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Updated: May 18, 2025
According to the paragraphs, he was a wondrous man, and the theatre was a wondrous house, the best of all possible theatres, and Carlo Trent was a great writer, and Rose Euclid exactly as marvellous as she had been a quarter of a century before, and the prospects of the intellectual-poetic drama in London so favourable as to amount to a certainty of success.
The general impression which he gathered from his perusals was that the author was a pretentious dullard, an absolute criminal, a genius; that the actors and actresses were all splendid and worked hard, though conceivably one or two of them had been set impossible tasks to wit, tasks unsuited to their personalities; that he himself was a Napoleon, a temerarious individual, an incomprehensible fellow; and that the future of the intellectual-poetic drama in London was not a topic of burning actuality.... He remembered sadly the superlative-laden descriptions, in those same newspapers, of the theatre itself, a week or two back, the unique theatre in which the occupant of every seat had a complete and uninterrupted view of the whole of the proscenium opening.
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