In this play and in “The Crusaders,” social satire is successfully essayed at the expense of prevailing fads, such as fashionable philanthropy, slumming parties, neighborhood guilds, and the like. There is a woman in “The Crusaders,”—a campaigner, a steamboat, a specimen of the loud, energetic, public, organizing, speech-making, committee and platform, subscription-soliciting woman,—nearly as good as anything in our best fiction. Mr. Joseph Knight, who writes a preface to “Judah” (first put on at the Shaftesbury Theatre, London, 1890), compares its scientific faddists with the women who swarm to chemistry and biology lectures in that favorite Parisian comedy, “_Le monde où l’on s’ennuie_.” There is capital satire of the downright kind in these plays, but surely it is dangerous to suggest comparison with the gay irony, the courtly grace, the dash and sparkle of Pailleron’s little masterpiece. There are no such winged shafts in any English quiver. Upon the whole, “The Liars” seems to me the best comedy of Mr. Jones’s that I have read,—I have not read them all,—the most evenly sustained at every point of character and incident, a fine piece of work in both invention and construction. The subject, however, is of that disagreeable variety which the English drama has so often borrowed from the French, the rescue of a married woman from a compromising position, by a comic conspiracy in her favor. The Puritans have always been halfway right in their opposition to the theatre. The drama, in the abstract and as a form of literature, is of an ancient house and a noble. But the professional stage tends naturally to corruption, and taints what it receives. The world pictured in these contemporary society plays—or in many of them—we are unwilling to accept as typical. Its fashion is fast and not seldom vulgar. It is a vicious democracy in which divorces are frequent and the “woman with a past” is the usual heroine; in which rowdy peers mingle oddly with manicurists, clairvoyants, barmaids, adventuresses, comic actresses, faith-healers, etc., and the contact between high life and low-life has commonly disreputable motives. Surely this is not English life, as we know it from the best English fiction. And, if the drama is to take permanent rank with the novel, it must redistribute its emphasis. ----- [4] This article was printed in the _North American Review_ in two instalments, in May, 1905, and July, 1907. The growth of the literary drama in the last fifteen years has been so marked, and plays of such high quality have been put upon the stage by new writers like Barrie, Synge, Masefield, Kennedy, Moody, Sheldon, and others, that these prophecies and reflections may seem out of date. The article is retained, notwithstanding, for whatever there may be in it that is true of drama in general. SHERIDAN