Chapter 14

Suppose that some morning at breakfast you pick up a newspaper and read that a great earthquake has overwhelmed Messina, killing countless thousands and rendering an entire province desolate. You say, "How very terrible!"--after which you go blithely about your business, untroubled, undisturbed. But suppose that your little girl's pet pussy-cat happens to fall out of the fourth-story window. If you chance to be an author and have an article to write that morning, you will find the task of composition heavy. Now, the reason why the death of a single pussy-cat affects you more than the death of a hundred thousand human beings is merely that you realise the one and do not realise the other. You do not, by the action of imagination, make real unto yourself the disaster at Messina; but when you see your little daughter's face, you at once and easily imagine woe. Similarly, on the largest scale, we go through life realising only a very little part of all that is presented to our minds. Yet, finally, we know of life only so much as we have realised. To use the other word for the same idea,--we know of life only so much as we have imagined. Now, whatever of life we make real unto ourselves by the action of imagination is for us fresh and instant and, in a deep sense, new,--even though the same materials have been realised by millions of human beings before us. It is new because we have made it, and we are different from all our predecessors. Landor imagined Italy, realised it, made it instant and afresh. In the subjective sense, he created Italy, an Italy that had never existed before,--Landor's Italy. Later Browning came, with a new imagination, a new realisation, a new creation,--Browning's Italy. The materials had existed through immemorable centuries; Landor, by imagination, made of them something real; Browning imagined them again and made of them something new. But a Cook's tourist hurrying through Italy is likely, through deficiency of imagination, not to realise an Italy at all. He reviews the same materials that were presented to Landor and to Browning, but he makes nothing out of them. Italy for him is tedious, like a twice-told tale. The trouble is not that the materials are old, but that he lacks the faculty for realising them and thereby making of them something new.

A great many of our contemporary playwrights travel like Cook's tourists through the traditional subject-matter of the theatre. They stop off here and there, at this or that eternal situation; but they do not, by imagination, make it real. Thereby they miss the proper function of the dramatist, which is to imagine some aspect of the perennial struggle between human wills so forcibly as to make us realise it, in the full sense of the word,--realise it as we daily fail to realise the countless struggles we ourselves engage in. The theatre, rightly considered, is not a place in which to escape from the realities of life, but a place in which to seek refuge from the unrealities of actual living in the contemplation of life realised,--life made real by imagination.

The trouble with most ineffective plays is that the fabricated life they set before us is less real than such similar phases of actual life as we have previously realised for ourselves. We are wearied because we have already unconsciously imagined more than the playwright professionally imagines for us. With a great play our experience is the reverse of this. Incidents, characters, motives which we ourselves have never made completely real by imagination are realised for us by the dramatist. Intimations of humanity which in our own minds have lain jumbled fragmentary, like the multitudinous pieces of a shuffled picture-puzzle, are there set orderly before us, so that we see at last the perfect picture. We escape out of chaos into life.

This is the secret of originality: this it is that we desire in the theatre:--not new material, for the old is still the best; but familiar material rendered new by an imagination that informs it with significance and makes it real.

INDEX

Adams, Maude, 60.

Addison, Joseph, 79; _Cato_, 79.

Ade, George, 56; _Fables in Slang_, 56; _The College Widow_, 41.

_Admirable Crichton, The_, 113.

Aeschylus, 5, 6, 135.

_After Blenheim_, 228.

_Aiglon, L'_, 67, 68.

_Alice-Sit-by-the-Fire_, 157.

Allen, Viola, 109.

Alleyn, Edward, 163.

_All for Love_, 17.

Alma-Tadema, Sir Lawrence, 92.

_Antony_, 140, 142.

_Antony and Cleopatra_, 16.

Aristophanes, 202.

Aristotle, 18.

Arnold, Matthew, 8, 19, 205, 221.

_As You Like It_, 38, 48, 51, 61, 62, 77, 78, 92, 100, 172, 186, 220.

_Atalanta in Calydon_, 20.

Augier, Emile, 9, 141.

_Autobiography of Joseph Jefferson_, 103.

_Autocrat of the Breakfast-Table, The_, 178.

Bannister, John, 86.

Banville, Théodore de, 66.

Barrie, James Matthew, 204, 205, 206, 219; _Alice-Sit-by-the-Fire_, 157; _Peter Pan_, 215; _The Admirable Crichton_, 113; _The Professor's Love Story_, 157.

