The Theory of the Theatre, and Other Principles of Dramatic CriticismHamilton, Clayton Meeker
History
The Theory of the Theatre, and Other Principles of Dramatic Criticism
Hamilton, Clayton Meeker
Drama -- History and criticism -- Theory, etc.; Theater
Tree, Sir Herbert Beerbohm, 119, 121.
_Trelawny of the Wells_, 87.
_Troupe de Monsieur_, 62.
Tully, Richard Walton, 155;
_The Rose of the Rancho_, 42, 155.
_Twelfth Night_, 36, 62, 78, 92, 109, 110, 197, 198.
_Two Gentlemen of Verona_, 61.
_Two Orphans, The_, 6, 31, 32, 37, 175.
_Venice Preserved_, 70.
_Venus of Melos_, 30.
Vestris, Madame, 82.
_Via Wireless_, 230.
_Virginius_, 79.
Voltaire, François Marie Arouet de, 14;
_Zaïre_, 14.
Wagner, Richard, 117.
Warfield, David, 154, 155.
Webb, Captain, 128.
Webster, John, 130;
_The Duchess of Malfi_, 130.
_Whitewashing Julia_, 123.
Whitman, Walt, 180, 182, 213, 217;
_Crossing Brooklyn Ferry_, 182;
_Song of Myself_, 182;
_Song of the Open Road_, 217.
_Widower's Houses_, 224.
Wiehe, Charlotte, 10.
_Wife Without a Smile, The_, 213.
_Wild Duck, The_, 147.
Wilde, Oscar, 9;
_Lady Windermere's Fan_, 89.
Willard, Edward S., 157.
Wills, William Gorman, 72.
Winter, William, 8.
_Witching Hour, The_, 16, 45, 46, 63, 203, 230.
_Woman Killed with Kindness, A_, 38.
_Woman's Last Word, A_, 32.
_Woman's Way, A_, 74.
Wordsworth, William, 19.
Wyndham, Sir Charles, 62, 69.
Yiddish drama, 11.
Young, Mrs. Rida Johnson, 155;
_Brown of Harvard_, 155.
_Zaïre_, 14.
Zangwill, Israel, 41.
BEULAH MARIE DIX'S
ALLISON'S LAD AND OTHER MARTIAL INTERLUDES
By the co-author of the play, "The Road to Yesterday," and author of the
novels, "The Making of Christopher Ferringham," "Blount of Breckenlow,"
etc. 12mo. $1.35 net; by mail, $1.45.
_Allison's Lad_, _The Hundredth Trick_, _The Weakest Link_, _The Snare and
the Fowler_, _The Captain of the Gate_, _The Dark of the Dawn._
These one-act plays, despite their impressiveness, are perfectly
practicable for performance by clever amateurs; at the same time they make
decidedly interesting reading.
Six stirring war episodes. Five of them occur at night, and most of them in
the dread pause before some mighty conflict. Three are placed in
Cromwellian days (two in Ireland and one in England), one is at the close
of the French Revolution, another at the time of the Hundred Years' War,
and the last during the Thirty Years' War. The author has most ingeniously
managed to give the feeling of big events, though employing but few
players. The emotional grip is strong, even tragic.
Courage, vengeance, devotion, and tenderness to the weak, are among the
emotions effectively displayed.
Public-domain text, read in full here on John Shaqi.
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