The Critic and the Drama

The detractors of the theatre are often expert in persuasive half-truths and masters of dialectic sleight-of-hand. Their performances are often so adroit that the spectator is q...

Mr. Spingarn, in his exceptionally interesting, if somewhat overly indignant, treatise on “Creative Criticism,” provides, it seems to me, a particularly clear illustration of th...

“The truth is, we exaggerate the talent of an actor because we judge only from the effect he produces, without inquiring too curiously into the means. But, while the painter has...

“Convictions,” said Nietzsche, “are prisons.” Critical “theories,” with negligible exception, seek to denude the arts of their splendid, gipsy gauds and to force them instead to...

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The trouble with dramatic criticism in America, speaking generally, is that where it is not frankly reportorial it too often seeks to exhibit a personality when there exists no...

Criticism in America must follow the bell-cow. The bell-cow is personal cowardice, artistic cowardice, neighbourhood cowardice, or the even cheaper cowardice of the daily and--t...