Barry, Elizabeth, 70, 80.

Barrymore, Ethel, 157.

_Bartholomew Fair_, 202.

_Beau Brummel_, 70, 114, 210.

Beaumont, Francis, 28; _The Maid's Tragedy_, 28.

_Becket_, 19, 72.

Béjart, Armande, 62, 63, 71.

Béjart, Magdeleine, 62, 71.

Belasco, David, 155; _The Darling of the Gods_, 42; _The Girl of the Golden West_, 90.

_Bells, The_, 125.

Bensley, Robert, 86.

Bernhardt, Sarah, 40, 64, 65, 66, 68, 105, 107.

Betterton, Thomas, 70.

_Blot in the 'Scutcheon, A_, 31, 56.

Boucicault, Dion, 70, 83; _London Assurance_, 83; _Rip Van Winkle_, 70.

_Brown of Harvard_, 155.

Browne, Sir Thomas, 177; _Religio Medici_, 31.

Browning, Elizabeth Barrett, 19, 205.

Browning, Robert, 10, 19, 31, 32, 237; _A Blot in the 'Scutcheon_, 31, 56; _A Woman's Last Word_, 32; _In a Balcony_, 10; _Pippa Passes_, 31, 194.

Brunetière, Ferdinand, 35.

Bulwer-Lytton, Sir Edward, 79; _Richelieu_, 79.

Burbage, James, 77.

Burbage, Richard, 60, 61, 79, 93.

Burke, Charles, 103.

Burton, William E., 103.

Byron, George Gordon, Lord, 19.

Calderon, Don Pedro C. de la Barca, 26, 50.

Campbell, Mrs. Patrick, 66, 69.

_Candida_, 224, 225.

_Cato_, 79.

_Cenci, The_, 144.

_Charles I_, 72.

Chinese theatre, 78.

_Chorus Lady, The_, 22.

_Christ in Hades_, 197.

Cibber, Colley, 63, 85, 164.

_Città Morta, La_, 72.

Coleridge, Samuel Taylor, 19.

_College Widow, The_, 41.

Collins, Wilkie, 121.

Colvin, Sidney, 170.

_Comedy of Errors, The_, 38.

_Commedia dell'arte_, 10, 11.

Congreve, William, 9, 164.

_Conquest of Granada, The_, 74.

Coquelin, Constant, 60, 66, 67, 68, 71, 105.

Corneille, Pierre, 50, 235.

_Cromwell_, 64.

_Crossing Brooklyn Ferry_, 182.

_Cymbeline_, 17, 62.

_Cyrano de Bergerac_, 31, 56, 60, 67, 71, 98, 100, 105, 121, 195.

_Dame aux Camélias, La_, 14, 37, 53, 105, 141, 146.

Dante Alighieri, 162, 188; _Inferno_, 188.

_Darling of the Gods, The_, 42.

Darwin, Charles, 21.

Davenant, Sir William, 80.

Dekker, Thomas, 202.

_Demi-Monde, Le_, 141.

Dennery, Adolphe, 6, 175; _The Two Orphans_, 6, 31, 32, 37, 175.

_Diplomacy_, 101.

_Doll's House, A_, 47, 53, 146, 158.

_Don Quixote_, 59.

Doyle, Sir Arthur Conan, 22; _Sherlock Holmes_, 22, 157; _The Story of Waterloo_, 157.

_Dr. Faustus_, 136, 137.

Dryden, John, 16, 17, 73; _All for Love_, 17; _The Conquest of Granada_, 74.

_Duchess of Malfi, The_, 130.

Du Croisy, 62, 63.

Dumas, Alexandre, _fils_, 14; _La Dame aux Camélias_, 14, 37, 53, 105, 141, 146; _Le Demi-Monde_, 141; _Le Fils Naturel_, 142.

Dumas, Alexandre, _père_, 140; _Antony_, 140, 142.

Duse, Eleanora, 65, 71.

Echegaray, Don José, 187, 188, 189; _El Gran Galeoto_, 187-192.

_Egoist, The_, 31.

Emerson, Ralph Waldo, 202.

_Enemy of the People, An_, 137, 201.

Etherege, Sir George, 82.

Euripides, 131.

_Every Man in His Humour_, 100.

_Fables in Slang_, 56.

_Fair Maid of the West_, 218, 219.

_Faust_, 31.

_Fédora_, 65.

