Modern Drama and Opera: Reading Lists on the Works of Various Authors, Volume 2

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Boston Book Company, 1915 - Drama - 255 pages
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Page 153 - It is the aim of this book to give a sketch of the Irish literary revival that may serve as a background to the work of Mr. Yeats ; to show how many phases of Irish life he has brought into literature...
Page 135 - An Address Delivered at the Opening of the Twentieth Century Club Series of Plays BY V1DA D.
Page 149 - DECTORA'S hair about him.] Beloved, having dragged the net about us, And knitted mesh to mesh, we grow immortal; And that old harp awakens of itself To cry aloud to the grey birds, and dreams, That have had dreams for fathers, live in us. [Curtain.] APPENDIX IV THE WORK OF THE NATIONAL THEATRE SOCIETY AT THE ABBEY THEATRE, DUBLIN : A STATEMENT OF PRINCIPLES...
Page 52 - ... intelligent, and goodhearted man or woman. Stupidity is their commonest attribute; those who are not stupid are feeble and morbid; those who are merely wicked are always aimlessly so; and nearly all are given to gross habits and banal sentiments which produce in the reader a feeling of choking disgust. But arid alike in their vices and virtues, they are always interesting and lifelike.
Page 125 - ... of the artistic consciousness, left him as it found him, a plebeian of the soul. It is scarcely an exaggeration to affirm that Strindberg is the unconscionable diarist, one had wellnigh said the yellow journalist, of personal consciousness. A supreme artist with all the allure of genius, indeed — tainted with the dross of charlatanry and arrogance. Like another Knute, he bade the waves of life to recede ; but for all his categorical imperative, life in the event obdurately refused to do his...
Page 122 - ... popularity in America." It is an interesting commentary on the temper (and, for that matter, on the quality) of American critical thinking in 1912 that Robert Louis Stevenson is appealed to in this essay as an authority whom most Americans would prefer to Strindberg in arriving at their view of life. . . . We take our life less grimly than this morbid-minded Scandinavian. To most of us, this turgid, tremulous, tremendous world continues to appear (in the wise and laughing words of Stevenson)...
Page 108 - None of his larger plays, with one exception, has proved really successful, several seem to be veritable fiascos. The reason is that his art is not monumental enough for the large sweep of a great tragedy. His chosen field is the sparkling, witty dialog. He uses this for all purposes : not merely to create atmosphere, and characterize subtly fine shades of personality, but also to outline stroke by stroke a dramatic setting and accompany a dramatic episode.
Page 37 - ... in tracking down some elusive secret to its hidden lair. But that is as far as Mr. Barker got — the suggestively cryptic. Already we see him employing woman as the embodiment of an abstract idea — the woman boldly entangling the good-natured but dense philanderer in her carefully devised snare. The sense of grossness comes strongly upon one in the finale — this eugenic, but unnatural, solution of mating the over-civilized and devitalized woman with the coarse but pure-blooded man.
Page 35 - ... publication. There was the thrust toward utter realism — the ambition to create a drama that would wear the drab, as well as the brilliant, garments of life itself. It was Bernard Shaw who initiated the New Drama twenty years ago with Widowers' Houses. The Independent Theatre, inaugurated by Mr. JT Grein, failed in its effort, as did the New Century Theatre, to bring to the fore a group of budding dramatists. But it was the immediate cause of enticing Bernard Shaw into the field of dramatic...
Page 125 - In the secret recesses of his temperament lurked a spirit of divine discontent, of volcanic denial — raging fiercely against the evils revealed to his searching gaze and giving no quarter to his adversaries. One of the most conclusive proofs of his greatness is that no one has yet succeeded in taking the measure of his stature. He is that miracle in the hierarchy of genius — an incommensurable force. Strindberg has been called the only dramatist of genuinely Shakespearean order in modern times...

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