New-York tribune., 1912-02-11
THE PIGEON"
The New Play for Winthrop
AmeS'S The2ttr~e.
Described by the Critic of THE
London Times"

JOHN Gdlsworthy's new play, The
feeop." with which Winthrop Ames will
open his new theatre has favorably inn
pressed W. 3. WaIkley, who in review
ing for the Times" London) the first per
formance at the Royalty Theatre, week
or so ago. said:
In The Pigeon Mr Galsworthy pursuc7
the same path that he has so steadfastly
trodden i'm The Silver Box in Strife and
in Justice He bids us pity and understand
and sucCOr the OutCasts, the disinherited Of
this world. he shows us not only the sad
ness but the irony Of their fate; the break
down Of Our social machinery I'm dealing
with them, the need not for more systems
but for a new spirit. An apostle, then. he
Is, first and foremost. using art to awaken
Our .cOnsciences, but il is always art that
he uses-art without base alloy. art with
that qIintessential poetry which wells up
when feelings are deeply stirred and with
that beauty which is the outcome Of clear
and complete expression. Work Of this
high emprse' and 50 finely wrought is rare
n the theatre: every one must feel CRATE
ful for fl, must feel that our stage is en-
nobled by H. But Of course it is chasten-
ing troubling, the very reverse Of Joyous;
there can thus he no thunders Of applause
Tor it-Culy u quiet. thankful appreciation
And so The Pigeon was received quietly
last night. One paid il, rather, the tribute
Of sigh, and went away pensive, and
win certain old words about charity re-
curing obstinately in the mind. And in
that mood Mr. Galsworthy had his reward.
"For it is Of charity, the greatest Of
the, that The Pigeon eloquently
speaks; whimsically. too. and most win
ningy The charitable man is one Chris
tepher Wellwyn, whose pockets as his
daughter Ann tells him, are spiritually
noe enormous whole His charity comes
Of an immense and abiding instinct for
friendship. The practical viii call him a
sickly sentimentalist But says he, il isn't
sentiment. III I'm 10 give up feeling sort
OF nice in here This breastl about people
it doesn't matter who they are-then 1
don't know what ! am 10 do / shall have
TO SIT with my head in a bag" sympathy
for the 0utcasts, just friendliness liking.
is what he feels II suppose they see I
IKE them-theA :hey tell me things. After
that Of course, You can't help doing what
You can. He falls into talk with them i'm the
street and gives them his card OF course,
tney invade his studio (le Is a painter,
ses heures) and prey upon him, while
hNhg him as heartily as he does them.
Ihere Is Guinevcre Megan, the flower girl
ana Ferfand the Frenchman and old Tim
son, the cabman. They drink his rum,
tdAe MS money and his clothes, make his
r mouse their home. Warmed and fed, they
get Tor time a new sense of life. In the
mower girl and Fervand il becomes real
Joie de yivre; they shout and laugh and
dance and. II the whole truth must be told,
Kiss. AS for the eabman, he works stead
ny through three bottles Of rum IN less
tnan week The friendliness Of IL all
would be enough for Christopher, but then
comes In the parson, who breaches re-
pentance and reform. The flower girl must
De induced to go back 10 her husband; old
Ismson must be set to help in the studio;
Inc Frenchman, an undesirable alien. must
De sent about his business. Christopher has
o'ner advisers, a professor and J. =.
according to the professor, we're TO give
me state all we can spare, TO make the
pndeserving deserving" According TO the
= . r, we ought TO support private or
ssiozSuons for helping the deserving, and
Is HAIpn the undeserving" The parson seems
to pc for little BIT OF both" And so the
eliee advocate each his nostrum. and argue
m I'll t1ey quarrel, with no practical result
me symmetrical and synchronistic ar
ansenent Of their three personined theo-
- father than persons--reminds you OF
quarrelling professors in Thomas Love
e~e0ek-and good as they are In Peacock
'hey nave not body enough for the def
uite and solid surroundings OF the stage.
40 good comes 70 the outcasts. anyway