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164 Harley Granville-Barkerlong—well, he was a man of many more words than this!But if the material is dramatic, the product is not. Thetrouble is that Swinburne seldom, if ever, sets hischaracters free. He conceives them, brings them to asort of a birth; but he still speaks through them, they aremegaphones at his mouth. With freedom they would doas all human beings do, contest, come to cross-purposes,give way, refuse to say the things they should say, standaltogether dumb, and be a dreadful nuisance to theirauthor, doubtless. How to round them in again and facethem towards their destiny? In that lies the art of theplaywright. They can be brought within conventions asformal as Racine's; but they must at some time havebeen free. In the theatre this freedom, as the actorinherits it, is a part of the natural order of things, isindeed its fount. The closet-dramatist can with difficultyimagine or allow for it.Tennyson's case was quite other. He was sixty-fivewhen he wrote Queen Mary, and people thought—toquote his son's biography—that to begin publishing playsat his age was a hazardous experiment. But, encouragedby Spedding, George Eliot and Lewes, he persevered.He had always liked the theatre, had been a constantplaygoer in early and middle life and ' regarded the dramaas one of the most humanising of influences... alwayshoped that the State, or the Municipalities.. . would produceour great English historical plays, so that theymight form part of the Englishman's ordinary educationalcurriculum'. (For how much longer is that hopeto be deferred!) 'For himself, we are further told, 'hewas aware that he wanted intimate knowledge of themechanical details necessary for the modern stageHis dramas were written with the intention that actorsshould edit them for the stage, keeping them at the highpoetic level'.
Tennyson, Swinburne, Meredith 165A great man's simplicities are endearing. Queen Mary,produced at the Lyceum on the 16th of April, 1876, wasedited indeed. Twenty-seven characters were cut outaltogether. Still, the Poet Laureate had but to write hisfirst play and London's best theatre would stage it,London's best actor, fresh from the glories of Hamlet andOthello, content himself with the shadowy Philip ofSpain. Irving made Philip, however—he could hardlyhelp it—the most notable thing in the play, and Whistlerhas made the figure of him memorable. The portrait is inthe Metropolitan Museum in New York. Will an EnglishNational Theatre ever buy it back again? Irving'sbiographer insists that Tennyson himself did the editing;but if so, no doubt he took expert advice—Irving's own,possibly. It was good advice on the whole. Cranmer'sspiritual conflicts, which went by the board, are tamedrama: and the rewritten ' theatrical' ending (to be foundin the Biography) is as legitimate, and better of its kind,than the spun-out allusiveness of the published play;with Elizabeth, Cecil and the rest forecasting history,while Mary does her dying 'off' as a classic heroineshould.There were obvious flaws in Tennyson's modest approachto playwriting; even, perhaps, in its modesty.He speaks—or his son speaks for him—of drama and thetheatre as a sort of House of Lords and House of Commons,with the play as a Bill sent down to be pulledabout a bit, rewritten a little and at last turned out asan effective Act. Such practical politics make for poorart. He thinks of the theatre, apparently, as a place ofmechanical craftsmanship, more or less, in which anabsolute art of drama is adulterated and turned to account.This is just true enough to be dangerously misleading;but one sees where the error is bred. Whatmangling and botching has not the absolute drama of
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The Eighteen-Seventies
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The Eighteen-SeventiesEssays by Fel
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ContentsPreface . . . . . . . p. vi
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viiiPrefacedecidedly down on their
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XPrefaceIt very often is; and it wi
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xiiPrefacewould be a far more inspi
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xivPrefaceWith the two authentic pi
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2 The Marquess of Creweher journal
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4 The Marquess of Crewedashed to th
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6 The Marquess of CreweBut here, fo
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8 The Marquess of Creweoffenders, a
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10 The Marquess of Crewecountry squ
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12 The Marquess of CreweBesides tho
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14 The Marquess of Crewearchaeology
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16 The Marquess of Creweintimate wi
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18 The Marquess of Crewetogether wi
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20 The Marquess of Crewehis usual s
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*•••
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24 Hugh Walpolethe author of Orland
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26 Hugh Walpolecompanion, Scott the
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28 Hugh WalpoleBut it may be that t
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30 Hugh Walpolenaturally divides. T
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32 Hugh Walpolevery good reasons. O
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34 Hugh Walpolereinvestigation of m
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36 Hugh Walpole'Alas! poor soul,' s
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38 Hugh Walpolehow is the novelist
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40 Hugh Walpole'The fact is,' said
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42 Hugh Walpolehimself in the river
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44 Hugh Walpoleinevitable without b
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46 Walter de la MareWhat was its ge
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48 Walter de la Marethe train from
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50 Walter de la MareIn space our th
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52 Walter de la MareNovelists, too,
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54 Walter de la Marehow the wild we
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56 Walter de la MareDangerous Ages,
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58 Walter de la MareChannel Islands
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60 Walter de la Marenefarious finge
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62 Walter de la Mareescaped from Ap
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64 Walter de la Marethough he may b
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66 Walter de la Maresense of the wo
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68 Walter de la Marebe cumulatively
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70 Walter de la Mareconscious, the
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72 Walter de la Marecompany. This a
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74 Walter de la Marerichly but ligh
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76 Walter de la Marekindly, deteste
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78 Walter de la Maregas, like water
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§4'•••«•••>•>«•
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82 George Saintsburyedgedness of th
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84 George Saintsburytwo—could fai
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86 George Saintsburyarticles. I hav
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88 George SaintsburyOdyssey which h
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90 George Saintsburybook deserved m
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92 George Saintsburyone at least te
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94 George Saintsburyhim: and I am e
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§5The Poetry of the 'SeventiesBy J
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98 John Drinkwatershould readily re
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100 John Drinkwater'seventies and a
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102 John Drinkwaterin a positive cl
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104 John DrinkwaterAnd it is just b
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106 John Drinkwaterthe best English
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108 John DrinkwaterThe skies seem'd
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110 John DrinkwaterFour ducks on a
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112 V. Sackville-Westwere women—t
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114 V. Sackville-Westdid not approv
Page 136 and 137: 116 V. Sackville-Westproperty, inst
Page 138 and 139: 118 V. Sackville-Westjudgment, wort
Page 140 and 141: 120 V. Sackville-Westgenius had nev
Page 142 and 143: 122 V. Sackville-WestAnd Louisa Gug
Page 144 and 145: 124 V. Sackville-WestHere's cause:
Page 146 and 147: 126 V. Sackville-WestThy circles of
Page 148 and 149: 128 V. Sackville-Westespecially of
Page 150 and 151: 130 V. Sackville-WestThe winds had
Page 152 and 153: 132 V. Sackville-Westof their day.
