The Modern Drama
I—BEGINNING OF MODERN ENGLISH DRAMA—THE AGE OF ELIZABETH
1. First Paper (Introductory): Beginning of English Drama—Origin in the miracle-plays. Influence of the Renaissance. Change in the form of the drama through foreign influences.
2. Ben Jonson—Story of his life; character of his plays; his devotion to the classics.
3. Beaumont and Fletcher, Massinger, Ford, and Webster.
4. Shakespeare—Story of his life; how his plays were made; his imagination, wit, and tenderness; his supremacy.
5. The Theater in the Time of Elizabeth—Scenery, seating arrangements, costumes, absence of women actors; famous theaters.
Readings from—Jonson's Every Man in His Humour. Beaumont and Fletcher's Knight of the Burning Pestle. Shakespeare—History: Henry V. Comedy: As You Like It. Tragedy: Macbeth. Fancy: Midsummer Night's Dream. Sentiment: Romeo and Juliet.
Books to Consult—Taine: History of English Literature: Book II., Chapter II. Hamilton Mabie: Shakespeare. The Mermaid Series of Dramatists.
In addition to these papers have short readings from Kenilworth, and Miss Strickland's Queens of England, giving a clear idea of Elizabeth. Read also from Jonson's Sad Shepherd, the Masque of Oberon and the Masque of Queens. Give a sketch of the modern reproduction of an old miracle-play, called Everyman, with a selection. Close with Shakespeare's estimate of Jonson, and Jonson's estimate of Shakespeare, and show photographs of Shakespeare, his birthplace, Anne Hathaway's cottage, the Avon, the parish church.
II—THE RISE OF MODERN COMEDY
1. Beaumarchais—Story of his life. Characteristics. Readings from The Barber of Seville and The Marriage of Figaro. The modern operas founded on these.
2. Molière—His humble origin, rise and relation to the court. His matrimonial unhappiness and estimate of women. Readings from Les Précieuses Ridicules, Tartuffe and Sganarelle. Quotations from modern estimates of Molière.
3. English Comedy under the Restoration—Effect on the drama of the return of the Stuarts. Estimates of the following writers and quotations from the plays mentioned: Sir George Etheredge: She Wou'd if She Cou'd. William Congreve: The Double Dealer. William Wycherley: The Plain Dealer. Sir John Vanbrugh: The Relapse, which is said to have created the fop as a type. George Farquhar: The Beaux' Stratagem.
4. Comedy under the Georges—Goldsmith and Sheridan. Birth of both in Ireland, and its effect on their lives and work as dramatists. Modernness. Readings from The Good-Natured Man and She Stoops to Conquer. Readings from The Rivals and The School for Scandal. Readings from Irving's Life of Goldsmith. Description of his grave by the Temple Church, London.
Books to Consult—Van Laun's History of French Literature. Translations by Van Laun and Curtis Hidden Page. Lives of Molière by Chatfield-Taylor and Brander Matthews. The Mermaid Library (for the Restoration Dramatists).
Between the September and the October programs there might be an informal morning meeting, at which the novel by Chatfield-Taylor, Fame's Pathway, of which Molière is the hero, might be read in whole or in part. It gives a vivid description of the stage of that time. In reading The School for Scandal, The Rivals and She Stoops to Conquer, arrange to have the parts taken by several of the club and have a rehearsal to insure a smooth rendering of these bright plays. An additional paper for this program might be on Jeremy Collier's famous attack on the stage, and its purifying effect.
III—THE DRAMA IN ENGLAND; VICTORIAN PERIOD
1. Early Nineteenth-Century Dramatic Criticism—Charles Lamb's selections from the early English dramatists. His great love of the stage, and his essays describing plays and actors of his time. Essays of Hazlitt and of Leigh Hunt upon the stage.
2. Sheridan Knowles—Readings from Virginius. Bulwer-Lytton—Readings from The Lady of Lyons and Richelieu.
3. Tom Taylor—Readings from Our American Cousin and The Ticket of Leave Man. Robertson—Readings from Society and Caste. Boucicault—Readings from London Assurance; Louis XI.; and The Colleen Bawn.
