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Browsing named entities in a specific section of Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). Search the whole document.

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January 11th, 1905 AD (search for this): chapter 1
895) to the adaptation of Zaza (8 January, 1899) represented his discovery of increasing ability in the emotionalism of Mrs. Carter; and his successive presentation of her in such spectacular dramas as Du Barry (25 December, 1901) and Adrea (11 January, 1905) measured his belief in her histrionic power. In the same way, his faith in Blanche Bates prompted him to write many scenes in Madame Butterfly (5 March, 1900), The Darling of the gods (3 December, 1902), and The girl of the Golden West (14s at first wrote local dramas, like Alabama (April, 1891) and Arizona (Chicago, 12 June, 1899), which in content he never excelled; he showed his brilliancy of observation and terseness of dialogue in such pieces as Mrs. Leffingwell's boots (11 January, 1905) and The other girl (29 December, 1903). Then he arrived at his serious period, where interest in psychic phenomena resulted in The Witching hour (18 November, 1907), The Harvest moon (18 October, 1909), and As a man thinks (13 March, 1911）—
October, 1912 AD (search for this): chapter 1
ugh John Luther Long gave him the central materials for Madame Butterfly, The Darling of the gods, and Adrea, the Belasco touch brought them to flower. This has been the invariable result of his collaboration. The one original play of his which best illustrates the mental interest of the man is The return of Peter Grimm (2 January, 1911), which deals with the presence of the dead. A related subject of interest was dual personality, which prompted his acceptance of The case of Becky (I October, 1912) by Edward Locke and The secret (23 December, 1913) by Henri Bernstein. The latter revealed the expertness of Belasco as an adapter far better than his work on Hermann Bahr's The concert (3 October, 1910) or on The Lily (23 December, 1909) by Wolff and Leroux. Had Belasco not been a manager, the effect on his own work might have been different. As it is, he has sought variety, he has followed the changing times. His interest in emotion, in picturesque situation, in unusual atmosphere
January 1st (search for this): chapter 1
an an insight not justified by history, yet that average man was quite right in hearing such an accent in those speeches of the second manner as indicated behind the literary person a character that was void of fear—at least, of what we mean by fear when thinking of men of action. That Lincoln wanted the nomination, welcomed it, fought hard for his election, only the sentimental devotees of the saint-hero object to admitting. Nor did his boldness stop at that. Between the election and New Year's Day, the secession of South Carolina and the debates in Congress forced the Republicans to define their policy. The President-elect, of course, was the determining factor. Peace or war was the issue. There is no greater boldness in American history than Lincoln's calm but inflexible insistence on conditions that pointed toward war. No amiable pacifism, no ordinary dread of an issue, animated the man of the hour at the close of 1860. Then, in the later winter, between his determination
January 10th (search for this): chapter 1
as Christian Civilization. I believe that Christianity and modern civilization are opposed and irreconcilable and that the spirit of Christianity and of our ancient religion is essentially the same. . . . Since there is nothing left us but remembrance, at least let that remembrance be just. With reference to the treachery of the whites, at times, in the treatment of Indians it is permissible to refer the reader to the Massacre of Cheyenne Indians, 38th Congress, 2nd Sess., House Doc., Jan. 10th, 1865, wherein the Committee on the Conduct of the War, Benjamin F. Wade, Chairman, reports on an unprovoked attack by Colorado militia on a Cheyenne village in which sixty-nine, two thirds women and children, were killed and the bodies left on the field. The Indian side of much of the trouble of the years following 1861 may be read in Forty Years with the Cheyennes, written by George Bent for The frontier, a Colorado Springs monthly. Bent's mother was Owl Woman of the Southern Cheyenn
August 31st, 1914 AD (search for this): chapter 1
(Daly's Theatre, 3 December, 1911) and Medill Patterson's Rebellion (Maxine Elliott's Theatre, 3 October, 1911). And, even with its excrescences of bad taste, Louis K. Anspacher's The Unchastened woman (9 October, 1915) possessed marked distinction of characterization. In the sphere of simple human comedy, Winchell Smith's The fortune hunter (4 September, 1909) and J. Hartley Manners's Peg oa My heart (Cort Theatre, 20 December, 1912), are typical; while Elmer Reizenstein's On trial (31 August, 1914), with its cut back scenes, showed the direct influence of moving-picture technique on dramatic writing. There are hosts of American farces, true to type, racy with American foibles, like Rupert Hughes's Excuse Me (Gaiety Theatre, 13 February, 1911), Roi Cooper Megrue's It pays to Advertise (Cohan Theatre, 8 September, 1914), Augustin Mc-Hugh's Officer 666 (Gaiety Theatre, 12 August, 1912), Avery Hopwood and Mary Roberts Rinehart's Seven days (Astor Theatre, 10 November, 1909). One
