Three Plays By Henry Becque. Translated From The French With An Introduction By Freeman Tilden. Preface by Colin Heston.

To enter the world of Henry Becque is to step into a theater stripped of its finery. As we present these three plays—”The Vultures”, “The Woman of Paris”, and “The Merry-Go-Round”—it is essential to recognize the revolutionary "brutal strength" Becque required to "knock over the idols of romance" that dominated the 19th-century stage.

Freeman Tilden’s introduction serves as a vigorous defense of Becque as the pioneer of realism. Tilden correctly identifies Becque as a "revolutionist" who flouted the "happy ending" and the rigid traditions of dramatists like Sardou. He eloquently describes Becque’s vision of a stage representing the "dramatic commonplaces of every-day life" rather than the "sentimental nonsense" of the era.

However, a modern critique of Tilden’s introduction reveals two areas where his analysis might be expanded:

First, “The Nature of the "Cruel Theatre": Tilden focuses heavily on the “structural” revolution—the five-act drama and the rejection of mystery-driven plots. While he mentions Becque’s "militant" social ideas, he arguably underplays the psychological darkness of the "cruel theatre". Becque did not just want realism; he wanted truth to go "defiantly bare," revealing a world where "vultures" (lawyers, partners, and creditors) wait for a man to die before descending on his family.

Second, “The Gender Perspective:” Tilden notes that Becque voiced "the protest of women against the prejudice that kept them from earning a decent livelihood". Yet, in his discussion of “The Woman of Paris” (“La Parisienne”), Tilden remains somewhat focused on the "naughty triangle" and the prosaic nature of adultery. A modern critique would emphasize that Becque’s women are often forced into moral compromises not by choice, but by a "bureaucratic system" that offers them only parasitism or ruin.

Despite these nuances, Tilden’s assertion remains true: Becque was the "wedge that opened the way for realism". He cleared the ground for Ibsen and the modernists by proving that a play could be "clear without being obvious" and that everyday existence held enough surprises for a master of stagecraft.

In this collection, readers will witness the "unexpectedly striking" scenes that puzzled 19th-century critics—from the savage dinner of the concierges in “The Prodigal Son” to the cold-blooded notary Bourdon in “The Vultures”. We invite you to experience the "cruel theatre" in its purest form: a mirror held up to the "marvellous dramatic commonplaces" of our own human struggle.

New York. Mitchell Kennerley. 1913. Read-Me.Org Inc. New York-Philadelphia-Australia. 2026. 267p.

By Richard Harding Davis

Farces: The Dictator; The Galloper; Miss Civilization is a collection of three short plays written by American author Richard Harding Davis. Each play is a comedic farce that satirizes different aspects of society.The first play, The Dictator, is set in a fictional South American country and follows the bumbling attempts of an American journalist to overthrow the corrupt dictator and install a democratic government. The play pokes fun at American imperialism and the idea of spreading democracy through force.The second play, The Galloper, is set in a military camp during the Spanish-American War and follows the misadventures of a young officer who is more interested in impressing his girlfriend than in fighting the enemy. The play satirizes the military and the idea of war as a romantic adventure.The third play, Miss Civilization, is set in a small town in the American West and follows the arrival of a sophisticated New York socialite who tries to bring culture and refinement to the rough and tumble frontier. The play pokes fun at the idea of cultural superiority and the clash of cultures.Overall, Farces: The Dictator; The Galloper; Miss Civilization is a humorous and lighthearted collection that provides a snapshot of American society and culture at the turn of the 20th century.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

CHARLES SCRIBNER'S SONS: NEW YORK 1906, 357p.