_Fighting Hope, The_, 230.

_Fils Naturel, Le_, 142.

Fiske, John, 143.

Fiske, Mrs. Minnie Maddern, 7, 87, 102, 115, 218.

Fitch, Clyde, 13, 70, 89, 90, 159; _Beau Brummel_, 70, 114, 210; _The Girl with the Green Eyes_, 159.

Fletcher, John, 28, 48, 61; _The Maid's Tragedy_, 28.

Forbes, James, 22; _The Chorus Lady_, 22.

Forbes-Robertson, Johnstone, 7, 92, 125.

_Fourberies de Scapin, Les_, 51.

_Frou-Frou_, 43, 141.

_Gay Lord Quex, The_, 120, 134, 213.

_Ghosts_, 53, 142, 144, 145, 215, 219, 230.

Gillette, William, 22, 121; _Sherlock Holmes_, 22, 121.

_Girl of the Golden West, The_, 90.

_Girl with the Green Eyes, The_, 159.

_Gismonda_, 65.

Goethe, Johann Wolfgang von, 234; _Faust_, 31.

_Gorboduc_, 73.

_Gossip on Romance, A_, 128.

_Gran Galeoto, El_, 187-192.

_Great Divide, The_, 230.

Greene, Robert, 48, 61.

Greet, Ben, 75, 109, 110.

_Hamlet_, 8, 12, 38, 39, 48, 51, 55, 60, 61, 67, 68, 71, 79, 89, 92, 100, 101, 105, 106, 107, 115, 118, 121, 122, 130, 136, 175, 177, 181, 184, 185, 187, 194, 203, 233.

Haworth, Joseph, 104.

_Hedda Gabler_, 37, 53, 87, 102, 115, 117, 120, 145, 158, 181, 215, 220.

_Henry V_, 41, 77.

Henslowe, Philip, 164.

_Hernani_, 14, 140.

Herne, James A., 87; _Shore Acres_, 87, 193.

_Hero and Leander_, 171.

Heyse, Paul, 7, 116; _Mary of Magdala_, 7, 116.

Heywood, Thomas, 38, 39, 202, 218, 219; _A Woman Killed with Kindness_, 38; _The Fair Maid of the West_, 218, 219.

"Hope, Laurence," 206.

_Hour Glass, The_, 56.

Howard, Bronson, 108, 157; _Shenandoah_, 101, 108, 157.

Howells, William Dean, 153.

Hugo, Victor, 14, 15, 52, 64, 116, 118, 135, 140; _Cromwell_, 64; _Hernani_, 14, 140; _Marion Delorme_, 14, 116; _Ruy Blas_, 52.

Ibsen, Henrik, 18, 25, 47, 88, 102, 117, 120, 123, 131, 133, 135, 137, 141, 145, 147, 148, 158, 218; _A Doll's House_, 47, 53, 146, 158; _An Enemy of the People_, 137, 201; _Ghosts_, 53, 142, 144, 145, 215, 219, 230; _Hedda Gabler_, 37, 53, 87, 102, 115, 117, 120, 145, 158, 181, 215, 220; _John Gabriel Borkman_, 123, 142; _Lady Inger of Ostråt_, 19; _Peer Gynt_, 31; _Rosmersholm_, 117, 218, 219; _The Master Builder_, 56, 158; _The Wild Duck_, 147.

_Idylls of the King_, 195.

_In a Balcony_, 10.

_Inferno_, 188.

_Inquiries and Opinions_, 108, 235.

_Iris_, 53.

Irving, Sir Henry, 19, 71, 72, 105, 106, 124, 157.

Irving, Washington, 70; _Rip Van Winkle_, 70.

James, Henry, 32.

_Jeanne d'Arc_, 193, 194, 196, 197.

Jefferson, Joseph, 70, 103, 210, 226; _Autobiography_, 103; _Rip Van Winkle_, 70, 210, 226.

Jerome, Jerome K., 125; _The Passing of the Third Floor Back_, 125.

_Jew of Malta, The_, 136.

_John Gabriel Borkman_, 123, 142.

Jones, Henry Arthur, 69, 120, 123; _Mrs. Dane's Defense_, 120; _Whitewashing Julia_, 123.

Jonson, Ben, 74, 100, 117, 202, 203; _Bartholomew Fair_, 202; _Every Man in His Humour_, 100.

_Julius Caesar_, 104, 125.

