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.