4. Irving and Terry—As exponents of Shakespeare. Their personalities. Irving as a manager. His magnificent stage-settings.
Books to Consult—Brander Matthews: Development of the Drama. C. M. Gayley: Representative English Comedies. H. A. Clapp: Reminiscences of a Dramatic Critic.
The immense improvement in the art of staging plays in this period is an excellent topic for one paper. The famous actors also may be studied: John Kemble, Edmund Kean, Macready, and Helen Martin (Lady Faucit), for the earlier years; the Bancrofts, the Kendals, and Beerbohm Tree, for the later. Sothern's great success as Lord Dundreary, Macready's visit to the United States during the Civil War, and the popularity of Irving and Terry are worthy of consideration. Particular mention may be made of plays other than Shakespearean, in which Irving and Terry appeared: The Bells, The Lyons Mail, Faust, and Tennyson's Becket. Read from Terry's recently published biography. The history of Drury Lane and Covent Garden theaters deserves a special paper.
IV—THE GERMAN DRAMA
1. Lessing—The dulness of the German theater up to the middle of the eighteenth century. Paralysis of genius by the Thirty Years' War. Lessing's dramatic criticism. Readings from Minna von Barnhelm, and Nathan the Wise. Translations in Bohn's Library.
2. Goethe—His life-story, his writings, his influence. German admiration for Shakespeare largely due to Goethe. Description of life at Weimar. Goethe's first play: Goetz von Berlichingen. Readings from Egmont, Iphigenia, and Tasso. Bohn's Library.
3. Schiller—Relation to Goethe. Comparison of their styles. Readings from The Robbers, Wallenstein, Wilhelm Tell, Maria Stuart, Die Jungfrau von Orleans. Bohn's Library.
4. Later German Drama—Grillparzer. Paul Heise. Hauptmann: reading from The Sunken Bell. Sudermann: readings from Dame Care, and The Joy of Living. What was the effect of Ibsen on the German drama?
Books to Consult—Witkowski: German Drama of the Nineteenth Century. Huneker: Iconoclasts. Kuno Francke: German Ideals of To-day. Whitman: Teuton Studies.
Goethe has been called the idol of the German people, and the major part of this program may well be devoted to him. Carlyle's essay on Goethe is a famous piece of writing, and the life by Lewes is as interesting as a novel (see the Everyman's Library). Follow the third paper with a reading from J. G. Robertson's Schiller after a Century. A closing talk might point out the sentimental character of the early German dramas as contrasted with the realism of those of to-day. Reference should also be made to the symbolic plays.
V—FRENCH DRAMA
1. The Romantic Drama—Victor Hugo. The romantic revival in all European literature. Influence of Scott's novels. Story of Hugo's life. Early struggles. His first play; politics and exile. Characteristics of his style. Readings from Le Roi s'amuse, Hernani, and Ruy Blas.
2. Experiments in the Drama—Augier: Attempt to revive the classic drama: the story of Charlotte Corday, and reading from the play. Scribe: Improved construction of the play; reading from Valérie.
3. The Drama at Its Height—Dumas fils. Comparison of the father and the son in literature. The son's ambition to reform society through the stage. The first problem plays. Description of La Dame aux Camélias. Sardou: Versatility of subjects. Skilful construction of plot. Tendency to the sensational and the gruesome. Reading from Patric.
4. The Drama To-day—Becque: Theory of evolution applied to society; Les Corbeaux. Brieux: Satire, realism; Blanchette, Les Trois Filles de M. Dupont. Rostand: Romantic and literary; readings from Cyrano de Bergerac, L'Aiglon, and Chantecler. Bernstein: Relation of the modern Jew to the stage; politics and the drama in Paris; Le Voleur, Samson.
Books to Consult—A. Filon: The Modern French Drama. Brander Matthews: French Dramatists of the Nineteenth Century. Matthew Arnold: Essay on the French Play in London.