Keats, John, 19; _Ode to a Nightingale_, 31.

Kennedy, Charles Rann, 23, 45, 46, 47; _The Servant in the House_, 23, 45, 46.

Killigrew, Thomas, 79.

_King John_, 119.

_King Lear_, 17, 36, 43, 136, 174, 197.

Kipling, Rudyard, 52; _They_, 52.

Klein, Charles, 155; _The Lion and the Mouse_, 203; _The Music Master_, 23, 154.

Knowles, Sheridan, 79; _Virginius_, 79.

Kyd, Thomas, 48, 131; _The Spanish Tragedy_, 76.

_Lady Inger of Ostråt_, 19.

_Lady Windermere's Fan_, 89.

La Grange, 62, 63, 71.

Lamb, Charles, 85, 200.

Landor, Walter Savage, 237.

_Launcelot of the Lake_, 188.

_Lear_, see _King Lear_.

_Leatherstocking Tales_, 59.

Le Bon, Gustave, 34, 49; _Psychologie des Foules_, 34.

Lee, Nathaniel, 70.

_Letty_, 37, 53.

_Lincoln_, 74.

_Lion and the Mouse, The_, 203.

_London Assurance_, 83.

Lope de Vega, 51.

Lord Chamberlain's Men, 60.

_Love's Labour's Lost_, 48.

Lyly, John, 48, 61.

_Lyons Mail, The_, 38.

_Macbeth_, 17, 36, 43, 76, 77, 98, 118, 136, 144, 195.

Mackaye, Percy, 193, 196, 197; _Jeanne d'Arc_, 193, 194, 196, 197.

Macready, William Charles, 32.

Maeterlinck, Maurice, 31; _Pélléas and Mélisande_, 56.

_Magda_, 53, 220.

_Maid's Tragedy, The_, 28.

_Main, La_, 10.

_Man and Superman_, 47, 74.

_Man from Home, The_, 230.

_Man of the Hour, The_, 203.

Mansfield, Richard, 41, 70, 104, 106, 125.

_Marion Delorme_, 14, 116.

Marlowe, Christopher, 48, 73, 135, 137, 163, 171; _Dr. Faustus_, 136, 137; _Hero and Leander_, 171; _The Jew of Malta_, 136; _Tamburlaine the Great_, 73, 136.

Marlowe, Julia, 61.

_Marpessa_, 195.

_Mary of Magdala_, 7, 116.

Mason, John, 63.

Massinger, Philip, 7.

_Master Builder, The_, 56, 158.

Mathews, Charles James, 82.

Matthews, Brander, 67, 108, 235; _Inquiries and Opinions_, 108, 235.

_Measure for Measure_, 220.

_Medecin Malgré Lui, Le_, 132.

_Merchant of Venice, The_, 61, 62, 77, 78, 109, 110.

Meredith, George, 52; _The Egoist_, 31.

_Merry Wives of Windsor, The_, 215.

Middleton, Thomas, 202.

Miller, Henry, 16, 155.

Milton, John, 52; _Samson Agonistes_, 31.

_Misanthrope, Le_, 63, 132, 175.

Modjeska, Helena, 65, 91.

Molière, J.-B. Poquelin de, 9, 17, 18, 25, 26, 32, 43, 48, 50, 55, 60, 62, 63, 71, 132,163, 171, 172, 175, 235; _Les Fourberies de Scapin_, 51; _Le Medecin Malgré Lui_, 132; _Le Misanthrope_, 63, 132, 175; _Les Précieuses Ridicules_, 60, 63; _Le Tartufe_, 100, 116, 230, 231.

Molière, Mlle., see Armande Béjart.

Moody, William Vaughn, 230; _The Great Divide_, 230.

Mounet-Sully, 181.

_Mrs. Dane's Defense_, 120.

_Mrs. Leffingwell's Boots_, 16.

_Mrs. Warren's Profession_, 224, 225.

_Much Ado About Nothing_, 36, 99.

_Music Master, The_, 23, 154.

_Musketeers, The_, 121.

Nazimova, Alla, 158, 195, 196, 197.

_Nicholas Nickleby_, 90.

Nietzsche, Friedrich Wilhelm, 47.

_Nos Intimes_, 64.

_Notorious Mrs. Ebbsmith, The_, 53, 120, 142.

Novelli, Ermete, 154.

_Ode to a Nightingale_, 31.

_Oedipus King_, 25, 38, 60, 100, 144, 181, 219.

