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Updated: October 20, 2025
Third edition. In half morocco. Gilt top. $3.50. As the New-York correspondent of The Boston Transcript enthusiastically writes, 'The elegiac composition, the exquisite sonnet, the genuine pastoral, the war-song and rural hymn, whose cadences are as remembered music, and the couplets whose chime rings out from the depths of the heart; whatever the old English dramatists, the ode writers of the reign of Anne and Charles, the purest disciples of heroic verse, the Lakists, the Byronic school Wordsworth and Dryden, Mrs.
He often chooses topics mainly for their timeliness, and gathers and says what happens to be in the air. Many of the Elizabethan dramatists, like Dekker and Heywood and Middleton for example, looked at life with the journalistic eye. They collected and disseminated news.
Of these, its formative elements, then, not a few of the dramatists have made due use, as every play, one may say, admits of Spectacle, Character, Fable, Diction, Melody, and Thought. II. The most important of the six is the combination of the incidents of the story. Tragedy is essentially an imitation not of persons but of action and life, of happiness and misery.
All the instinctive snobbery of the Ghetto toward the grand world was excited. And yet this seedy figure conflicted painfully with his ideas of the uptown type. But perhaps all dramatists were alike. Pinchas was bowed forward. In another instant the theatre was in an uproar. A man in a comfortable fauteuil had been asked to accommodate the distinguished stranger and had refused.
It must not surmise or provide for infirmity. It treats its object as a god, that it may deify both. "Paradise is under the shadow of swords," Mahomet. In the elder English dramatists, and mainly in the plays of Beaumont and Fletcher, there is a constant recognition of gentility, as if a noble behavior were as easily marked in the society of their age, as color is in our American population.
It would be impossible and useless to give a mere list of the names of modern dramatists, but that of Ayala is perhaps best known abroad, and his work most nearly approaches to that of his great forerunners. His Consuelo, El tejado de Vidrio, and Tanto por ciento show great power and extraordinary observation. His style, too, is perfect.
My own conviction is that there are few characters or passages of our great dramatists which will not repay original study.
Their mood is unconquerable, and while often overcome it has emerged again and again in Irish history, and it has perhaps more adherents today than at any period since the Act of Union, and this has been helped on by the incarnation of the Gaelic spirit in the modern Anglo-Irish literature, and a host of brilliant poets, dramatists and prose writers who have won international recognition, and have increased the dignity of spirit and the self-respect of the followers of this tradition.
The departure from old lines in these dramatists is patent; and, after discounting the part that may have been temperamental or contingent on some other cause, there remains the larger share to attribute to Balzac's influence. Dumas' Dame aux Camelias originally staged in 1852, was a timid start in the new direction.
Neither in the old French and Italian school, which followed the ancient models, nor in the Romantic school in which old England and young France proposed to rival it, has any thing approaching to the interest and pathos of the Athenian dramatists been produced. It is not difficult to see what have been the causes of this inferiority, and they seem to have been these.
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