Thus far, during the year 1913, they have produced "The Tragedy of Nan," John Masefield's darksome and poig nant drama, with Constance Collier as Nan. Their next ambitious attempt was Arnold Bennett's "The Honeymoon," in which Laura Hope Crews, Frank Reicher and Mrs. Le Moyne appeared. Their latest bill consisted of Joseph Medill Patterson's "By-Products," in which Laurette Taylor played the part of a light-minded shop girl who has the joie de vivre amidst sordid tenement conditions. Arthur Schnitzler's "Countess Mizzi," well translated by members of the Society, was excellently interpreted by Chrystal Herne in the title role. One of the most effective pageant plays seen in years was Louis N. Parker's "Joseph and His Brethren," with Brandon Tynan as Joseph, a brilliant piece of work, and Pauline Frederick as the Egyptian courtesan, Zuleika. Not since the days of Wright Lorimer's "The Shepherd King" has Biblical dignity been so well represented on the stage. musical panorama, Fields without Weber is a curious anachronism. "Believe Me, Xantippe" is a farce written by Frederick Ballard, a Harvard man who studied the drama under Professor Baker. A young man boasts that, accused of forgery, he could escape the clutches of the police for one year. This bet is taken up by a friend, and after devious adventures, the hero is caught out West, detected by the piece of slang used continually in the young man's conversation. This slang forms the title of the play. John Barrymore was amusing, but the play, excellent in the first two acts, degenerated into noise. Mark E. Swan's "Her Own Money" was unusual in its theme. It propounded the domestic problem of a wife's money which she has saved and of a husband's need of it. The question implied is this: Does a man feel obligated to return a debt if the debtor is his wife? The problem results in estrangement and a sentimental return of the husband. The writing in this play is above the average. After many years, John Drew returned to Shakespeare's "Much Ado About Nothing," reminiscent of the Daly days. His reading of blank verse was satisfactory, but the production failed to catch the note of irony and banter which should domi The present generation of theatregoers were given an opportunity to judge one of the great old plays of a time now gone, with the star revival of Lester Wallack's "Rosedale," Charles Cherry appearing in the oft quoted role of Elliott Grey. Among the other Spring revivals may be noted an excellent performance of Au-nate the comedy. In consequence Mr. gustus Thomas's "Arizona" which has lost none of its native atmosphere and which was particularly marked by the beautiful performance of Vincent Serrano in his original part of the vaquere. Pinero's excellent Court comedy "The Amazons" was likewise produced as a vehicle for Billie Burke, but in an effort to exploit that actress, the piece was subdued in some of its brilliant parts. This closes the record of the meritorious productions of the theatrical season of 1912-13. Carl Roessler's "Five Frankforters,” based upon an episode in the Rothschild family life, was carried over into the next season because of its popular appeal. The beginning of the next season, 1913-14, was ushered in with Lew Fields in "All Aboard"; though he gave a flash of characterization in the old sailor who dreams what transpires in this Mr. Drew ap Drew found himself compelled to re- David Belasco, in view of the announcement of Arnold Bennett's dramatization of "Buried Alive," rushed on his production of "The Temperamental Journey," drawn by Lee Ditrichstein from a French comedy, "Pour Vivre Heureux." The similarity of motive between this play and Bennett's novel challenged criticism. When "The Great Adventure" was finally given, it was found that the central idea of the two comedies was the same: an artist presumably dead returns to witness the turmoil over his own funeral. Apart from that the similarity ceases. "The Temperamental Journey," due to the excellent acting of Mr. Ditrichstein, was amusing, but degenerated into second-rate farce. "The Great Adventure,' wrongly cast with Janet Beacher and Lyn Harding in the chief roles, was consistent comedy throughout, quaint in spirit and unerring in character understanding. George Scarborough's "The Lure" and Bayard Veiller's "The Fight" vied with each other for sensation and they both came under public surveillance with the result that "The Lure" had certain indecencies omitted, while "The Fight" abandoned an entire repulsive act. Scarborough's play was poor and brutally sensational. Its one distinct object was to make profit out of the "white slave" discussion. "The Fight," however, was fraught with seriousness, narrating the experiences of a woman who enters politics for the betterment of her city, with "white slavery" as a dominant issue. This subject has been worn threadbare, George Broadhurst dealing with it in his drama, "To-day," and Rachel Crothers giving serious and over-zealous treatment of the problems of the fallen girl in "Ourselves," which had a short career. Paul Armstrong's "The Escape," deemed to a brief existence, dealt in sensational fashion with the theme of the shop girl and the inevitable temptation resulting in what Walter describes as the "easiest way." Not content with this hackneyed topic, Mr. Armstrong brought into his story the consumptive and the congenital criminal as topics for consideration, and a doctor performs miracles which point a way to the understanding of Mr. Armstrong's social ethics. Unable to find a suitable play for David Warfield, that artist appeared in a revival of "The Auctioneer," by Charles Klein. This piece competed for favor with Montague Glass's "Pot ash and Perlmutter," based on a popular series of stories published in a weekly paper. Most of the humor is depndent upon the foibles and sly acts of two Hebrew dealers in suits and cloaks. Large audiences have patronized Sir Johnston Forbes Robertson in repertoire on a farewell American tour. He is assisted by his wife, whose most agreeable role has been Cleopatra in Shaw's "Cæsar and Cleopatra," an historical study full of zest and wit and truth. The repertoire comprised "Mice and Men," "Hamlet," "The Passing of the Third Floor Back," "The Light that Failed," "The Sacrament of Judas," "The Merchant of Venice," the Shaw play, and "Othello." Another English actor to visit America with a repertory of plays most of which have already been seen was Cyril Maude, supported by his daughter as leading woman. The company is only fair, while the scenery is deplorably lacking in solidity and in decorativeness. Mr. Maude opened with Marshall's "The Second in Command," already out of date in its construction, but none the less ample in spirit to allow the English actor to impress us with his ability to convey across the footlights a certain charm and joviality that was attractive. His appearance in "Beauty and the Barge," the combined product of W. W. Jacobs and Louis Ñ. Parker, showed his excellence in eccentric character-a character that far outstretched in imaginative scope the limts of the very ordinary play itself. As a curtain piece to this, the one-act "Ghost of Jerry Bundler," W. W. Jacobs' tense sermon to practical jokers, revealed Mr. Maude's constitutional nervousness at the same time that it gave one the creeps up to the moment of the final tragedy where the practical joker is shot dead by a frightened friend. Thus far he has had his greatest success in "Grumpy," by Hodges and Percyval, the story of an old man who traces a robbery to its source and saves his granddaughter from misery. The Princess Players began their season by abandoning two of the plays put into rehearsal; this was due to the fact that they thought the pro gramme too gloomy for public taste. When the theatre at last opened, the plays offered were five in number, including a clever comedy by William Hurlbut called "The Bride," a vulgar piece by Edward Goodman en titled "En Deshabille," a gruesome but none the less excellent drama, "The Black Mask," comparable in grimness to Masefield's "Tragedy of Nan" and just as distinctive in workmanship. Stanley Houghton's "The Younger Generation," illustrated in comedy vein how a father may unwisely restrict a household and finally how he will be obliged to become more liberal in his interpretation of filial duty. As an afterpiece Grace George appeared in Barrie's "Half an Hour," a three-part sketch of a weak woman's rebellion against a brutal husband, and her ignominious return to him because of her inability to meet a poignant situation. By far the most picturesque production was Laurence Housman and Granville Barker's "Prunella," a fantasy in which the dainty little hero ine and Pierret love youthfully and mature sadly in a garden and mostly in the moonlight. Much of the verse was lost in inadequate reading, but on the whole the performance was marked by beauty and imagination, qualities one can ill-afford to treat brusquely. The whole performance was marked by good taste and charm. Two big spectacular productions have marked the theatrical season. One was Thomas W. Broadhurst's desecration of Longfellow's "Evangeline," wherein were mixed certain lines from "Hiawatha." The other piece was the imported Drury Lane spectacle called "Hop o' My Thumb." There was an opportunity here to give the children a real Christmas treat, but the piece was evidently put on with great haste and with little feeling for pictorial values save in one scene, the living statues, where the effect is wonderfully maintained. Certain grossnesses make the