New-York tribune., 1921-04-24

SVaieha AcSV1uS 4oI tHe historian OF
i the scientist, but In art it is nothing
more or less than evidence of incom-
| petence."
Judging modern European drama by
these standards she naturally sees lit
tie to praise. She finds it generally
anarchic in form and drab and unsatis-
! flying in substance. She heaps scorn
upon the playwrights who attempt to
create great tragedies out of the COM
monplace experiences of mediocre men
and women. She applauds Nietzsches
ideal of art as the glorifer Of life.
Whether or not one agrees with the
authors very positive convictions about
the conditions of truly great drama, it
is impossible not to admire the vigor
and sweep and conference of her critical
survey. Her work is not q series of
unrelated sketches; it has clearly de-
iiiSN unity dlU purpose.
lbsen and Strindberg are, in her
opinion, the two outstanding modern
dramatists. She devotes an entire chap
ter to lbsen, criticizing nearly all his
plays in detail. She feels that his
finest work is Rosmersholm that
haunting, subtle story of two souls
broken by the relentless brutal press
ure of hostile circumstances.
Strindberg alternately attracts and
repels her, She finds his art very un-
even. Some of his work reaches heights
of tragic power and passion; some
times he sinks into sheer puerility
The author believes that Strindbergs
dramas represent the summit and the
utmost limits of naturalism. She has
little respect for the other playwrights
who attempted to carry out the ex-
tremely realistic ideals of Zola on the
stage and whose works were produced
by M. Andre Antoine at the Theatre
Libre. She is willing to concede Toll
stoy one good play, "The Power of
Darkness" She sees little beauty or
significance in the work of men like
FRANCOIS de Curel, whom she re-
proaches for degrading dramatic art to
the level of journalism.
After Ibsen the naturalists gave way
to playwrights who used the stage as
vehicle for the discussion of political,
ethical and sociological ideas. This
tendency finds perhaps its most ex-
treme expression in the work of NJ.
Brieux, who has written play about
almost every social problem under the
sun. AS might be expected, the author
protests vigorously against worthy M.
Brieux's effort to make dramatic art
an agency for the conveying of moral
and sociological instruction.
Bernard Shaw is the foremost ex-
ponent of the drama of ideas in Eng
land. Miss Jameson pays a tribute to
power, even though she does not SYM
pathize with his conception Of the
proper function Of the artist.
Lately there has been revolt
against the domination of realism or
the stage, headed by Maurice Maeter
linck, who is followed at q respectful
distance by j. M. Barrie. Among other
playwrights of the romantic or sym
bolist school may be numbered Yeats
Dunsany and Synge.
Casting final glance over the whole
field of the modern drama, the autho,
weighs realism in the balance and finds
it wanting. She does not believe that
"a record of stupid lives and little peo.
pie" can perform what she considers
the vital function of the dramatic
representation of life in its most heroic
and glorious and beautiful forms.
mere faithful reporting Of everyday
events and experiences is not enough
in her opinion, to save a play from
mediocrity.
Miss Jameson does not believe that
drama should be limited by considera-
tions OF time and locality. ono drama,
she says, "that contents itself with
treating of to-day can live for to-mor.
row unless it embodies truth or 8
spiritual valuation that is of lasting
human significance"
At the same time she recognizes the
futility of attempting to resurrect, the
great plays of the past and impose
them upon unwilling audiences. An age
mirrors itself in it's art; if we have nc
great drama it is our own fault, and we
must seek remedy in our own Great.
i've instincts.
Miss Jameson's book represents the
best kind of dramatic criticism, pro.
vocative and stimulating rather than
authoritative and dogmatic She does
not confine herself to repetition OF
sterile and hackneyed phrases; her re.
actions to the playwrights whose works
she discusses are dominated by clear.
cut theory of dramatic art, which she
keeps constantly in view. Her work is
certain to arouse animated debates
among lovers of the drama everywhere
Gse.u.u..-.i