ESSAYS. Burns & Oates. 1914.
[A "Collected-Selected" edition.]
HEARTS OF CONTROVERSY. Burns & Oates. 1917.
She has also written Introductions to numerous reprints.
She has also selected or edited the following: Poems of T. G. Hake; Extracts from Samuel Johnson (with G. K. Chesterton); Poems of J. B. Tabb; The Flower of the Mind.
DRAMA
| THE THREE SISTERS (Tchekhov) | Court Theatre |
| MEDEA (Euripides); CANDIDA (Shaw) | Holborn Empire |
| PYGMALION (Shaw) | Aldwych Theatre |
| THE YOUNG VISITERS (Daisy Ashford) | Court Theatre |
| JOHN FERGUSON (St. John Ervine) | Lyric Theatre, Hammersmith |
| MINIATURE BALLET—RUSSIAN MINIATURE THEATRE | Duke of York's |
| GRIERSON'S WAY (H. V. Esmond) | Ambassadors |
THE list of plays which I have selected from those I have seen during the last month is not without interest. It contains one play which is not Tchekhov's finest work, but which nevertheless has no rival among the others on the list, and it was performed for exactly one afternoon by the Art Theatre under Madame Donnet. The plays next in merit—Euripides' Medea and Shaw's Candida—were given by Mr. Lewis Casson and Mr. Bruce Winston at matinées at the Holborn Empire for exactly one week each. Shaw's Pygmalion and Daisy Ashford's The Young Visiters may be expected to run—the former in proportion to its merits, the latter in no equality at all, either with its notoriety or its charm—for a couple of months. At a considerable distance comes Mr. Ervine's John Ferguson, a play which, if considered by the side of those I have already named, must be ranked very low, but if considered with all those I have not named—now being played at London theatres—must be ranked as respectably good, neither very much better nor very much worse than the average West-End theatrical entertainment. For John Ferguson, like Tea for Three at the Haymarket, is an entertainment, only it does not make you laugh; it entertains you as a street accident does—a very bloody street accident. Finally—leaving out the Russian Miniature Theatre, which is really Ballet—we come to Grierson's Way, the resuscitated by-product of Mr. H. V. Esmond. Here we come to a play that—if, as our tabulation almost suggests, plays run in inverse proportion to their merit—should run for ever.