(Reprinted from The Nineteenth Century review for January 1885 by the kind permission of Mr. James Knowles.)
Je sais bien que, pour réponse, ces messieurs tâchent d'insinuer que ce n'est point au théâtre à parler de ces matiéres; mais je leur demande, avec leur permission, sur quoi ils fondent cette belle maxime.--MOLIÈRE, Preface to the Tartuffe.
A RECENT production at a London theatre has obtained a greater success perhaps than it merits, because it has incidentally raised the question of how far it is lawful or expedient for a modern playwright to touch religious questions and to put modern English religious life upon the stage.
Upon any question of dramatic craftsmanship, literary skill, or originality of plot, a playwright will do well to abide by the wholesome rule that forbids an artist to speak of his own work or to question any verdict that may be passed upon it. It is true that this rule at times presses somewhat severely upon a dramatic author, inasmuch as, while all other artists are judged by their own performances, a playwright is judged partly by the performances of others, and is praised or blamed not merely