The sun., 1902-01-11
xEw hooks.
\ history es the Drama In England and
France. b.


Miss Frances A. Welby Of volume entitled
'The Theatre by Charles Hastings. lately
Lecturer at University College, Bristol.
The subtitle explains that the author
has merely undertaken TO trace succinctly
the development Of the drama In France
and England and to give predatory
socount OF It's Greek and Latin origins.
There IL next 10 nothing In the book about
the drama In Spain, Italy and other Con-
tinental countries. 80 far as France and
England are concerned, there Is no doubt
that Mr.. Hastings has given a concise ac-
count in chronological order OF the events
that have followed one another from the
days OF Thespis TO our own time. The
author himself recognizes, however. that
the part OF his book which Processes to
present a survey tof the French and Eng
lish theatre between 1912 and 1900 Is so
compressed as TO amount to little more
than summary of names and dates. He
says In his preface that full study Of the
French and English drama In this period
is reserved for a second volume.
In the pages allotted 10 tho English drama
10 the present century there are some curl
Gus omissions. For example, we hear OF
Sheridan Knowles. but not of Talfourd or
Milman. The plays Of Henry Arthur Jones
are curtly described as interesting studies
and observations OF modern life which have
made. and still obtain, n great success. '
OF Pinero we read that "he has written the
best psychological plays in England. and
determined the success Of this genre In tho
principal theatres OF London and the pro-
vinoes." Especially is Pinero thought to
have expressed with force in The Second
Mrs, Tanqueray- "the spirit OF contempo-
rary French drama as inspired by the
school OF Augier and Dumas Positively
the only reference to the vogue attained in
London by translations Of Ibsen's dramas
is the bald statement that "Ibsens plays
were acted frequently between 1850 and
iseo.' Among English actresses Mrs. Glib
Der, Mrs Pritchard, Mrs. Siddons, Mrs.
Davenport. Miss Helen Faucit, Miss Ellen
Terry. Mrs. Kendall, and Mrs, Patrick Camp
bel are named. but Mrs. Give. Peg wof-
fington. Fanny Kemble and Adelaide Neil
son are passed over. OF American actors
James Hackett, Edwin Forrest, Edwin
Booth, James Murdoch and J. B. Roberts
are deemed worthy Of at least an allusion.
but, strange to say, Mr.. Richard Mansfield
Is not even mentioned. Considered merely
as a catalogue this book is seriously dis
figured by such exclusions. OF NJ Ed
rnond Rostand, by the way, We are told
that, although still quite young, he has
tasted the wine Of triumph, for his famous
heroic drama, 'Cyrano de Bergerac' (lS9S)
il considered by the critics 10 mark a
return to the most glorious traditions OF
the romantic period or the eminently
successful reproductions Of this play by
Mr. Mansfield we hear not a word
In this work, which purports TO give
history Of the theatre In France and Eng
land. the reader will search in vain for
detailed discussion OF the so-called dra-
matte unities. exempiifcd on the Greek and
Latin stage. and on the French stage also
up to the rise Of the romantic drama, as
we'll as In Ben Jonson and other English
playwrights, including even Shakespeare
himself in two of his comedies. A history
Of the French and English stage which over
looks the vexed question Of the unties can
only be compared 10 the play of Hamlet
with Hamict left out. Fortunately, the
reader Of this book can make good its de-
hciency in this particular by buying Prof.
Lounsbury's work Shakespeare as
Dramatic Artist"
There Is one section Of the volume before
us which will be read with interest, that
namely. which hears the caption. Shakes
peare In France II seems that Cyrsno
de Bergerac Cdied 1851 was the first French
writer who studied the works Of Shakes
peare: IL has even been suggested that
he was inspires. 10y "Cymbeline. Hamlet
and the Merchant 81 Venice In the com
position Of his tragedy, -Agrippine, The
Abbe Provost, who died in 1852. conde-
scended TO acknowledge that the works
Of Shakespeare were not wanting IN power.
II is well known. however. thai Nol'airn
was tlr- first Frenchman 10 make a serious
study OF the great English poet; We lea m
with satisfaction that HE opinions Ola the
subject and the influence which they cI-
erted are presently to be discussed In a
volume by Prof Iounsbury Mr Has
tings reminds us that yollsire described
Shakespeare as the Corneille of London
great fool. bui With superb moment.
H. the latter part ~ M. eighteenth century
Ducis gave 90 the French stage Whist he
called translation 81 -Hamlet. Romeo
and Juliet, Mactsth" and 'Othsllu,"
tho-s tragedies having bo"n cfamped
and mutilatei ~ a. o. H. made 10 conform
20 the classical rules Thus purgcd and
distorted. -HAml~i' vas A,ted ln i7sl
With great suoooss aud -Oiholll' played
IA ii0 at the ,omede ffaucsiss, vac fe-
o.iVed With enthusiasm btwseu l55s
and l7ss pisrrr l.rtournruf undertook a
pIu-o translation u shakespoafs's Sorss.
and Neutured a. Assert that AhakrsIsarg
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slloh oallei fprth Indignant prot osts ffun
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