_Orphan, The_, 70.

_Othello_, 17, 21, 37, 43, 51, 56, 58, 99, 136, 144, 154, 194, 230.

Otway, Thomas, 70; _The Orphan_, 70; _Venice Preserved_, 70.

Paestum, Temple at, 208.

_Paolo and Francesca_, 194.

_Passing of the Third Floor Back, The_, 125.

_Patrie_, 64, 66.

_Pattes de Mouche, Les_, 64.

_Peer Gynt_, 31.

_Pélléas and Mélisande_, 56.

_Peter Pan_, 215.

_Philanderer, The_, 224.

Phillips, Stephen, 19, 193, 194, 195, 197; _Christ in Hades_, 197; _Marpessa_, 195; _Paolo and Francesca_, 194.

_Philosophy of Style_, 95.

Pinero, Sir Arthur Wing, 19, 25, 69, 88, 93, 120, 158, 212, 213; _Iris_, 53; _Letty_, 37, 53; _The Gay Lord Quex_, 120, 134, 213; _The Notorious Mrs. Ebbsmith_, 53, 120, 142; _The Second Mrs. Tanqueray_, 53, 56, 69, 120, 141, 193, 231; _The Wife Without a Smile_, 213; _Trelawny of the Wells_, 87.

_Pippa Passes_, 31, 194.

Plautus, 35, 50.

_Plays Pleasant and Unpleasant_, 222.

Plutarch, 17.

Praxiteles, 207, 211.

_Précieuses Ridicules, Les_, 60, 63.

_Professor's Love Story, The_, 157.

_Psychologie des Foules_, 34.

_Quintessence of Ibsenism, The_, 143.

Racine, Jean, 50, 235.

_Raffles_, 37.

Raphael, 162; _Sistine Madonna_, 30.

Regnard, J.-F., 9.

Rehan, Ada, 61.

_Religio Medici_, 31.

_Richard III_, 48.

_Richelieu_, 79.

_Rip Van Winkle_, 70, 210, 226.

_Rivals, The_, 132, 160.

_Romanesques, Les_, 66.

_Romeo and Juliet_, 61, 76, 174, 232.

_Romola_, 59.

_Rose of the Rancho, The_, 42, 155.

_Rosmersholm_, 117, 218, 219.

Rossetti, Christina Georgina, 206.

Rostand, Edmond, 9, 66, 67, 68, 71; _Cyrano de Bergerac_, 31, 56, 60, 67, 71, 98, 100, 105, 121, 195; _L'Aiglon_, 67, 68; _Les Romanesques_, 66.

_Round Up, The_, 41.

_Ruy Blas_, 52.

Saint-Gaudens, Augustus, 153.

_Samson Agonistes_, 31.

Sappho, 205.

Sarcey, Francisque, 122.

Sardou, Victorien, 12, 18, 19, 64, 65, 66; _Diplomacy_, 101; _Fédora_, 65; _Gismonda_, 65; _Nos Intimes_, 64; _Patrie_, 64, 66; _La Sorcière_, 65, 66; _La Tosca_, 40, 65, 105; _Les Pattes de Mouche_, 64.

Sargent, John Singer, 153.

Schiller, Johann Christoph Friedrich, 234.

_School for Scandal, The_, 40, 55, 64, 86, 101, 105, 123, 132.

Schopenhauer, Arthur, 47.

Scott, Sir Walter, 19.

_Scrap of Paper, The_, 64.

Scribe, Eugène, 19, 53, 64, 98.

_Second Mrs. Tanqueray, The_, 53, 56, 69, 120, 141, 193, 231.

_Servant in the House, The_, 23, 45, 46, 47.

