Life, 1905-02-02 · page 27 of 40
Life — February 2, 1905 — page 27: what you’re looking at
What you’re looking at
This page critiques playwright Victorien Sardou's historical dramas. The article argues that while Shakespeare's plays teach history effectively, Sardou takes reckless dramatic liberties—distorting real historical figures like Cardinal Ximenes and Torquemada for theatrical effect. The satire targets Sardou's "wild flights of fancy," claiming he transforms noble historical figures into ridiculous caricatures merely for stage spectacle (like cheap fireworks displays). The two cartoons below offer lighter social humor: one mocks people debating the ethics of hanging while missing "the real thing" (likely about actual social problems), and another features a husband-wife exchange where the wife prioritizes her new hat over practical moving concerns—a jab at women's materialism. The page reflects early 20th-century concerns about historical accuracy in entertainment and traditional gender stereotypes.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
Historical Plays. HE Duke of Marlborough $ wont to say that all the history he ever knew he xo had learned from <= Shakespeare's ae pla bad school for a man who has himself engaged in making history on a very large and im- posing le. But what a curious mental horizon would bound not a er who should be content to glean his information from the stage. Historical novels—those he-wisps of literature—are the modern y nd trustworthy guides by com- son with historical play The dramatic liberties taken with Philip I., Charles II., Henry VIII. and Louis XI. make Dumas’ modest romances read like blue book statistics, or the reports on international coinage. thing, however, that the English merican playwright has so far evolved from the ample resources of his ignorance can equal for a moment the wild flights of fancy with which M. rdou has startled the theatregoers of two continents. For originality of de- vice and for boldness of treatment he stands unrivalled in his field. years ago he gave us known a or A few Dante, un- ke to historians or to students ; a middle-aged, melancholy madcap, PLE KICK ABOUT HANGIN! RUT 1 THINK IT'S THE REAL ox THE THING. -LIFE- VANES M0 SY FAA PREDICTION FOK FEGRUARY 14TH: BLIZZARD COMING. COLD WINDS FROM THE NORTH, HAIL, SNOW 14) AND A who spends his time bolting into con- vents, frightening nuns, and playing sportive but feeble tric he spirit- listic séance order—upon the credu- lity of an unenlightened public. Now he presents to us Cardinal Ximenes pottering old dotard, devoting him- self, his church, and his country to the destruction of one insignifi It really is too bad. If M. wanted to use the Spanish Inquis for cheap fireworks (‘nine people at the wings with a squib in each hand— all the dozen and a half going off at once—awful from the front, quite ful"'), why didn’t he take the industri- orquemada for his tool? Tor- quemada probably had his engaging traits, but we have lost sight of them of late years, and shouldn't particu- larly mind seeing him vilified in a play. But to convert the keenest thinker, the ous 1 noblest worker, and the greatest states- man of his age into something too fool- ish to be feared, and too bad to be forgiven, is hardly a triumph of art. Were we to learn oxy history from the s Marlborough learned his, we ke mind-cure patients— Agnes Repplier. The Real Question. USBAND (house-hunting): Do you think, dear, we can get our piano through this door? Wire: I wasn't thinking so much of the piano as I was of my new hat. DVERTISING is fame that is paid for, Fame is advertising that doesn't pay. comicbooks.com