The list of .1in•rican dramatists not already referred to 1)avid Paul Brown. I1eorge II. Boker. henry Guy Carleton, Bronson Howard. Bartley ('ampbell, 11. C. 1)e David Belasco. and Clydi• Fitch, besides nu merous other well-known literary people wilt) have tried their hand at dramatic composition. A phase of dramatic production which has been noted in recent i, the increasing number of dramatizations of popular novels, not to men tion the I nele Tom's Cabin com panies which have been On the hoards for more than a generation. Judgod by popularity, many of the most successful productions of late years have been those of the lighter order, such as the uproarious of Charles 11. Hoyt and some of Edward Ilarrigan's portrayals of low life. From many of these it is not a long step to that curious and often tillomsciously Oriental mixture of vaudeville and drama. the 'continuous' per formance. Probably nothing else the American stage ha- seen, however. i..o truly a product of the ,oil and so thoroughly national as Denman Thump (4,/ Iforlie.tem/ and similar plays. From a literary point of view these dramas of country life are seriously defective: but their genial humor and simple fidelity to nature have charmed both the general public and the most scholarly of Some of the other most sue ce-sful ploy%‘ rights and adapters have been prac tical of theatres, like 1Vallaek, 1)aly, and 11,1 TO the late Augustin 1)aly, both as author and as manager. the Am•rican stage owes no small 114411_ ills the maintenance and training of a company that could. without fear of contradiction, be ranked with the best of the subsidized companies. of Europe. Never before had our country felt and understood the possi bilities of dramatic art as since Mr. Daly in his Shakespearean revivals revealed them. The ab surd -y-tem, by which one great actor or actress was expected to atone for the shorteom ings of a supporting company of re ceived through him a serious blow, and the pub lic has learned how inneli of the success of any play dep•nds upon the CIINCIllble, the proper adaptation of one part to another, and the intelli gent rendering of e‘ory detail.
l'or a fuller treatment of matters relating to the drama, tine reader is referred to the that deal with the individual actors and authors mentioned abov.e, and to those en titled TiirArit•: 11 ('ocean; rilM (IMF !ter. NTFIt : N1 F g AIIRAet F.PLAYS P‘s:TOMIN11:: etc. On the theory and form of the drama. consult : Ereytag, The Terhnique of the Drama (English trans., Chicago. Itill51 l'riee, The Technique of the Drama (New York, 18921 ; \\ oodbridge, The Drama, Its Laic and Its Tech nique t Boston, 1S98) Faguet, Drame amien, Inodt rne (Park. Is98) ; Schlegel, Lec tures on Dramatic Art and Literature (English trans., London. 1846, ete.) ; Dryden, in Essay tit Dramatic Poesy (Oxford, 1894. rte.) ; llctwcquin, The Art of /gal/writing (Itostom 1890) ; Pougin, Dictionnaire histO•igile et pit 10 reSqlle d 11 1 Paris, 1885). On the history of the
dram:: Klein, Orschichte des Dramas (Leipzig, 1 S65-86 ) ; Pr;dss, Geschichte des neucren Dra m" (LeiliZig, Boyer, Histoire unirer ,t1le du thr'ritre (Paris, 1869-7S) ; Hastings, The Theatre, Its Derelopmcnt in France and England, and a History of its Greek and Latin Origins (London. 1902) ; Donaldson, The Theatre of the Greeks (8th ed., London. 1875) ; Haigh, The Attic Theatre (Oxford, 1889), and The Tragic Drama of the Greeks (Oxford, IS%) ; Patin, Etudes sur les tragiques grecs (Paris, 1885-9-11. and Etudes stir in pw'sie Milne, vol. ii. (Paris, 18S31: Moulton, The Ancient Classical Drama (Oxford, 1890) ; Le thr:ritre indica (Paris, 1890) : Ootschall, Bits Theater nod Drama der chinesen (Breslau, 1837) ; d'Ancona, Origini do 1 t Ca t ro in Italia (2d ed., Torino, 1891) ; Schack, Gesehichte der draniatischen Lit feral or and Kunst in Spanicn (Berlin, 184546) ; Schaef fer, Oeschichtc des spanischeit Nationaldramas (Leipzig, 1890) ; :Matthews, The Theatres of Paris (New York, 1S80), and French Dramatists of the Yinetccnth Century (2d ed., New York, 1891) ; Lucas, Histoirr philosophique it litt('rairc du 1hr:titre Diluents (Paris, 1862-63) ; Berendt, Schiller-Wagner, ein ?ahrhundert der Entirick long.sycsehichte des dentschen Dramas (Berlin, 1901) ; Litzmann (editor), Thratergesehichtliehe Forschungen (Hamburg, 1891-1901) ; Collier, The History of English Dramatic Poetry to the Time of Shakespeare, and Annals of the Stage to the Restoration (London. 13311; Ward. His tor, of English Dramatic Literature (London, 1875) Symonds, shakspere's Predecessors in the English Drama (London, 1884) ; Archer, English Dramatists of To-day (Lon(lon, 1SS2) : Lowell, The Old English Dramatists (Boston, 1892) Oeneste, History of the Stage ( Bath. 1832) ; Doran, Annals of the. Stage (Lowe ed., London, 1888 ) ; Fitzgerald, A Yew History of the English .Stage (London, 1882) ; Lewes, On Actors and the Art of Acting (New York, 1S7S) ; Baker, Eng lish Actors from Shakespeare to Jlacready (New York, 1879) ; Baker, The Loudon Stage, Its His tory and Traditions from 1571; to ISSS (London, 1 s89) : scot t. The Drama of Yesterday and To day (London, 1899 ) ; Mat thews and Mutton leditor:)..Ictors and Actresses of Great Britain and the United States (New York, 18861: Seil hauler, History of the American Theatre (Phila d•lphia. 1=488-91): Dunlap. History of the Ameri can Th ea I re ( New York, 1832) ; Ireland. Rec ords of the New York Nt ge, 17.50-1.tid0 (New York, 1881) ; Hutton, Curiosities of the Ameri can Stage (New York, 18911; McKay and Wingate led itors ), Famous .4 ni erica n .1 ?dors of To-dgy NV• York. 18961: Strang, Fa mous Actresses of the Day in ,Imerica (Boston, 1899), and Famous Actors of the Day in AM.-lira (Boston, 19001; liapgood, Thr Stage in America, I•97-1900 (Yew York. 1901) : Pub lications of the Dunlap Society (New York) ; Lowe, _1 ilibtiographica/ .ticount of English The atrical Literature (London, IS18).