hide Matching Documents

The documents where this entity occurs most often are shown below. Click on a document to open it.

Document Max. Freq Min. Freq
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.) 2 0 Browse Search
View all matching documents...

Your search returned 2 results in 1 document section:

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)
ing of atmosphere, Sheldon has not always been happy. His Romance (10 February, 1913) has none of the real New York flavour of Fitch's Captain Jinks of the horse Marines (4 February, 1901). With no philosophic body of ideas moving American drama, it is surprising what an excellent number of plays can be mentioned as illustrative of certain definite types of drama. It is not a dead creative field which can point to the high comedy of A. E. Thomas's Her husband's wife (9 May, 1910), Thompson Buchanan's A woman's way (22 February, 1909), Harry James Smith's Mrs. Bumpstead Leigh (Lyceum Theatre, 3 April, 1911), and Jesse Lynch Williams's Why marry? (Astor Theatre, 25 December, 1917). Perhaps these examples are overtopped by Langdon Mitchell's The New York idea (Lyric Theatre, 19 November, 1906), which has an irony of universal Import—a tang of the Restoration drama, without its blatant Vulgarity—a critical sense of manners at once timely and for ever true. This ability shown by Mit