Shakespeare, William, 7, 16, 17, 18, 25, 26, 32, 36, 43, 44, 47, 48, 51, 55, 57, 58, 60, 61, 62, 71, 75, 93, 109, 113, 115, 118, 119, 120, 122, 130, 132, 135, 136, 154, 157, 158, 163, 172, 197, 202, 220; _Antony and Cleopatra_, 16; _As You Like It_, 38, 48, 51, 61, 62, 77, 78, 92, 100, 172, 186, 220; _Cymbeline_, 17, 62; _Hamlet_, 8, 12, 38, 39, 48, 51, 55, 60, 61, 67, 68, 71, 79, 89, 92, 100, 101, 105, 106, 107, 115, 118, 121, 122, 130, 136, 175, 177, 181, 184, 185, 187, 194, 203, 233; _Henry V_, 41, 77; _Julius Caesar_, 104, 125; _King John_, 119; _King Lear_, 17, 36, 43, 136, 174, 197; _Love's Labour's Lost_, 48; _Macbeth_, 17, 36, 43, 76, 77, 98, 118, 136, 144, 195; _Measure for Measure_, 220; _Much Ado About Nothing_, 36, 99; _Othello_, 17, 21, 37, 43, 51, 56, 58, 99, 136, 144, 154, 194, 230; _Richard III_, 48; _Romeo and Juliet_, 61, 76, 174, 232; _The Comedy of Errors_, 38; _The Merchant of Venice_, 61, 62, 77, 78, 109, 110; _The Merry Wives of Windsor_, 215; _The Tempest_, 48, 215; _Twelfth Night_, 36, 62, 78, 92, 109, 110, 197, 198; _Two Gentlemen of Verona_, 61.

Shaw, George Bernard, 43, 47, 143, 147, 222, 223, 224; _Candida_, 224, 225; _Man and Superman_, 47, 74; _Mrs. Warren's Profession_, 224, 225; _Plays Pleasant and Unpleasant_, 222; _The Philanderer_, 224; _The Quintessence of Ibsenism_, 143; _Widower's Houses_, 224.

Shelley, Percy Bysshe, 19, 144; _The Cenci_, 144.

_Shenandoah_, 101, 108, 157.

Sheridan, Richard Brinsley, 9, 64, 82, 123, 160; _The Rivals_, 132, 160; _The School for Scandal_, 40, 55, 64, 86, 101, 105, 123, 132.

_Sherlock Holmes_, 22, 121, 157.

_She Stoops to Conquer_, 38.

_Shore Acres_, 87, 193.

Sidney, Sir Philip, 73.

_Sistine Madonna_, 30.

Skinner, Otis, 91.

Socrates, 201.

_Song of Myself_, 182.

_Song of the Open Road_, 217.

Sonnenthal, Adolf von, 106.

Sophocles, 32, 60, 131, 135; _Oedipus King_, 25, 38, 60, 100, 144, 181, 219.

_Sorcière, La_, 65, 66.

Sothern, Edward H., 106, 107.

Southey, Robert, 19, 228; _After Blenheim_, 228.

_Spanish Tragedy, The_, 76.

Spencer, Herbert, 95; _Philosophy of Style_, 95.

Stevenson, Robert Louis, 31, 128, 170, 214, 221; _A Gossip on Romance_, 128; _Treasure Island_, 33.

_Story of Waterloo, The_, 157.

_Strongheart_, 41.

_Sunken Bell, The_, 194.

_Sweet Kitty Bellairs_, 86.

Swinburne, Algernon Charles, 19; _Atalanta in Calydon_, 20.

Talma, 64, 71.

_Tamburlaine the Great_, 73, 136.

_Tartufe, Le_, 100, 116, 230, 231.

_Tears, Idle Tears_, 195.

_Tempest, The_, 48, 215.

Tennyson, Alfred, Lord, 19, 31, 72, 193, 195, 196; _Becket_, 19, 72; _Idylls of the King_, 195; _Tears, Idle Tears_, 195.

Terence, 26, 35, 50.

Thackeray, William Makepeace, 35.

_They_, 52.

Thomas, Augustus, 16, 45, 46, 63, 203, 230; _Mrs. Leffingwell's Boots_, 16; _The Witching Hour_, 16, 45, 46, 63, 203, 230.

_Tosca, La_, 40, 65, 105.

_Treasure Island_, 33.

Tree, Sir Herbert Beerbohm, 119, 121.

_Trelawny of the Wells_, 87.

_Troupe de Monsieur_, 62.

Tully, Richard Walton, 155; _The Rose of the Rancho_, 42, 155.

_Twelfth Night_, 36, 62, 78, 92, 109, 110, 197, 198.

_Two Gentlemen of Verona_, 61.

_Two Orphans, The_, 6, 31, 32, 37, 175.

_Venice Preserved_, 70.

_Venus of Melos_, 30.

Vestris, Madame, 82.

_Via Wireless_, 230.

_Virginius_, 79.

Voltaire, François Marie Arouet de, 14; _Zaïre_, 14.

Wagner, Richard, 117.

Warfield, David, 154, 155.