If possible, have an additional paper on some of the interesting French actors: Coquelin, Mounet-Sully, Rejane, and Bernhardt. Another and briefer paper may discuss French dramatic criticism, easily the most brilliant of our time in the whole world of letters. Sarcey, Claretie, Doumic, and Legouvé are among these well-known names. Have some one speak of the Comédie Française and its influence on French drama.
VI—ENGLISH DRAMA OF TO-DAY
1. Pinero—His early style as shown in The Profligate, The Amazons, and Trelawny of the Wells. The important change in his methods revealed in The Second Mrs. Tanqueray, and His House in Order. The problem play in English.
2. Henry Arthur Jones—Study of The Silver King, Saints and Sinners, The Middleman, The Liars, and The Masquerader. Comparison of Pinero and Jones.
3. Grundy, Wilde, and Carton—Sidney Grundy: A Fool's Paradise, A White Lie, The Greatest of These. Discussion of the question of the use of the stage as a pulpit. Oscar Wilde: Readings from Lady Windermere's Fan, and The Importance of Being Earnest. Discuss the place of satire in human life. R. C. Carton: Lord and Lady Algy. Discuss the question whether comedy at its best may not be the ideal play.
4. Current Playwrights—Stephen Phillips: the literary playwright; contrast the prose and the poetic drama; the author's dignity and grace; reading from Paolo and Francesca. Barrie: the modern Scotch school of writers; Barrie's humor; readings from Peter Pan, Alice Sit-by-the-Fire, and What Every Woman Knows. W. S. Maugham: plays planned to succeed; lightness and wit; quantity of product; readings from Jack Straw, and Lady Frederick. John Galsworthy: the stage as a censor of morals; spread of socialist theories; quotations from Strife, and Justice; effect of latter on court processes in England.
Books to Consult—E. E. Hale, Jr.: Dramatists of To-day. W. Archer: English Dramatists of To-day. W. Nicholson: The Struggle for a Free Stage in London.
Mention the many plays written rather for pure literary purposes than to be acted. Notice those especially of Tennyson, Browning, Swinburne, and Stephen Phillips. An important factor in the English stage is the censor, who must pass judgment on all plays before they are acted. Mark the effect of this in excluding many French plays from England. Note the relation between the modern English novel and the drama as illustrated in The Prisoner of Zenda, The Little Minister, The Seats of the Mighty, Vanity Fair (called Becky Sharp as a play), The Eternal City, The Garden of Allah, etc.
VII—IBSEN
1. His Life—Hard youth. Connection with the theater. Struggle to gain a hearing. Publication of Brand. His pension and financial independence. Life in Rome. Life in Germany. Change from poetry to prose. His friendships. His death and public funeral.
2. His Temperament and Its Influence on His Writings—Realism, originality, revolt against conventions, individualism, pessimism, irony. Views of woman. Is Ibsen critic or prophet?
3. Influence of Ibsen on Modern Drama—His technical skill, daring, problem plays. Are Ibsen's themes suited to the stage and the average audience? Should the theater preach or amuse, or both?
4. Study of Three Plays—Peer Gynt, The Pillars of Society, A Doll's House. Analysis of plot, description of chief characters, and readings.
5. Study of Three Plays—Ghosts, The Wild Duck, Hedda Gabler. Analysis of plot, description of chief characters, and readings.
Books to Consult—Brandes: Henrik Ibsen. Gosse: Ibsen. Bernard Shaw: Quintessence of Ibsenism. Moses: Ibsen, the Man and His Plays.
Ibsen takes a place to-day with the philosophers as well as the dramatists. In fact, the most interesting aspect of his work is his relation to social thinking and the revolt against conventions. It would be interesting to compare views on the points suggested. In what differing ways do Ibsen's plays affect the club members?
VIII—BERNARD SHAW AND THE IRISH MOVEMENT
1. Life of Bernard Shaw—Dublin. London. Beginning of serial novel-writing. Fabian Society. Help of William Archer. First play: Widowers' Houses. The Philanderers. Mrs. Warren's Profession (rejected by the censor).
2. Shaw's Successful Plays—Arms and the Man. (Mansfield's rendition. Musical version: The Chocolate Soldier.) Candida. You Never Can Tell. The Devil's Disciple. Captain Brassbound's Conversion. Man and Superman. Showing up of Blanco Posnet. Fanny's First Play.
