the foundations of a proper education. where the theater takes its proper place amid public institutions for the welfare of human kind? He had, in years gone by, written an exhaustive ledger, with William Archer, on the "Scheme and Estimates for a National Theatre." In his new book his thesis in no way deserts his old love a National Theater or a Shakespeare Memorial; it merely turns the earth to prepare the public soil for its growth. And that soil consists of all those educational values which the amateur movement has created. The book is heavy reading. Mr. Granville-Barker is very serious. But, thank goodness, there are some folks writing about the playhouse who will not take it lightly for fear of not being taken seriously.

I wish I might say, however, that the Little Theater movement in America had been of permanent effect on the theatrical situation. There are many books on the subject. The theaters have sprung up like weeds, and they have encouraged the spread and growth of the one-act form among our writers. But mostly these theaters have been pioneered by very zealous and, alas! jealous groups, which have failed to interrelate themselves. And it is only in unity of purpose and exchange of policies that such activity may permanently affect the country at large in its theater amusement. Professor Samuel Eliot launched his ambitious scheme of "Little Theatre Classics" in 1918. Since then he has issued four volumes in a series which has its excellences, though they are overtopped by limitations. To clip a classic for a small mold and in so doing to preserve the literary excellence and the dramatic force of the original is daring. In the main, Mr. Eliot has succeeded, and he has, further, the justification in so doing by the fact that many of these miniature Tom Thumb pieces have been used by colleges and Little Theaters. But what I want to call attention to is that in 1918 he began his preface with the statement that this movement of Little Theaters was one of the most important facts in the theatrical situation of that time. Yet in the fourth volume he turns his sarcasm in full force on the taste of these amateur groups. Evidently, in his previous volumes the amateur players have found the meat of the past too strong; evidently, they want romance of a different kind. But it seems as though something were wrong in the state of Little Theaters. My reaction to the "Little Theatre Classics" is that even in foreshortened form-however skillfully the pruning might be conducted-the garniture is not worth the effort unless a full-fledged performance be given in the same spirit that Ibsen's "The Pretenders" was given by the Yale Dramatic Association. Besides which, if the Little Theater movement truly helped the spread of the one-act play, and if our various drama anthologies are worth

Little Theatre Classics. Vol. IV. Adapted d Edited by Samuel A. Eliot, Jr. Little. own & Co., Boston. $2 net.

anything, I believe, there is a sufficient
one-act repertory to avoid such editing
of the classics. What I do feel about the
"Little Theatre Classics" is that in the
four volumes which now end the series
the casual reader gets a sort of extension
course on the drama through significant
periods, even spilling into the Persian
and Indian territory, ably conducted by
Mr. Eliot. He of course emphasizes that
primarily his effort is to call attention
to the acting possibilities of these
dramas which he puts under a reducing
glass.

But I turn more hopefully, in the
spirit of recommendation, to Percival
Wilde's "Eight Comedies for Little
Theatres," written with a technical
skill and with a refreshing originality
which places him high in the ranks of
the one-act-play exponents. The volume
shows him also in another light-as a
writer of children's plays, for there is
no recent drama more sure of welcome
in the nursery than his "The Dyspeptic
Ogre," which to me is worth much more
than the cleverness of "In the Net" or
the other brightly etched comedies based
on a twist and turn, thoroughly legiti-
mate, but none the less contrived. The
Little Theaters have reached for Mr.
Wilde with avidity; it is to him, rather
than to Mr. Eliot, that I would see them
turn. For the refreshing thing about
the Little Theater movement has been
that it did not smack of the academic,
even though many among the amateurs
came from the colleges; it has merely
been a sincere outburst of popular liking
for the best in the drama, which, if it
could not be had in the regular theater,
must be read in print and immediately
transferred to the amateur stage, pro-
vided royalties were not prohibitive.

Constance D'Arcy Mackay's name is more closely identified with the community stage and the school than with the Little Theater, though she has written a fine review of Little Theaters. "Franklin" is a long play, however, which smacks of her desire to knock at the door of the professional theater. Unlike Louis N. Parker, whose "Disraeli" is avowedly a thing of the theater, correct in its main outlines of portraiture, but shocking to the historian, Miss Mackay begins her play with a mass of historical justifications, and has an appendix which further gives her historical references. Notwithstanding, "Franklin" is an ingenuously constructed piece of work, probably a little too evident for our professional stage, but intensely instructive for the amateur, should it be given. Somewhere Miss Mackay has failed in her constructive interest; her plotting is too much a desire to get in everything which should be given for a correct portrait of Ben. But it reads well, and should have a welcome among a large class of players.

