A BOOK OF DRAMATIC CRITICISM AND A NEW PLAY BY
MR. ZANGWILL.*
I wrsu I had space to deal at greater length with Mr. Gilbbrt Norwood's delightfully stimulating book, Euripides and Shaw.' It is in the best tradition of modern critical work. That is to say, it is both analytical and appreciative, having in it elements both of scientific and literary success. It is perhaps a pity that Mr. Norwood should have given his book the title that it bears, for the two dramatists have been often compared before, and the reader might think from such a title that the book was of the made-up type. Actually it is fresh and individual—a general criticism of Shaw and, to some extent, also of his contemporaries. Perhaps Mr. Norwood is least successful in his comments on Heartbreak House, but what he says of another " later manner " work, Back to Methuselah, is very true. He says : " It is a work which passes practically outside the purview of dramatic criticism. It consists of a preface and five short plays which are not plays at all, but static presentations of phases in the history of- man's relation to the conditions of his life:" Mr. Shaw's prefaces have always been important, but here the preface is the main part of the book. He sets forth his theory about the Life.Force with erudition and philosophical vigour. " Beside this preface the plays themselves are like the performances wherewith school children are encouraged to realize the greatness of Alfred or Cromwell." From this pene- trating generalization I personally should like to except the first episode—the one in the Garden of Eden.
Mr. Zangwill's drama, The Cockpit;2 might, very. considerably cut, make an exciting melodrama. The story is of a girl brought up in America on the most modern humanitarian and socialistic principles, who turns out to be the rightful queen of a Balkan State. She is discovered by a " patriotic " band of her country- men, and is persuaded to come to Europe and claim her throne. This she successfully does, but only to find that her' coming has brought. not peace, but a sword. The play ends in an impasse and her complete disillusionment. Unfortunately, a good deal of the dialogue is rather stilted. For instance, I don't think that a man in extreme excitement would be likely to exclaim :- " God 1 Why is life so complex."
Also the mass of politics into which the poor, idealistic young queen is plunged are only too realistically confusing. As all the characters and places have extremely fictitious names- Cazotti, Roxo, Rolmenia and so forth—in reading the play it is a little difficult to keep track of the situation, and this diffi- culty would probably be increased on the stage. However, there is no doubt that the play is exciting and moving, and if Mr. Zangwill would submit it to the shears there are few of us who would' not very much enjoy seeing it acted.
TASK.
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