernard Shaw. 
 (See Overland Mo., Jan., 1904, 58 : 43-6.) 
 
 Mencken, Henry Louis. George Bernard Shaw, his 
 plays ; a critical analysis of all Shaw's literary and 
 dramatic work. 107 p. D. Bost., 1905. Luce, $i. 
 Reviewed in Nation, Feb. i, 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 re- 
 markably comprehensive in its scope, and perhaps open to 
 argument as to its doctrine. But it is good reading. Then 
 follow chapters descriptive and amiably critical on Shaw's 
 plays. 
 
 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. 
 
 Reply to Shaw's "Better than Shakespeare?" (See 
 Harper's Mag., Sep., 1905, in : 633-5.) 
 
 In the notes from the " Editor's easy chair " Harper's 
 Magazine publishes a reply to Shaw's own claim that ne is 
 
 Greater than Shakespeare as a master of poetic drama. Mr. 
 haw makes this claim in his preface to the Three Plays 
 for Puritans under the caption " Better than Shakespeare ?" 
 
 35 
 
Simpson, Herman. Shaw as playwright and philosopher. 
 (See Independent, July 6, 1905, 59134-8.) 
 
 Strachey, Lionel. The popularity of Bernard Shaw. 
 (See Critic, Nov., 1905, 47:415-23.) 
 
 A general article, predominantly Pro Shaw, reviewing his 
 Plays, Pleasant and Unpleasant. Many pictures of 
 various stage scenes are given. 
 
 Street, G. S. Sheridan and Mr. Shaw. (See Black- 
 wood's Edinburgh Mag., June, 1900, 167 : 832-6.) 
 
 Conscientious criticism pointing out that Shaw's abun- 
 dance of ideas has both made and spoiled his plays. Dis- 
 cusses the similarity between Shaw and Sheridan. 
 
 Tarpey, W. Kingsley. English dramatists of today. 
 (See Critic, Aug., 1900, 37 : 124.) 
 A brief summary. 
 
 Walkley, Arthur Bingham. George Bernard Shaw. (See 
 
 his Frames of mind, 1899.) 
 
 Reviewed in Athenaeum, Jan. 13, 1900, i : 40. 
 (The) yellow dramatist. (See Outlook, Nov. 25, 1905, 
 
 81 : 701.) 
 
 SUDERMANN. 
 
 Sudermann, Hermann. Fires of St. John, a drama in 
 four acts ; tr. and adapted by Charles Swickard. 
 139 p. O. Bost., 1904. Luce, #1.25. 
 
 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. 
 
 Sudermann, Hermann. Fires of St. John, a drama in 
 four acts ; tr. from the German by Charlotte Porter 
 and H. C. Porter. (See Poet-lore, Jan.-Mar., 1904, 
 15:1-71.) 
 
 Sudermann, Hermann. St. John's fire; tr. from the 
 German by G. E. Polk. 108 p. O. Minneapolis, 1905. 
 Wilson, $i. 
 
 Miss Folk'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. 
 
 Sudermann, Hermann. Johannes ; [a play in five acts] 
 tr. from the German by W. H. Harned and Mary 
 Harned. (See Poet-lore, Ap.-June, 1899, n : 161-236.) 
 
 A tragedy of great dramatic and religious interest. The 
 Jewish prophet, in struggling for a Christ ideal 190 visionary 
 and austere for his human followers, becomes disenchanted 
 
 36 
 
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 
 commonplace and conventional. 
 
 Reviewed in Francke. Kuno, Sudermann's John the 
 Baptist. (See his Glimpses of modern German culture. 
 1898. p. 142-53-) 
 
 Sudermann, Hermann. (The) Joy of living ... a play 
 in five acts ; tr. from the German by Edith Wharton. 
 185 p. D. N. Y., 1903. Scribner, #1.25 net. 
 
 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. 
 
 Reviewed in Poet-lore, Jan.-Mar., 1903, 14:114-26, by P. H. 
 Grummann ; Ap.-June, 1903, 14 : 5-11, by H. A. C. ; Nation, 
 Feb. 27, 1002, 74: 169-70, by Charles -Harris: Fortnightly 
 Rev., Sep., 1902, 78: 429-40, by W. S. Lilly ; Athenaeum, Feb. 
 28, 1903, i : 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. 
 Host., 1895. Lamson, 5oc. net. 
 
 Pre-eminently a study of character and environment, 
 offering, in the characters of Schwartze and his outcast 
 daughter Magda, a contrast between provincial and cos- 
 mopolitan 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. 
 
 Sudermann, Hermann. Morituri : Teias ; tr. by Mary 
 Harned. (See Poet-lore, July-Sep., 1897, 9: 330-52.) 
 
 A one-act drama compacted into one brief scene. Its 
 gloomy theme shows the stern Ostrogothic king's reaction 
 in character as he is made to face death by an encircling 
 enemy. The play belongs to the famous Morituri group 
 which is closely interlinked with the best part of the author's 
 work as a whole. 
 
 Sudermann, Hermann. (The) Three heron's feathers; tr. 
 by H. T. Porter. (See Poet-lore, Ap.-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 
 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. 
 
 37 
 
Criticism. 
 
 Coar, J. Firman. Three contemporary German drama- 
 tists. (See Atlantic Mo., Jan., 1898, 81 : 71-80.) 
 
 A comparison of Sudermann, Hauptmann and Wilden- 
 bruch. 
 
 Florer, Warren Washburn. Recent German criticism ; 
 Hermann Sudermann. (See Poet-lore, Sep., 1905, 
 16: 116-23.) 
 
 Heller, Otto. Studies in modern German literature : 
 Sudermann, Hauptmann, women writers of the igth 
 century. 301 p. D. Bost., 1905. Ginn, $1.25. 
 
 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 snows 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 Athenaeum, Nov. 18, 1905, 2: 685; Poet-lore, 
 Sep., 1905, 16:127-8. 
 
 Jones, Dora M. Plays of Hermann Sudermann. (See 
 Westminster Rev:, Nov., 1900, 154: 553-60.) 
 
 A general characterization, slight in substance and value. 
 
 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. 
 
 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.) 
 Biographical and critical. 
 
 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 
 mentioned in this list Mr. Wells considers two Magda and 
 Johannes (John the Baptist). 
 
THIS BOOK IS DUE ON THE LAST DATE 
 STAMPED BELOW 
 
 AN INITIAL FINE OF 25 CENTS 
 
 WILL BE ASSESSED FOR FAILURE TO RETURN 
 THIS BOOK ON THE DATE DUE. THE PENALTY 
 WILL INCREASE TO SO CENTS ON THE FOURTH 
 DAY AND TO $1.OO ON THE SEVENTH DAY 
 OVERDUE. 
 
 OCT 31 193b 
 
 
 14Apr'58LM' 
 
 
 
 
 NEC'D L~D 
 
 
 4^171958 
 
 
 *Qtt*sM? 
 
 
 
 
 Kfc.<^' U * 
 
 D 
 
 IVfc 11 ^* 
 
 1 Oil 
 
 SEP 28*66-! 
 
 ) rW 
 
 
 
 i fi 1980 
 
 
 REC.CIRJAN 9W 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 LD 21-100m-7,'33 
 
YC 53000 
 
 1838