piece of doubtful appropriateness as a fairy tale for young folks. through the distinctive work of Chrys tal Herne and Guy Standing. There is a healthy love story which is told through the medium of blackmailing, secret service maneuvers, and murder, in all of which the girl is involved. But the happy ending comes as suddenly as a pure atmosphere comes to a smoky room, once the window is opened. The love element is sweet, and there is a climax surprise which startles the audience into being thoroughly illogical and unquestioning during the rest of the play. August Thomas's "Indian Summer" was filled with the insincere sentimentality of middle age. This dramatist cannot help but write bright lines, lines which give distinction to his dialogue. But the play was a queer assortment of mellowed love and disconnected melodrama. The play was roughly handled by the press, despite the efforts of John Mason to give conviction to the artist role. A disagreeable character is "Tante" as revealed in C. Haddon Chambers' dramatization of Anne Douglas Sedgwick's novel. This is a minute study of the artistic temperament that demands all or nothing, and wrecks the lives of those who come in its way. Miss Barrymore's interpretation was excellent, marked by ever increasing surety of technique and understanding. A bright little comedy was Anne Crawford Flexner's "The Marriage Game," which once more brought to America Alexandra Carlisle, a striking actress and most suited to the role she undertook, that of a whitewashed woman who finds herself uninvited on a yachting cruise. During the trip she has the opportunity of ingratiating herself with all the men folk aboard and of telling the wives of these same men some surprising truths regarding their inability to hold their husbands and make them loyal. If you play the game of marriage, so she says, then you must play it to win. This is the whole philosophy of the play. A most delightful comedy by G. A. Birmingham was "General John Re"At Bay," a frank melodrama by gan," who never existed, but who was George Scarborough, has met with invented by an American tourist for great success because of the excellence the purposes of waking up the village of the acting, largely sustained of Ballymey. Its humor depended on she the credulousness in Irish character | stroying whatever happiness as well as on the expansive imagina- found in her way. The dialogue tion of one Dr. O'Grady. The play lacked brilliancy and the situations was full of spontaneous fun. were far from original. The psychol"The Man Inside" challenged ex-ogy of the woman was wanting also pectancy because it was by Roland B. in definiteness. Molineux, once condemned to die; and "We Are Seven," a whimsical farce because Belasco vouched for it. In by Eleanor Gates, author of "The thesis it made a plea for the re- Poor Little Rich Girl," was disaphabilitation of the criminal from pointing. It contained many literary within. The story possessed moral excellences, with charming touches of fervor rather than dramatic moments; fresh originality. But its farcical inand as usual afforded opportunity for cidents in no way blended with the some realistic stage management in legitimate whimsy of the main idea. an opium den scene. On the whole, the "The Philanderer" is an early Shaw production was a disappointing Be-product, though now given for the lasco venture. first time in America; it is of course William Hurlbut had an excellent witty throughout, but the effort to idea in his "The Strange Woman," satirize Ibsen seemed rather forced wherein a girl, brought up in a as it was acted. A poor English comFrench atmosphere and believing in pany was sent over by Granville fresh originality. But its farcical in- Barker, faultily rehearsed, and in the Iowa. But the dramatist fell into main roles poorly cast. the error of cartooning his types, and At the close of the year, the one it was Elsie Ferguson's charm alone pronounced success from the box office that saved the piece. As Inez de standpoint was George Cohan's "The Pierrefond she maintained a dignity Seven Keys to Baldpate," a mystery that raised the comedy above bathos. farce exhibiting clever technical Laurence Eyre's "The Things that manipulation, based on the novel of Count," crude and stereotyped in the same name. An author of senmany of its situations, was ne erthe-sational stories accepts a wager to less most appropriate for the Christ- go to Baldpate Inn, a summer remas season. Its chief interest was in sort, in the dead of winter, and in the development of a crusty old wom- 24 hours-sequestered alone to proan who possessed a heart of gold be- duce a story of the kind for which neath. A transformation is effected he is famed. He is given the supin her on Christmas Eve by her grand-posedly only key to the empty