Page 154 and 155: 134 Sir Arthur Pinero1829. He came
Page 156 and 157: 136 Sir Arthur Pinerocontributed to
Page 158 and 159: 138 Sir Arthur Pineroquently styled
Page 160 and 161: 140 Sir Arthur Pinerothe drama were
Page 162 and 163: 140 Sir Arthur Pinerothe drama were
Page 164 and 165: 142 Sir Arthur Pineroto grapple wit
Page 166 and 167: 144 Sir Arthur Pinerothe company of
Page 168 and 169: 146 Sir Arthur Pineropresume to inq
Page 170 and 171: 148 Sir Arthur PineroWhose name, in
Page 172 and 173: 150 Sir Arthur PineroVaudeville cur
Page 174 and 175: 152 Sir Arthur PineroAh, my loved s
Page 176 and 177: 154 Sir Arthur Pineroness for the s
Page 178 and 179: 156 Sir Arthur Pinerothe audience o
Page 180 and 181: 158 Sir Arthur PineroGenial, warm-h
Page 182 and 183: 160 Sir Arthur Pinerohorizon... gli
Page 184 and 185: 162 Harley Granville-Barkeraccount
Page 188 and 189: 166 Harley Granville-BarkerShakespe
Page 190 and 191: 168 Harley Granville-BarkerOr for m
Page 192 and 193: 170 Harley Granville-Barkerwhich wa
Page 194 and 195: 172 Harley Granville-Barkerrhetoric
Page 196 and 197: 174 Harley Granville-BarkerThe ligh
Page 198 and 199: 176 Harley Granville-Barkerwrites,
Page 200 and 201: 178 Harley Granville-Barkeralone to
Page 202 and 203: 180 Harley Granville-BarkerTheir so
Page 204 and 205: 182 Harley Granville-BarkerOur tena
Page 206 and 207: 182 Harley Granville-BarkerOur tena
Page 208 and 209: 184 Harley Granville-Barkerno inter
Page 210 and 211: 186 Harley Granville-Barkerlead me
Page 212 and 213: 188 Harley Granville-Barkerdestined
Page 214 and 215: 190 Harley Granville-Barkerdoes not
Page 216 and 217: §9Critics and Criticism in the'Sev
Page 218 and 219: 194 Frederick S. Boaspapers falls t
Page 220 and 221: 196 Frederick S. Boaspeace that it
Page 222 and 223: 198 Frederick S. Boasand accusing h
Page 224 and 225: 200 Frederick S. Boas' noble compan
Page 226 and 227: 202 Frederick S. Boasaltogether int
Page 228 and 229: 204 Frederick S. Boasgave him the m
Page 230 and 231: 206 Frederick S. BoasIn a rhythm of
Page 232 and 233: 208 Frederick S. Boasgrowth of his
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212 R. W. Macanfields within the pr
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214 R. W. Macanand commercial sky-s
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216 R. W. MacanBut, albeit 'Reform
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218 R. W. Macanare and do what they
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220 R. W. Macanof the good intentio
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222 R. W. Macanfor which Oxford had
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224 R. W. Macanpublished in book fo
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226 R. W. Macantion of Faculties or
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228 R. W. Macanperiod. The institut
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230 R. W. Macancomplexion are great
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232 R. W. MacanEngland issued from
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234 R. W. Macanhad been until 1854,
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236 R. W. Macanidealism by the youn
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238 R. W. Macansole woman present,
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240 R. W. Macanhear his Inaugural L
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242 R. W. Macanslightly later date
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244 R. W. Macanexciting moiety in t
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246 R. W. Macanmonths later, he ina
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248 R. W, Macanthe three points whi
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250 W. E. Heitlandby a junior Fello
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252 W. E. Heitlandadministration of
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254 W. E. Heitlandstalwarts. A good
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256 W. E. HeitlandThe author 1 was
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258 W. E. Heitlandness from men of
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260 W. E. Heitlandinviting his gyp
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262 W. E. HeitlandProfessorial syst
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264 W. E. HeitlandProfessor-ridden
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266 W. E. Heitlandevery one present
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268 W. E. HeitlandThe Latin Profess
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270 W. E. Heitlandwas chiefly known
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272 W. E. Heitlandment of normal Do
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274 IndexBoas, Frederick S., ch.ix
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276 IndexDonne, John, 87Donnizetti,
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278 IndexHoughton, Lord (cont.)More
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280 IndexMoore, George, 48Morgan, H
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282 IndexRomani ,Felice,146 ;Elisir
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284 IndexVatican Decrees, 234, 285V
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