But these remarks of mine about the inner significance of the plays should not tempt anybody into thinking them deficient in that element of formal perfection without which they could not be classed as works of art. They are, indeed, "things of beauty," and their beauty inheres in their design as well as in their style. Through all of them the greatest possible economy of means has been observed, so that not a word, not a tone, not a gesture is wasted in obtaining the effect aimed at. The dialogue of Maeterlinck is suggested, but not more than suggested. The words spoken by the characters of Maeterlinck are often so vague as to be practically meaningless. The characters of Lord Dunsany speak as simply as those of Maeterlinck, but always sharply to the point; there can be no mistaking of what they mean, and that meaning serves always to carry the action of the play forward. And each play of Lord Dunsany's is an exciting adventure, conveying to the reader an exhilarating sense of motion without ever descending to old-fashioned stage tricks for the production of that sense. This means that they combine to an extraordinary degree the qualities which make separately for theatrical or literary success.
Edwin Björkman.
CHRONOLOGICAL LIST OF PLAYS BY LORD DUNSANY
- The Glittering Gate, 1909
- King Argimēnēs and the Unknown Warrior, 1911
- The Gods of the Mountain, 1911
- The Golden Doom, 1912
- The Lost Silk Hat, 1913
- The Tents of the Arabs, 1915
- A Night at an Inn, 1916
- The Queen's Enemies, 1916
- The Laughter of the Gods, 1917
THE GODS OF THE MOUNTAIN
PERSONS
| Agmar | } | |
| Slag | } | |
| Ulf | } | |
| Oogno | } | Beggars |
| Thahn | } | |
| Mlan | } | |
| A Thief | } | |
| Oorander | } | |
| Illanaun | } | Citizens |
| Akmos | } | |
| The Dromedary Men | ||
| Citizens, etc. | ||
| The Others | ||