But, substantially, the articles retain the shape
in which they were originally penned. The point of view has undergone
no modification. In the essays dealing with the theatres of our own
time, I have purposely refrained from expanding or altering argument
or illustration by citing Shakespearean performances or other
theatrical enterprises which have come to birth since the papers were
first written. In the last year or two there have been several
Shakespearean revivals of notable interest, and some new histrionic
triumphs have been won. Within the same period, too, at least half a
dozen new plays of serious literary aim have gained the approval of
contemporary critics. These features of current dramatic history are
welcome to playgoers of literary tastes; but I have attempted no
survey of them, because signs are lacking that any essential change
has been wrought by them in the general theatrical situation. My aim
is to deal with dominant principles which underlie the past and
present situation, rather than with particular episodes or
personalities, the real value of which the future has yet to
determine.
My best thanks are due to my friend Sir James Knowles, the proprietor
and editor of _The Nineteenth Century and After_, for permission to
reproduce the four articles, entitled respectively, "Shakespeare and
the Modern Stage," "Shakespeare in Oral Tradition," "Shakespeare in
France," and "The Commemoration of Shakespeare in London.
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