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One may accept, sadly, Signor Borsa's view, which is shared by most Continental and many British critics, that the ordinary English drama is utterly unworthy of the English people; but we certainly have abundance of competent players, and a fair number of dramatists anxious and able to give the public far better drama than they get, as soon as managers are willing to produce it; the great trouble is that the managers are afraid of the public, and although they might wisely be more venturesome, they have, in the present mass of playgoers, a terrible public to cater for.
Apparently Signor Borsa's hostility to "G.B.S." is founded on the fact that the dramatist is a revolutionary and refuses to accept the theatrical formulae which satisfy the Italian.
"Under the breath of laughter, deep in the tide of tears, I hear the loom of the Weaver that weaves the Web of Years." Kelman's Mr. Cooper's Some English Story Tellers. Conrad's A Personal Record. Yeats's Celtic Twilight. W.B. Yeats's Poetry. Borsa's The English Stage of To-day. Hamilton's The Theory of the Theater. Hunt's The Play of To-day. Hale's Dramatists of To-day.
One must, however, point out that whilst Signor Borsa's general conclusions concerning the most remarkable person of the English theatre are unsound, his remarks in detail are acute and luminous, and some of them well deserve the consideration of the victim. The curiosity of the book is the treatment of the acting. According to Signor Borsa, "the acting has little to boast of.
See Marco Borsa's article in Il Secolo, June 18, 1919; also Corriere della Sera, June 19, 1919. From May 5 to 16, 1919. Il Secolo, June 19, 1919. On April 23, 1919. "Can and will our allies treat our absence as a matter of no moment?
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