The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1913-10-12

moment, at yerv nigh level.
Here are few Of the well-known
Lee. alluded; Henry Ainley, Oscar
Asehe, T. Randle Ayrton, Alfred Bry-
done, George Buchanan, Louis Calvert,
William Calvert. James Fagan. George
Fitzgerald, II. X. Hignett. Halliwell
Hobbies. Laurence Irving. Cyril keight-
ley. MathesoD Lang, William Molli-
son, Bernard Partridge, Nigel Play
Charles Quartermaine, Otho Stuart, +.
Lyall Swete. Alfred Wareing. Har-
court Williams, George Weir, Jessie
Bateman. Mrs. f. r. Benson. Lillian
Braithwaite. Tita Brand, Lilly Brayton,
Hutin Britton, Dorothy Denc, Alice
Denvil, Isadora Duncan, Beryl Faber,
Violet Farebrother. Dorothy Green,
Mabel Hackney. Nora Lancaster and
Kitty LOTUS.
Is the French drama immoral and
does IL reflect the morals OF the French
peoDle?
The affirmative often IS the answer
net in striking article In The Nine
recnih Century takes the opposite view.
holding that the French dramn IS OF high
moral purpose and that Il reveais Sim
lar PURPOSE IN French life.
Dranatisis are not reiormers. says Air.
Dimnet and IN Paris sit side By side
with iuriS;s in the committees for mar
rlage reforms; they. have taken the place
or bishops In the councils Of the COM
monwealth. as PHYSICIANS replace the
coniessors In family consultations. AL
eXandre Dumas. Jr. with just a mite OF
his fathers genius. was the first French
man who PLAYED this role with perfect
seriousness. He wrote plays which were
technically good and rroTalv dar!ng-that
is TO say doubtful he appended 10 them
prefaces which were generally much bet
ter than the plays; when. IN his preface
10 L Etrangere, in 1879, he stood as a
Conservative against the radicalism OF
Zola, bis ethics got the credit OF his 1T
eFature, and he was weH-nigh looked
upon as Father or the Church.
some ten years later the French dis
covered Ibsen. and their pleasure In the
discovery doubled their belief In the play
with n far-!each!ng moral Import, In
ferlor snob6ism Immediately disported II
SELF in symbolism, while the superior kind
resulted IN Ma aeterlincElan adaptations.
But the credit OF the theatrical moralists
became greater and greater. and several
OF the rising young playwrights did not
take the trouble TO conceal their ambi-
lions and boldly began to preach at
M. Hervieu Is the least sophisticated
OF all. His dramas are simply apologies
or demonstrations, and he does not mind
II the rough side OF his tapestry is as
visible as the other. In order TO show
that the old adage. ''verba yolant,' Is only
rgh, when the words are kind or at
Restent.' real charade, in which We see
a woman ruined by an !nprudent speech
OF man who afterwards does all he can
but in vain. to redeem his inconsderate
ness The title OF the play is quite su-
perfluous; the least attentive spectator
would supply IT at seconds notice II
1t were missing, NJ. Hervleu is clearness
Itself He Is a great feminist and looks
upon our code as barbarousiy partial for
the men He just picks up some text in
II and .enbodies 1t in a dramatic action
destined to show It's absurdity. In Les
TenailIes' It Will be the article which en-
powers the husband to conduct the edu-
cation of his children. We shall see
man and woman fighting over dell
send TO school while his consort refuses
Such scenes happen every day, and Cap
tain Marryatt has painted one In an Inn
mortal manner In the first pages OF Nj, w.
head about any sort of philosophy. But
M. Hervieu makes his case highly dra-
matte by letting us know that the hus-
band is, not the father of his son, and
a martyr at once. In La Loi de FHom-
me- II is another aspect OF the same sit
uation, An exquisite woman, Nine. de
Raguais. has to live with her husband
low creature, because she cannot leg
ally esta blish his unworthlness--of which.
however, she Is sure-and she must bear
her husba nds mistress because the
wretch takes the side OF the impa ssioned
girl.
when you read drama OF NJ Her
vleu's you see both the tragic action and
the legal demonstration proceed together
step by step with infallible and geometrl-
cal precision. and you realize that, what
ever legal possibility you might give TO
NJ Hervieu TO treat. he would In a min
ute carry II on to the stage with counts
and countesses instead of the Ca!uses
and Tituses of the old ethical trcatises,
But are we convinced by his precise ma
~ Mt nj n
ater with our old impression that every
thing is not right here below far from
II, but it Is wise after all that the head
Of a family should be entitled. ut least.
In the theory. TO final decisions on Sc
rious Issues. The drama lives on indi-
vidual cases. laws are Just the re-
THE method OF NJ Brieux is less rig
Id than that OF NJ Hervieu; we feel less
while seeing his plays that we are In
the hands OF a school teacher who Will
thoroughly but his Intention is even
more decidedly to reform modern So
ciety.
the hypocrisy of tho Sc called encourage
aent given TO primary. education. We
persuade a girl that II she succeeds in
taking a degree She will he inevitably
successful, and will at once rise above
when she has secured the precious parch-
ment she finds herself not above but out
OF her class. and need drives her TO the
worst extremites.
IN de Rebovar is the story OF a
senator who thinks himself a politically
unImpeachable character. and privately
a model OF virtue. because he has man.
aged To keep up two houses without
causing any sea andnl The whole fabric
OF his nfc comes TO smash when his son
In home No. ! falls In love with his
daughter In home No. g
Les Trois de NJ. Dupont shows the
necessity in which girls are nowadays
not to marry, or to marry beneath them
II they have no money; no novelty. TO
be sure, but the play Is an admirable
drama.
LA Robe Rouge'-M. Brieux's great
est SUGGESTS a violent attack against
the msgistracy. A minor judge In some
provincial court has no other dream than
10 don the red gown OF the high coun-
cilor in Paris. BY extraordinary good
luck n murder Is committed I'm his dis
trict. and he feels sure that II he can
find and convict the murderer his pro-
motion Is certain, In fact. he hunts down
the supposed assassin with the ferocty
OF a bloodhound.
" Les Rempla cantes' is scatbinE
criticism OF the frivolous Partisan women
who will not nurse their chidren-I mean
their one child-themselves. and trust its
life to a woman from whose glass they
would never drink. without rejecting that
the woman has left her own baby and