Webb, Captain, 128.

Webster, John, 130; _The Duchess of Malfi_, 130.

_Whitewashing Julia_, 123.

Whitman, Walt, 180, 182, 213, 217; _Crossing Brooklyn Ferry_, 182; _Song of Myself_, 182; _Song of the Open Road_, 217.

_Widower's Houses_, 224.

Wiehe, Charlotte, 10.

_Wife Without a Smile, The_, 213.

_Wild Duck, The_, 147.

Wilde, Oscar, 9; _Lady Windermere's Fan_, 89.

Willard, Edward S., 157.

Wills, William Gorman, 72.

Winter, William, 8.

_Witching Hour, The_, 16, 45, 46, 63, 203, 230.

_Woman Killed with Kindness, A_, 38.

_Woman's Last Word, A_, 32.

_Woman's Way, A_, 74.

Wordsworth, William, 19.

Wyndham, Sir Charles, 62, 69.

Yiddish drama, 11.

Young, Mrs. Rida Johnson, 155; _Brown of Harvard_, 155.

_Zaïre_, 14.

Zangwill, Israel, 41.

BEULAH MARIE DIX'S

ALLISON'S LAD AND OTHER MARTIAL INTERLUDES

By the co-author of the play, "The Road to Yesterday," and author of the novels, "The Making of Christopher Ferringham," "Blount of Breckenlow," etc. 12mo. $1.35 net; by mail, $1.45.

_Allison's Lad_, _The Hundredth Trick_, _The Weakest Link_, _The Snare and the Fowler_, _The Captain of the Gate_, _The Dark of the Dawn._

These one-act plays, despite their impressiveness, are perfectly practicable for performance by clever amateurs; at the same time they make decidedly interesting reading.

Six stirring war episodes. Five of them occur at night, and most of them in the dread pause before some mighty conflict. Three are placed in Cromwellian days (two in Ireland and one in England), one is at the close of the French Revolution, another at the time of the Hundred Years' War, and the last during the Thirty Years' War. The author has most ingeniously managed to give the feeling of big events, though employing but few players. The emotional grip is strong, even tragic.

Courage, vengeance, devotion, and tenderness to the weak, are among the emotions effectively displayed.

"The technical mastery of Miss Dix is great, but her spiritual mastery is greater. For this book lives in memory, and the spirit of its teachings is, in a most intimate sense, the spirit of its teacher.... Noble passion holding the balance between life and death is the motif sharply outlined and vigorously portrayed. In each interlude the author has seized upon a vital situation and has massed all her forces so as to enhance its significance."--_Boston Transcript._ (Entire notice on application to the publishers.)

"Highly dramatic episodes, treated with skill and art ... a high pitch of emotion."--_New York Sun._

"Complete and intense tragedies well plotted and well sustained, in dignified dialogue of persons of the drama distinctly differentiated."--_Hartford Courant._

"It is a pleasure to say, without reservation, that the half dozen plays before us are finely true, strong, telling examples of dramatic art.... Sure to find their way speedily to the stage, justifying themselves there, even as they justify themselves at a reading as pieces of literature."--_The Bellman._

* * * * *

HENRY HOLT AND COMPANY PUBLISHERS NEW YORK

BY BARRETT H. CLARK

THE CONTINENTAL DRAMA OF TO-DAY

_Outlines for Its Study_

Suggestions, questions, biographies, and bibliographies with outlines, of half a dozen pages or less each, of the more important plays of twenty-four Continental dramatists. While intended to be used in connection with a reading of the plays themselves, the book has an independent interest, _12mo. $1.50 net_.

_Prof. William Lyon Phelps, of Yale_: "... One of the most useful works on the contemporary drama.... Extremely practical, full of valuable hints and suggestions...."

BRITISH & AMERICAN DRAMA OF TO-DAY

_Outlines for Its Study_

Suggestions, biographies and bibliographies, together with historical sketches, for use in connection with the important plays of Pinero, Jones, Wilde, Shaw, Barker, Hankin, Chambers, Davies, Galsworthy, Masefield, Houghton, Bennett, Phillips, Barrie, Yeats, Boyle, Baker, Sowerby, Francis, Lady Gregory, Synge, Murray, Ervine, Howard, Herne, Thomas, Gillette, Fitch, Moody, Mackaye, Sheldon, Kenyon, Walters, Cohan, etc. _12mo. $1.60 net_.