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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

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
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.

The Mac

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Madge Bellamy Edition
By R. D. Blackmore
Illustrations from photo play
and color paintings
By Harold Brett Price $3.50

The Madge Bellamy edition of
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photo play by the same name,
and in addition to its thirteen
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it contains many duotone prints
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and her brave lover who meets
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By Lawton P. Evans
Illustrated in color by E. P.
Ottendorff Price $2.50

An unusual book containing in
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An Old Story Told in a New Way

Longfellow's poem, in an unusual and beautiful setting with prose version of the wanderings and sufferings of the Acadians based on research among the old documents at Boston, Philadelphia and New Orleans. Michael the Fiddler, Benedict the Farmer, Rene Leblanc, the Poormaster of Philadelphia, all contribute their share in painting a vivid picture of these peaceful yet unfortunate people. Miss Bailey's remarkable literary ability has woven a story around historical facts that arouses the deepest sympathy and interest. Young and old will enjoy this opportunity to become more closely acquainted with this romance of fact which is even stranger than fiction.


By Henry Wadsworth Longfellow Historical Prose Version by Carolyn Sherwin Bailey Illustrated Cloth Price $3.00

This is indeed a de luxe edition of Evangeline, Its size is 7x94, printed on fine, clear paper from easy reading type. The jacket is a beautiful reproduction of a painting by Marion Powers. Twenty remarkable duotone illustrations from a photo play give the book an added interest and charm. The ideal gift book of the year. Paper, printing and binding are of highest quality. A charming gift book.

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The best books for children are the old books that have been published for many years. Often, however, they dwell too much in matters of interest to the adult mind only.

In producing the de luxe edition of this wonderful old tale the editor has retained all the adventure and romance clothed in Dumas's own words and has expurgated everything the child is not interested in-and should not read.

Printed on clear white paper from generous size type
with good quality binding and attractive jacket, the
de luxe edition of the Three Musketeers is a book that
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Ask your bookseller for these books. If he cannot supply you
we will ship direct on receipt of price. Complete catalog free.

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Bradley Quality Books

tive One-Act Plays by Continental Authors," 12 and the one just referred to offer in total seventy-seven dramas of varying lengths. Some of the authors are well known, others are new, entering the field because of the attractiveness of the dramatic form: Many of the plays are mere exercises in construction; others are mere dialogues that are bright and dexterous. At times I am tempted to say that the technique of the one-act play is not understood by more than a small percentage of those writing for the theater. Certainly, Galsworthy. for example, is not any sort of an exponent. I smile over the volatile spirit of Christopher Morley in his "Thursday Evening" and "Rehearsal;" I think that Floyd Dell is on the road to something in "Sweet and Twenty," and then when I'm through I am convinced he isn't. 1 read Harry Kemp's "Solomon's Song," and I realize he is a poet and somewhat of a dramatist too, and then in bulk I thank any literary movement which is strong enough to keep these writers writing until some day they may grow in the way of the theater. Even the British and Irish authors are not entirely loyal to the one-act play, not as much so as the Continental authors. But on the Continent we find sophistication which partly destroys originality of experiment. After all, I believe we in America are more likely to master the one-act form than they are abroad. Because our interest is more of a piece with the short form, and our patience has to be stimulated with action if the play is long.

So, altogether, these books that have come to me for notice are a hopeful reve lation. The level is high, indicating an unusual level of public taste. The printed play is holding its own with other forms of literature.





CARNAC'S FOLLY. By Gilbert Parker. J. B. Lippincott Company, Philadelphia. $1.75.

Not, in our opinion, one of Sir Gilbert's best books. The mechanics of a good story are all here; but one fails to feel much emotion or care much for the characters. It is incredible that so intelligent a person as the hero should allow his whole life to be haunted by a mock marriage, or that even as a "fool boy" he could have lent himself so ingenuously and completely to the wiles of those who managed the fraud. JANE AUSTEN'S NOVELS. 6 vols. Illustrated. E. P. Dutton & Co., New York. $12 for the set.

What stands out to the eye in this new edition is the really charming colored illustration by C. E. Brock, which sets out the characters with all Mr. Brock's recognized ability to reproduce the costumes and settings of the eighteenth century. As to the novels themselves, it is not necessary to speak. Those who like them are those who

12 Representative One-Act Plays by Continental Authors. Edited by Montrose J. Moses. Little. Brown & Co., Boston. $3 net.

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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).

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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

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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

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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
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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
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THE BOOK TABLE (Continued) agree with Sir Walter Scott when he said of the author: "That young lady had talent for describing the involvements, feelings, and characters of ordinary life, which is to me the most wonderful I ever met with. The big BowWow Strain I can do myself, like any now going; but the exquisite touch, which renders ordinary commonplace things and characters interesting from the truth of the description and the sentiment, is denied to me."

ROPE. By Holworthy Hall. Dodd, Mead & Co., New York. $1.75.

A light-weight story, but none the less amusing. Henry's rally from a life of elegant leisure to a fighting existence as the manager of a movie theater is capitally worked out. He has to make good or lose a fortune. He makes good, and has the additional satisfaction of outwitting his Puritanical aunt and her scheming and dishonest husband. SAINT JEANNE D'ARC. By Minna Caroline Smith. The Macmillan Company, New York. $2.25.

A new semi-historical and semifictional narrative of this saint's life, for saint she now is. It has imagination and earnestness and leaves one filled with enthusiastic belief in Joan's personality and honesty. The author takes a more literalistic, and therefore ecclesiastical, view than most students of the psychology of spiritual sincerity would accept. The book is an addition to the literature of the subject, which is always of intense human interest.


JOHN MARTIN'S BIG BOOK. The John Martin Book House, New York. $2.50.

This is the sixth of the "Big Books" published annually, and that fact alone indicates the popularity of the idea among children. This particular volume has a picture on every page, and over sixty of the pictures are in color. Its contents are varied and include all sorts of things from fairies to bears, together with much fun and nonsense of the kind small children like. That John Martin knows what this is, his long experience and success in catering to children proves. From the same house come several small books for children, some of which have a little instruction, but all of which are primarily picture books.



DAVID LUBIN: A STUDY IN PRACTICAL IDEALISM. By Olivia Rossetti Agresti. Little, Brown & Co., New York. $3.50. Many self-made men become absorbed in the pursuit of personal success; David Lubin was of a different mold. He came to America a poor boy; "went West;" amassed a fortune; but never lost his idealistic view of life. He became an influential factor in great movements; and his life-story is told in this book by a sympathetic co-worker who imparts her admiration for Lubin's character and achievements to the reader.

HISTORY AND POLITICAL ECONOMY NEW PALESTINE (THE). By W. D. McCrackan. Illustrated. The Page Company. Boston. $5.

The author, while doing relief work in Jerusalem, published a daily paper

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