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For example, it is a fact that the 'Demi-monde' of Dumas, the 'Pillars of Society' of Ibsen, the 'Magda' of Sudermann, the 'Grand Galeoto' of Echegaray, the 'Second Mrs. Tanqueray' of Pinero, the 'Gioconda' of d'Annunzio are all of them cast in the same dramatic mold; but it is also a fact that the metal of which each is made was smelted in the native land of its author.
In 'The Grand Duke' there were fitful gleams of the old splendour, notably in an amazing sham Greek chorus, which no one but Sullivan could have written, but the piece could not for a moment be compared to even the weakest of the earlier operas. The fate of 'The Beauty Stone' , written to a libretto by Messrs Pinero and Comyns Carr, was even more deplorable.
This course was officially announced as a study of Bernard Shaw, Ibsen, Strindberg, Pinero, Hauptmann, Sudermann, Maeterlinck, D'Annunzio, and Rostand; but unofficially announced by Professor Frazer as an attempt to follow the spirit of to-day wherever it should be found in contemporary literature. Carl and the Turk were bewildered but staunchly enthusiastic disciples of the course.
Considering literary merit as something applied on the outside, too obvious to be mistaken, the critic of this type disdains to give to certain of the plays of Mr. Pinero the discussion they deserve. In the 'Benefit of the Doubt, in the 'Second Mrs. Tanqueray, in 'Iris, Mr.
Pinero, who was no longer a member of the Lyceum company when "Much Ado" was produced, wrote to Henry after the first night that it was "as perfect a representation of a Shakespearean play as I conceive to be possible. I think," he added, "that the work at your theater does so much to create new playgoers which is what we want, far more I fancy than we want new theaters and perhaps new plays."
Stevenson considered the genial, witty, gently cynical Sir Arthur one of the most interesting men she had ever met. Lady Pinero always called her husband "Pin," and Sir Arthur was enchanted when, after looking at him with smiling eyes, Mrs. Stevenson one day turned to Lady Pinero and remarked, "I've always doubted that old saying, 'It is a sin to steal a Pin, but now I understand it perfectly."
Henry Arthur Jones the first marked symptoms of a reaction of a tendency to reject extrinsic and fanciful ornament in dialogue, and to rely for its effect upon its vivid appropriateness to character and situation. In the early plays of Sir Arthur Pinero there is a great deal of extrinsic ornament; especially of that metaphor-hunting which was one of the characteristic forms of euphuism.
There is little doubt that the substructure of the great scene might have been very much simpler. I imagine that Sir Arthur Pinero was betrayed into complexity and over-elaboration by his desire to use, as a background for his action, a study of that "curious phase of modern life," the manicurist's parlour.
Meredith may be a greater author than Mr. Arthur Wing Pinero; but Mr. Pinero is of necessity more rigid in his mastery of structure.
The only actress on our stage whom we go to see as we would go to see a work of art, she acts Pinero and the rest as if under a disguise. Here, dressed in wonderful clothes of no period, speaking delicate, almost ghostly words, she is herself, her rarer self. And Mr.
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