Here we have a true epic poem, simple yet grandiose, and possible only to the improved shadow-pantomime of France at the end of the nineteenth century--even if this art is only a logical evolution from the gallanty-show of Séraphin. "This humble black profile," said Jules Lemaître, "which had been thought fit at best of a few comic effects to amuse little children only, has been diversified and colored; it has been made beautiful, serious, tragic; by the multiplication of the devices it has been rendered capable of giving us a powerful impression of collective life, and the artists who have developed it have known how to make it translate to our eyes the great spectacles of history and the sweeping movement of multitudes." (1912.) [Illustration: _Reproduced by permission of E. Flammarion, Paris_ The Sphinx IV: The British troops to-day From a shadow picture by Amédée Vignola] XIX THE PROBLEM OF DRAMATIC CRITICISM THE PROBLEM OF DRAMATIC CRITICISM I It is now no longer in dispute that there has been in the past score or two of years a striking revival of the drama in the English language, and that there are to-day British and American playwrights who write plays which are worth while--plays which are both actable and readable--plays which often deserve and which sometimes even demand serious critical consideration. This revival has necessarily resulted in calling attention to the present condition of dramatic criticism in Great Britain and in the United States. In a period of dramatic productivity, dramatic criticism has an indisputable function and is charged with an undeniable duty, both to the aspiring play-makers and to the main body of the playgoing public. We cannot help asking ourselves whether our dramatic critics rightly apprehend their function and whether they properly discharge their duty; and to these pressing questions the most conflicting answers are returned. Some there are who insist that it is hopeless to expect the desired outflowering of dramatic literature in our language to take place so long as our dramatic criticism is as inadequate, as incompetent, and as unsatisfactory as they declare it to be. Others there are who take a more tolerant view, holding the public itself to be at fault for the existing state of things, and who, therefore, believe that we are now getting dramatic criticism quite as good as we deserve. Few there are who venture to deny that there is room for improvement--altho no two of these agree in their suggestions for bringing about a bettering of present conditions. In the multitude of these counsellors there is darkness and confusion.