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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.) 1 1 Browse Search
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Browsing named entities in 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.). You can also browse the collection for October 11th, 1909 AD or search for October 11th, 1909 AD in all documents.

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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.), Book III (continued) (search)
s. See Book III, Chap. IX. In his generous modesty, Ade has always maintained that George M. Cohan, the many-handed wonder of Yankee-doodle-flag farces and Over there music, was more typically American than he. Cohan is the type of managerplaywright who has his pulse on the moment; he grows rich on local allusion. His Little Johnny Jones (7 November, 1904), George Washington, Jr. （12 February, 1906), Forty-five minutes from Broadway (14 March, 1912), and The man who Owns Broadway (11 October, 1909) have the tang of the street about them. There is a quality to his music which has been brought nearer the psycho-state of a nervous crowd by Irving Berlin, with his jazz noises and his syncopated songs. But as a producer, in the sense that Belasco is a dramatist-producer, Cohan shows a genius more serious. His adaptation of Earl Biggers's story, Seven keys to Baldpate (22 September, 1913), illustrated the more solid variety of his ability. All told, he reflects a nervousness which