The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1907-11-24

~ QuCuOns seen IN washington
- this year ranging in character
from maudlIn sentimentality to
fustian and bombast, IL was genuine
relief 20 md In Claiming Po.lCcks new
play, The Secret Orchard, something
that merits serious consideration. 1t
was like an oasis in a dramatic desert,
for although the Pollock play is some
what faulty in construction, its last act
being especially weak. it nevertheless
has the sinews OF a big play.
IL is true that Mr.. PolIock's work
must be viewed as that OF the adapter
rather than the creator Of The Secret
Orchard" the play being a dramatiza-
tion Of the novel Of the same name by
Agnes and Edgerton Castle. but he has
handled his story with such force and
skill that he has vitalized and added
dynamic force to the theme OF the book.
The doctrinaire may take exception
70 the play on the ground Of its moral
tone. but such criticism seems out OF
place when critics and public alike have
accepted and applauded such works as
Ghosts" THE Kreutzer Sonata"
Tess Of the D'Urbevilles, THE Great
Divide" and scores Of others Such
plays reflect a certain phase Of life. and
while they are not TO be commended as
entertainments either for the youthful
or for those who have not as yet been
forced into contact with the more
gloomy side of life, they place before
the mind conditions which exist. and
against which men and women must
battle If they are to become potent fac
tors In the betterment of the world.
The playwright whose influence is t"
be lasting must be a teacher, as well
Rs an entertainer. and the darker side
Of life must be pictured II he would
give his auditors an insight into the
conditions which men and women who
move and live in the throbbing world
must meet His work must at times
show the consequences which follow in
fractions Of the law. civil, moral or
spiritual.
Mr.. POllOck's text is a nisnomer- His
play does not answer the question; If
a mans sin be forgiven, then why not
The woman 50" Rather does his theme
lead to another proposition which forms
the moral keynote Of the play. If a
woman suffers for her sin, why not the
manr' In the majority OF problem
plays which have been seen on our
stage the moral lesson taught the erring
woman is strong. We have our dying
Camilles, our brOken-hearted ZaZas, our
outcast Irises. and our demOniacal Hat
tie Friedlanders but the men who bring
woe TO women who were once lofty IN
mind ana pure OF heart, are In most
Instances. allowed by the dramatists to
drop a hypocTitical tear for the lives
that they wrecked and then pass on &c
destroy more souls or else 1--we in hap
pirIess IN the bosom of their families.
nnsuIued IN reputation and not har-
assed BY a particularly active con-
science.
IN The Secret Orchard" however, we
have the man sufferer no less than
woman. Sin brings TO him not merely
a passing regret. but tne keenest mental
anguish Nor is this anguish transItOry.
The Duke OF Cluny Is portrayed as a
man Of high mental attachments, with a
fully awakened conscience and a tenn
permanent capable OF the fullest enjoy
ment OF the best that Is in life. The
playwright shows witn skill that Gu
ny's fortnight Of mental torture and
contrition for his mad folly is not the
md Of his punishment To such a man,
who is at heart devoted TO his wife,
there could be no greater suffering
than the realization that he has lost
forever her perfect confidence and ador-
alton. Therefore the punishment IS last
Ing. Nor is the girls explation
less bitter. A child old beyond her years,
she Is 70 bear with her through life the
realization that the one man who is
willing to sacrifice family. friends. So
ciaI preferment, and official position for
her sake, knows and feels the degrade
ton that is hers. Is there to be found
In any other play so fOrcefuI an epitOme
Of the doctrine of retributive justice?
The moral tone of 1.-THE Secret Or
chard" cannot be successfully assailed
for its preachment is rather that mans
standard OF right living should be
raised TO that demanded of woman than
that wOmau's should be allowed to sink