The printed play is not always intended for the amateur stage. It is like wise a measure of literary change, and

Eight Comedies for Little Theatres. By Per-
cival Wilde. Little, Brown & Co., Boston. $1.50
net.
5 Franklin. By Constance D'Arcy Mackay.
Henry Holt & Co., New York $1.75.

from it can be deduced the advance made among dramatists and the change in public taste. I think one reason why Owen Davis's "The Detour" should be hailed with acclaim is that Mr. Davis. once upon a time wrote such melodrama as "Convict 999." But, in addition, I welcome it as an example of sheer realism, written with sincerity and con viction, and with a minimum of external manipulation of action for stage effect. It is a quiet writing of a simple themethe wear of New England life on the soul of a farmer's wife, and her fight to break from environment. While she loses under circumstances fraught with some dramatic effectiveness, the play ends with a shout of determination to go on. And such a note of non-defeat is strictly American. I mention this play among the isolated examples that have come to me for review, not because it is any better than the others, but because it illustrates a National character

istic liked in the American drama-the indomitable spirit that brooks no defeat. St. John Ervine's "The Ship" is strictly of the "younger generation" type. To him civilization is confronted by the problem of the new generation pointing an accusing finger at the mess in which the world finds itself. And, as in “John Ferguson," the older generation has to pay, though Ervine is fair in hinting that both sides have their claims. "Rutherford and Son," by Githa Sowerby, chants the same theme, in dissimilar plot. Arnold Bennett's "Milestones,"

Stanley Houghton's "The Younger Gen

eration" are of related interest. But the dénouement of this drama can be guessed before the plot advances far, and that is a fault with the play which follows so closely an attitude already exploited by others.

Against these two plays I pit Andreyev's "The Waltz of the Dogs," a drama of disillusionment, of queer unsettled mentality, and of Russian pessimism which was clearly defined in "He Who Gets Slapped." It is a coloring of Andreyev's own philosophy, a dismal theme most strangely, fascinatingly developed.

The amateur might run to such a drab play; but its spiritual content can only be suggested through supreme handling. I think there is no better material to be had for the unprofessional player than is contained in the many anthologies listed below. There could be no "Treasury of Plays for Women"" without the unseen protagonist, Man. The four volumes offered this season-"Con temporary One-Act Plays of 1921," "Representative One-Act Plays by British and Irish Authors,"" "Representa

The Detour. By Owen Davis. Little, Brown & Co., Boston. $1.50 net.

The Ship. By St. John G. Ervine. millan Company, New York. $1.25.

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EL DU PONT DE NEMOURS & COMPANY Inc., Wilmington

W

E ask the privilege of sending the Greek-Pompeian Floor Lamp, the MullerPopoff design, for your own use in your own home. We lend it for your examination and comparison; for the judgment of yourself, your family, and those of your friends whose opinions in matters of beauty and art have weight. When the carrier deliv rs it you hand him the small charge for postage, and $3.85 (which is the deposit, and is returnable).

Put a bulb in the lamp, attach it to a socket and begin using it. Two, three, or four persons can read by its light at the same time. Find, by a few experiments, the best position in the room for it. It can be moved with one hand and without rising from your easy-chair.

Note the change it makes in the whole appearance of your living-room, drawing room, library, or bedroom-the greater distinction and individuality it gives to its surroundings. View it as if you were a visitor, entering the room for the first time. Note how it harmonizes with the plan of decorations in your home, where a lamp of garish, over-accentuated or mediocre commercial design would strike a note of discord.

