A LYRZCAL DRAMA*

HE publisher’s announcement of this work lays T some stress on the fact that its author, Mr. M. J. Nicolson, is ‘ the son of the well-known writer of the “ Indian Love Lyrics,” “ The Garden of Kama,” etc.,’ and that ‘ i f heredity counts for anything, (he) stands a chance of possessing literary gifts.’ Many critics will be inclined to hesitate before granting that the popularity of the ‘ The Indian Love Lyrics ’ is due to their literary merit. Their appeal is based to a minor extent upon their exotic flavour and Eastern fragrance. They appeal rather to sensuality than sense. It was only when a few of them were exalted into a song-cycle that they won popular esteem, and this, surely, for the charm of the musical setting, rather than for any literary quality of their own. So that on the grounds of heredity alone, Mr. Nicolson’s claim to ‘literary gifts’ would appear to be extremely doubtful. H e certainly does possess these gifts. But they are not just those ascribed to the ‘Garden of Kama.’

The only cumbrous thing about his lyrical drama is its title. Presumably it would have been against the interests of the play to have called it simply ‘ T h e Death of Prince Hassan.’ But that is what its title should have been, as it will be in the minds of those who have read it. T h e argument that it would have ‘given the show away’ is more commercial than artis- tic. I t is often more interesting to see a man die than live. As a compromise, with ‘Julius Casar ’ in mind, ‘ Prince Hassan ’ might have been sufficient.

The outstanding anomaly of the lyrical drama is that the lyrics themselves are its weakest part. They

Nicolson. (Heath Cranton, 7/6 net). *Closing Scenes in the Life of Prince Haksan. By M. J.

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occur on the festive occasions in the play as songs in praise of wine, women, and nature. But in comparison with the blank verse lines they are hackneyed in thought and laboured in expression. Mr. Nicolson provided himself with splendid opportunities for writ- ing some dainty verses, but he has refused to make use of them. One can only suggest that he found the transition from thoughtful dialogue to delicate lyric too sudden for his inspiration.

With these preliminary reservations we must at once admit that the author has written a good YIay- to read. Whether it would play itself as we 1 is a matter beyond this consideration. But when one has mastered the Dramatis Personcz and can remember who is who, it is worth serious reading. One gift Mr. Nicolson may have by heredity: the power of creating the Eastern atmosphere in all its rich luxuri- ance of life and colour. He achieves this from the outset, and easily sustains it throughout.

It is a good play because it is a real play, with real characters saying real things. The machinery of the plot is large enough to be interesting, but simple enough to follow without mental complications. I n an excellent little prologue we are given a general out- line of the plot :

Hassan, a Prince obscure, by right of will, Determination, and ability, Has seized the throne of Persia, and cast d m Its hated King, to find the enemies Of Persia, lusting for her mal th and power A b u t to overwhelm her, whereupon, He, to prove himself unto his people, Remains a prince until he shall have made Persia to trample on her foes again. Cradled in warfare, and of vivid mind, A leader born, he is no leader Mind, Scorns not his fate, nor scorns whom it may bind, Nor s e k s to make his will the law of human kind !

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Such a theme lends itself naturally to dramatic move- ment and a wealth of local colour. Both these elements are worked into the dialogue with an ease that makes it the best thing in the book. Most of the characters indulge in a little philosophy and ready wit. Says Mirza :

Ambition never suited me, I mse By reason of indifference in those Above me.

Hassan himself possesses qualities beyond those of mere leadership. He is heroic in thought and word, while his graceful imagination is given free rein in revelry and romance.

Altogether the play is a successful attempt in the direction of the best traditions of English drama. It easily stands the test of being re-read, and re-read with increasing pleasure.

EDWIN ESSEX. O.P.

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