Inn. child and there are many pretty moments of sentiment. "The New Henrietta" is Bronson Howard's old "Henrietta" brought up to date. The mine, the villain, the financier, and Wall Street are much the same as they were in the 70's, but we have advanced in other directions since then. Victor Mapes and Winchell Smith have therefore repolished the old furniture. William Crane has been cast in his role of years gone by, when he played opposite to Robson, and the play has caught favor with the public. Henri Bernstein is the exploiter of the drama of one big scene. In "The Secret" he gives a little more care and attention to characterization than he gave in "The Thief." Mr. Belasco presented this play as a vehicle for Frances Starr, who had the part of a disagreeable woman intent on de But he unearths the adventures of six others who possess keys to Baldpate, and exciting times follow. The interest and surprise depend on a clever turn of dramatic workmanship. As the year ends, we look with interest toward Winthrop Ames, who is about to announce the winner of the $10,000 prize offered by him some months ago for an American play. That managers are eagerly seeking the new dramatist is further evinced by the fact that the Princess Theatre has offered prizes to undergraduates of our colleges for one-act plays. We are facing no new problems as 1914 approaches, though we hear much of a French Theatre, of a Woman's Theatre, whatever that may be, and of a travelling theatre to go from school to school and present classic dramas; the latter idea is being fostered by Ben Greet. XXXIII. LITERATURE AND LANGUAGE AMERICAN LITERATURE (Nov. 15, 1912, to Nov. 15, 1913) EDWARD EVERETT HALE Fiction. The greatest productivity | long known life. In it Mr. Howells in creative literature has been as goes back to the days of his youth usual of works of fiction. Speaking and presents the manners and characroundly, we may say that the pub- ters that he sees through the vista of lication of fiction has been somewhat half a century of experience. less than in 1912. Of the books designed to appeal to a cultivated audience, which make only a small proportion of the whole, there are about 350 by American authors. Of English novels republished in America there are about half as many. Of the best fiction the proportion is somewhat different. In almost any list of "best novels" a full half is likely to be by English authors. The following review includes only the work of American writers, with mention of a few English or Canadian authors who are practically domesticated in the United States. Next to be noted is a set of stories dealing with the life-experience of some man or woman. In this group will be found more books that have attracted wide attention than in all other groups put together. Lifestories of women are: Ellen Glasgow's Virginia (Doubleday, Page & Co.), the plain but touching story of a woman of the old order who lives on into the new; Albert Edwards' Comrade Yetta (Macmillan), the lifeexperience of a Jewish girl in New York who rises from speeder in a sweat-shop to be a leader in the great social movement; Edith Wharton's The Custom of the Country (Scribners), a highly polished account of a sordid struggle for social success; Robert Herrick's One Woman's Life (Macmillan), an equally vivid account of a life of the same sort, less sordid and more probable; F. A. Kummer's A Song of Sixpence (Watt), still another and more sensational account of the American adventuress; Mary Johnston's Hagar (Houghton, Mifflin Co.), the life of a girl born in the quiet conventionality of the old South who becomes a cosmopolitan and a feminist; Daniel C. Goodman's Hagar Revelly (Mitchell Kennerley), ostensibly a study of why women go wrong; with others of less note. Stories of men are Mrs. Watts' Van Cleve (Macmillans), an almost historical study of an American and of America for the last 30 years; Coningsby Dawson's A Garden without Walls (Holt), a theory of life pre The most popular forms of fiction are still the tales of adventure, mystery, or romance which became respectable from a literary standpoint some twenty-five years ago. The best examples of fiction, however, show the seriousness of interest in reality, in actual life, that was a note of the nineteenth century. It is not that there are so many "transcripts of life" or so many discussions of problems, but that so many writers even of romantic or idealistic tendency seem to be intent on particular phases of actual life or on some secret of life that lies beneath the everyday surface. be First to be named should William D. Howells' New Leaf Mills (Harpers). Mr. Howells has been for years in character and achievement the chief figure in American fiction and this book shows the ripe and mature nature of one who has |