These are the Tests of True Art and of Real Beauty

Notice how within a few hours it no longer seems strange to have it there-and how it takes its place
as part of the permanent furnishings and decorations by which your home environment expresses
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No lamp of mediocre or garish design can withstand them successfully. Then, too, besides noting
the changed appearance of the room, notice the beauty and effect of the lamp itself-the exquisite
Muller-Popoff Greek-Pompeian design-first, when lighted and viewed from a short distance; second,
when viewed from another room or from the hall; third, when it is not lighted, and when the room is
ligi tel by daylight. A perfect lamp-design must be beautiful in all three of these tests.
We ask you to make these tests and comparisons in your own home. Send the coupon now.
DECORATIVE ARTS LEAGUE, 175 Fifth Avenue, New York City

What Better Gift

for the Friend you hold in highest esteem? What gift can express 80 clearly your knowledge of your friend's good taste and discrimination, his love of rare and beautiful things, and his appreciation of exquisite purity in art?

And what can better express your wish that the thing you send him shall be as permanent a source of luxurious enjoyment and artistic pleasure, as the esteem and love of which it is a remembrance? A remembrance that is worthy of the sentiment for which it stands,-a thing of classic dignity and never-fading grace, in whatever surroundings it may be placed.

You can order these lamps sent direct to your Friends, in Your name, with the special announcement card provided by the League. You can pay for them on the same basis as if they were delivered to you.

IMPORTANT-Already, as this is written, orders are being received faster than these lamps can be made at present. We are increasing the number. But it is certain now that orders that are postponed too long will be too late. The number we have

O you see clearly that, when you

Saccept the loan of this lamp and hand

the carrier your $3.85 deposit, you are
not risking the sum. You are not risking
either money or annoyance.

On the contrary-you are accepting on
the pleasantest and safest terms, an op-
portunity to get a lamp of superb beauty
and artistic perfection-and an oppor-
tunity to prove to yourself, before you de-
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or nearly equal beauty and distinction,
you might have to pay three times
or five times as much.

F we could think of any pleasanter,

I fairer, more confident way to offer thre

League's productions, we would
do it,-but we cannot.

No money need be sent with this coupon
DECORATIVE ARTS LEAGUE, 175 Fifth Avenue, New York City
Please send me the Greek-Pompeian Floor Lamp a d I will pay the carrier $3.85
(deposit) when delivered, plus the transportation charges. If not satisfactory I
can return the lamp within five days of receipt and you are
to refund my deposit. If I do not return it in that time I agree to pur-
chase it at the special intr ductory price of $19.85 and will send $4 monthly from
date for four months, the lamp remaining your property until fully paid for.
(Cannot be sent on approval oatside Continental U. S. A.)
Please enter my name as a Corresponding Member of the
Decorative Arts League, it being distinctly understood
that such membership is to cost me nothing, either now
or later, and is to entail no obligation of any kind. It sim-
ply registers me as one interested in hearing of really
artistic new things for home decoration.

Signed......

Address....

Works of beauty and heirpermanence looms a century from now. A lamp design made by the MullerPopoff group, and owned by the "D. A. L."

This lamp was designed to sell for $36. We want to see if, by offering it at a much lower price, we can secure enough orders to cause a great saving in the cost of production and distribution, and without a loss to the League. So, as an experiment, we are offering it at $19.85.

For the present, this is only an exper iment. We cannot guarantee that the price will not be raised. Your Approv al Request should be mailed at once.

Lamp is about 5 feet high. Finish rich Statuary Bronze. Base and cap are cast in solid Medallium. The upper shaft is seamless brass. Shade is parchment, brass bound. Outside decorations are in three colors; the top and bottom bands in deep red, the design in dark green, background graded in brown.

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Just above the bulb another pivot enables the shade and the bulb to be tilted to throw the light at an angle. Fifteen feet of cord, with two-piece attachment plug. Wiring is inside the shaft and arm.

The lamp is complete, ready for the bulb to be put into it. Weight packed is about

pounds. If desired you can cover the shade with silk or other fabric to match any particular surroundings.

The regular price was fixed by the Lergue at $36. but the introductory price, and to members of the Decorative Arts League was $19.85 (which may have to be discontinued).

The price has not been advanced yet. You cau have one of the Muller-Popoff GreekPompeian lamps-(if you act at once)-at exactly the price paid by members of the Decora tive Arts League. And you can become a member without cost or obligation.

Read the coupon.

OUTLOOK'S
Approval
COUPON
December 6, 1922

Mail this at once