Dramatic Criticism, as we now understand it—the systematic appraisement from day to day and week to week of contemporary plays and acting—began in England about the beginning of the present century. Until very near the end of the eighteenth century, "the critics" gave direct utterance to their judgments in the theatre itself, or in the coffee-houses, only occasionally straying into print in letters to the news-sheets, or in lampoons or panegyrics in prose or verse, published in pamphlet form. Modern criticism began with modern journalism; but some of its earliest utterances were of far more than ephemeral value. During the earlier half of the present century several of the leading essayists of the day—men of the first literary eminence—concerned themselves largely with the theatre. Under the title of
"DRAMATIC ESSAYS"
will be issued, in three volumes, such of their theatrical criticisms as seem to be of abiding interest.
THE FIRST SERIES will contain selections from the criticisms of LEIGH HUNT, both those published in 1807 (long out of print), and the admirable articles contributed more than twenty years later to The Tatler, and never republished.
THE SECOND SERIES will contain selections from the criticisms of WILLIAM HAZLITT. Hazlitt's Essays on Kean and his contemporaries have long been inaccessible, save to collectors.
THE THIRD SERIES will contain hitherto uncollected criticisms by JOHN FORSTER, GEORGE HENRY LEWES, and others, with selections from the writings of WILLIAM ROBSON (The Old Playgoer).
The Essays will be concisely but adequately annotated, and each volume will contain an Introduction by William Archer, and an Engraved Portrait Frontispiece.
London: WALTER SCOTT, LTD., 24 Warwick Lane.