3. Bernard Shaw's Qualities—His mannerisms and style. His attitude toward social conventions. His socialism. His attitude toward religion.
4. William Butler Yeats—Dublin. Encouragement from Oscar Wilde. Stories and verse. Plays: Land of Heart's Desire; Diarmind and Grania; Cathleen in Houlihan. Influence of Blake, Shelley, and Maeterlinck.
5. Synge—Riders to the Sea. Well of the Saints. Playboy of the Western World.
Books to Consult—E. E. Hale, Jr.: Dramatists of To-day. G. K. Chesterton: Bernard Shaw. H. S. Krans; Wm. Butler Yeats and the Irish School. J. M. Synge: Works (4 vols. Dublin, 1910).
A supplementary paper may be written on the question, Has Shaw a positive message of any importance, or is he merely a negative critic? In addition there may be selections from his plays, showing his wit and clever satire. The amusing comedy, You Never Can Tell, may be read, the parts being taken by members of the club. Notice also the appearance in America of the Irish Players under the management of Lady Gregory.
IX—MAETERLINCK
1. Life—Early life in Ghent. Paris, 1887. Influence of Villiers de l'Isle Adam. First publishing and fame through Mirbeau's article in Figaro. Translation of Ruysbroeck and his influence on Maeterlinck. His marriage.
2. Essays—The Treasure of the Humble. The Life of the Bee. The Buried Temple. The Double Garden. Death.
3. Plays—The Blind. Pelléas and Mélisande. Aglavaine and Sélysette. Monna Vanna. Joyzelle. The Blue Bird. Analysis of these plays and readings from them.
4. His Place in Literature—What is the meaning of his mysticism and his symbolism? What is his position with regard to religion? Is his optimism philosophically justifiable? Compare Maeterlinck with Bernard Shaw as to difference in spirit and method.
Books to Consult—Edward Thomas: Maeterlinck. Arthur Symons: The Symbolist Movement. E. E. Hale, Jr.: Dramatists of To-day.
Maeterlinck's château is especially interesting: a medieval structure with a great court. It was here that one of his leading plays was given first, before a large company of his friends, with Madame Maeterlinck in the part of the heroine. No scenery was used, but the action took place in different rooms and in the court. Reference to this may be found in some of the magazines of the time.
X—THE AMERICAN DRAMA
1. William Dunlap (1798-1815), "Father of American Drama"—His numerous plays. Influence of Kotzebue. Study with Benjamin West.
2. Campbell, Howard, and DeMille—Bartley Campbell (1843-1888): Matrimony, Siberia. Bronson Howard ("Dean of the American Drama"): Young Mrs. Winthrop, The Henrietta, Shenandoah. H. C. DeMille (1850-1893): Lord Chumley, The Charity Ball.
3. Gillette, Belasco, and Klein—William Gillette: The Private Secretary, Secret Service, Too Much Johnson, Sherlock Holmes. David Belasco: His training for the stage. Early melodrama. Stage scenery and effects. Miss Helyett, The Heart of Maryland, Du Barry, The Girl of the Golden West. Charles Klein: The Music Master, The Lion and the Mouse, The Third Degree.
4. Fitch, Thomas, and Moody—Clyde Fitch: Brief Biography. Beau Brummel, The Liar, Nathan Hale, Captain Jinks, The Blue Mouse, The City. Compare Fitch's skill and ethical standards with those of Thomas. Augustus Thomas: Alabama, Arizona, The Harvest Moon, As a Man Thinks. William Vaughan Moody: The college professor as playwright. The Great Divide, The Faith Healer.
Books to Consult—W. J. Moses: The American Dramatist. Norman Hapgood: The Stage in America. Walter P. Eaton: The American Stage of To-day. W. D. Adams: Dictionary of the Drama. 2 vols. (English and American).
After this program have a discussion on the question: Are women responsible for the character of the modern drama? Take up also women's theater clubs, designed to pass judgment on new plays. Does the weight of their expressed opinion influence the management? On the whole, are the morals of the drama improving?