January 13th (search for this): chapter 1
ic master (26 September, 1904). But there was something more behind Belasco's ability to create stage atmosphere by lighting and scene. His love of the West suggested The girl of the Golden West and prompted his acceptance of Richard Walton Tully's The Rose of the Rancho (27 November, 1906）—a collaboration which left Tully with a love for the spectacular, apparent in his own independent dramas, The Bird of paradise (Daly's Theatre, 8 January, 1912) and Omar, the tent Maker (Lyric Theatre, 13 January, 1914). In all of his productions, as a manager, Belasco has held the guiding hand. Though John Luther Long gave him the central materials for Madame Butterfly, The Darling of the gods, and Adrea, the Belasco touch brought them to flower. This has been the invariable result of his collaboration. The one original play of his which best illustrates the mental interest of the man is The return of Peter Grimm (2 January, 1911), which deals with the presence of the dead. A related subject
December 24th, 1913 AD (search for this): chapter 1
with fanciful idea would appeal instantly to a sated public. It is on such psychology that Eleanor Gates's The poor little rich girl (Hudson Theatre, 21 January, 1913) succeeded—a literary feat in fantastic story-telling which possessed Barriesque qualities without Barrie's craftsmanship as a writer for the theatre. Is it fair to say that it was one of those happy accidents which so often happen in the theatre? For Miss Gates, in her next piece, We are seven (Maxine Elliott Theatre, 24 December, 1913), convinced the critics that she was happier as a storyteller than as a playwright. Her position in the theatre has yet to be won. From the theatre direct, however, there has come a play which succeeded because of its universal dramatic and picturesque appeal and which, were the repertory idea again to become a fashion, should place it prominently in a list of permanent American products—George Hazelton and J. H. Benrimo's The yellow Jacket (4 November, 1912), an imaginative creati
December 23rd, 1913 AD (search for this): chapter 1
ls for Madame Butterfly, The Darling of the gods, and Adrea, the Belasco touch brought them to flower. This has been the invariable result of his collaboration. The one original play of his which best illustrates the mental interest of the man is The return of Peter Grimm (2 January, 1911), which deals with the presence of the dead. A related subject of interest was dual personality, which prompted his acceptance of The case of Becky (I October, 1912) by Edward Locke and The secret (23 December, 1913) by Henri Bernstein. The latter revealed the expertness of Belasco as an adapter far better than his work on Hermann Bahr's The concert (3 October, 1910) or on The Lily (23 December, 1909) by Wolff and Leroux. Had Belasco not been a manager, the effect on his own work might have been different. As it is, he has sought variety, he has followed the changing times. His interest in emotion, in picturesque situation, in unusual atmosphere, in modern realism, is evident in the long list
March 23rd, 1893 AD (search for this): chapter 1
fleeting glimpses of the managerial guilty conscience regarding the fate of American drama, in the efforts made by managers to engage the literary world in the interest of the theatre. In 1878 Professor Matthews wrote Margery's lovers, produced in 1887 at an author's matinee at the Madison Square Theatre, by A. M. Palmer, who likewise presented George Parsons Lathrop's Elaine and Howells's dramatization of A foregone conclusion. In similar fashion was Decision of the Court presented, 23 March, 1893, by the Theatre of Arts and Letters. This organization also offered Mary E. Wilkins's Giles Corey, Frank R. Stockton's Squirrel Inn, and Clyde Fitch's Harvest —which latter was afterwards evolved into The Moth and the flame. Professor Matthews, as an American dramatist, has scarcely exhibited the qualities or won the fame which belong to him as a professor of Dramatic Literature. For Professor Matthews's important writing on the short story see Book III, Chap. VI. The reason may be,
July, 1915 AD (search for this): chapter 1
ames Lane Allen for Kentucky, of particular states or neighbourhoods. But no tendency quite so clearly prevails as romance in the thirties, sentimentalism in the fifties, realism in the eighties, or naturalism at the turn of the century. Chapter 12: Henry James Henry James was born an American and died an Englishman. He might never have formally transferred his allegiance had it not been for the War and our long delay in espousing the Allied cause. He became a British subject in July, 1915. The transfer had, however, been virtually made many decades earlier. Of the two ruling passions of James, one was surely his passion for Europe. Of this infatuation the reader will find the most explicit record in his fragmentary book of reminiscences, The Middle years (1917), record and whimsical apology which may well serve the needs of other Americans pleading indulgence for the same offence. James loved Europe, as do all passionate pilgrims, for the thick-crowding literary and his
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