New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-11-14
LONDON NOTES.
FUNCTIONS AND ABUSES OF CRITICISM
THE NEW PLAY AT THE ST. JAMES
THEATRE-THE GOLDEN TREASURY.

THEATRE-THE GOLDEN TREASURY.
London, October q.
The appearance Of Literature" the lit
erary weekly published by The Times has
revived the old question OF the real function
Of criticism. A prominent man Of letters. whose
name I must withhold because he will be one
Of the contributors 10 the new journal, has ex-
pressed TO me his doubts respecting the utility
Of this new venture. What the busy modern
public wants. he contends lis not dogmatic
judgments upon books but summaries Of what
they contain; and l am afraid that Literature
will not be conducted in broad and tolerant
spirit"
The Times" has always seemed to me TO
be less dogmatic in literary, art and dramatic
criticism than the other London journals. and
possibly these apprehensions Of well-known
writer will prove to be unfounded. Certainly
he is right in assuming that many readers are
irritated by critical opinions which are unduy
EMPHASIZED. They prefer TO have the new
books Of the day opened and summarized for
them in an impartial spirit and do not wish to
be prejudiced either in favor Of them or against
them. They expect the daily and weekly Jour-
nails to tell them what is in the new books
They will form their own opinion respecting
them IL they are sufficiently interested in them
to buy and read them.
Mr.. Birrells pungent remarks on current
criticism have drawn out protests from one or
two journals He is reminded that book-re-
viewers In all well-regulated offices are required
TO return volumes which are written by per-
sonal friends | wonder whether the converse
Of this proposition is equally true Are per-
sonal enemies and envious rivals of authors
under bonds TO return books when they are
convinced that they are incapactated by per-
al for them imDdrtally
and without prejudice? 1t would seem 70 be
poor rule II II does not work both ways. II
personal friends OF authors are prohibited by
professional etiquette from writing about their
works so ought also their enemies and rivals
The reading public needs to be protected against
one class Of prejudiced criticism quite as much
as against the other. Indeed, II II be bad
form for a critic to praise the work OF friend
II ought TO be even more unprofessonal for an
author or carping and insdous enemy to
sheer at or attack wantonly rivals book
Whoever is well within the circle OF literary
London, where, in Mr. Gilberts humorous
phrase. everybody is somebody and nobody Is
ANYBODY. IS aware that the daily and weekly
press is used alike by the friends and the enc
mics OF men Of letters. There is great deal
Of literary log-rolling carried on for mutual
advantage, on the practical principle that one
good turn deserves another. There is also much
unfair criticism Of successful writer's from en-
vious and ungenerous rivals and their sympa-
thizers The amenities Of literature are not
conspicuous at the present time, ana there Is
need OF salutary reform even In the oest-regu-
lated newspaper Offices What is wanted IS
a keener percepi ion of the essential truth that
the reading public forms its own opinions ABOUT
hooks and does not take them from the critics.
The most destructive criticism or DOCK Only
serves to advertise il conspicuously ana 10 IN
crease the authors bank account. The most
indulgent favoritIsm will not establish the sue
cess of literary work which does not stand upon
its own merits When critics are content 10
tell without prejudice what is in book and
are less dogmatic in their judgments and stand
ards there will be safeguards against literary
log-rolling and malevolent criticism
Mr.. Cartons new drama at the st James
Theatre is not a problem play. although there
is a thoroughly bad woman in ii. The Tree OF
knowledge" deals with the ruin that woman
sometimes brings on man, and with the reoehp-
ton that comes from the substitution OF pure
and innocent love FOR wanton. heartless passion
The temptress Is an absolutely shameless crea-
ture who repels sympathy and does nov make
Vice attractive She is the foil for an ingenious
sensible woman who is yirtuous without being
stupid The good tree bears good fruit ana the
evil tree evil fruit. knowledge does not ai'er
the eternal verities Of right ard wrong. IL Only
tends tn make the bad woman more heartless
and abhorrent and the coed woman more
tolerant compassionate and lovable BY their
fruits they are known. and figs are not gathered
from thistles. as has been the bad and senseless
attempt OF the problem play.
II has not been Mr. Cartons purpose TO preach
a sermon. An actor himself. he Is content
TO write an effective play with finely contrasted
studies Of character lighter passages OF eccen-
trio humor and an exceedingly powerful ORA
matte situation in the fourth act. The Tree
Of knowledge" is a well-written play. with many
trenchant lines and luminous diction through
out; and the characters are clearly and sharply
drawn. and have the breath Of life The types,
scenes and devices are familiar. but the COM
bnation Of them is striking and original. The
best art Of the piece lies In the openness win
which the relations OF the characters are dis
closed in the first act and IN the closeness with
which the secret OF the impending crisis Is kept
until II is suddenly revealed in the fourth act.
BY taking the audience into his confidence at
the outset the author makes known his motive
and renders the whole movement OF the drama
Ineligible and reasonable but while interest
increases with every scene and act. the precise
method by which the inevitable catastrophe Will
be brought on remains a mystery until 1t comes
as a startling dramatic surprise Nothing more
intense than this fourth act has been seen on the
London stage for long time. There Is first
the struggle of Nigil to kill his former mistress
after vainly endeavoring to induce her to remain