THE VALUE OF A NAME.

Dominion, Volume 3, Issue 817, 14 May 1910, Page 9

THE VALUE OF A NAME.

Tho latest theatrical novelty comes from far Dalmatia. • A touring company,in that romaoitic, land had "Hamlet" in its repertory. But tho Dalmatians havo still only a limited acquaintance with the works of Shakespeare; and it occurred to tho adventurous players that the name of tho unhappy Danish princo might not of itself attract the local public. So they altered the title of the great tragedy; and instead of "Hamlet" it was "billed" in the form of "How the stepfather was paid out." Wc hope tho ingenious device was rewarded by overflowing houses. The idea is capable of considerable extension. After all there is a great deal in a name. It was all very well for Juliet to assert tlio contrary doctrine; but Juliet was a young lady, and Juliet was in love, and a close grasp of the realities of life was never her strong point. If she had been running a theatre she might have thought differently. '"Tis hut thy name that is mino enemy." Many works of genius do in fact incur undeserved hostility because thev arc wrongly labelled. Authors are often not nearly nr> particular as they ought to he hi baptising! the creations oi their faiicy, with tho result that superfluous misunderstandings are sometimes caused. Tho late Mr. Swinburno once wrote a fiercely eloquent attack on certain contemporary literary critics with whom he disagreed. Ho called it "Under the and several natural history societies sent for tho work under the impression that it might aid them in their special studies. 'J'iiere is also the pathetic case of tlio amateur of 'the prize ring who purchased George Eliot's "Mill on tlio Floss," and was annoyed to find that it, bore no reference to the art of selfdefence. This same novel also gave occasion for a fine example of conscientious indexing. "Mill, On Liberty," was one line in a careful catalogue; and tho next was, "Ditto, on tho Floss." This shows that the considerate author should select titles which do not lend themselves to misapprehension. Perhaps that is why so many of them fall back on proper names, and, in fact, many of the greatest monuments of human' intellect havo been so heralded. But it is a fashion comparatively modern, and it has tho disadvantage that till you have road tho book you do not know anything about its subject. The unlearned reader gains no information from seeing such a name ns "Don Quixote," or "Barnaby llmlgc," or "Robert . Elsmere," on the back of a volume; he is buying a pig in a poke, and has to rely on the writer's general reputation or on the advice of well-informed friends. In the classic period they were more precise. . Such a title as "Prometheus Viiietus," or "(Edipns Tyrannus" reallv conveyed something definite to the Hellenic mind, becaupo everybody in Athens" knew quite well who Prometheus and ffldipus were eup-

[posed to be. These reflections, apply more closely to the drama than to prose fiction, because the theatregoer is naturally anxious to know beforehand what kind of piece 'ho is paying to see. It is not the least cause of Mr. Barrio's popularity that he gives his audience a hint, even in his titles, of the character of his play. "What Every Woman Knows" and "The Admirable Crichton" aro excellent examples of this useful mothod; they put the mind in tho right framo of expectation for the coming entertainment, and are as good in their way as "Tho School for Scandal" and "She Stoops to Conquer," or -Le Monde ou I'on s'amuso," or "Tho Country Wife," or "The Provoked Husband," Tho Dalmatian company would find nothing to alter in any of these cases. Nor is there anything to be said against "Love's Labour's Lost," or "The Taming of the Shrew," or "Tho Comedy of Errors." Shakespeare understood his business as a theatrical manager far too well to bo intentionally obscure in this important matter. Even "Hamlet, Prince of Denmark," has a sub-title, and so has "Othello, tho Moor of Venice," though these are inadequately descriptive. When the new National Shakespeare Theatre gets to work rt will perhaps have to provide the great tragedios and comedies, with alternative appellations which will convey somo idea of character to enlightened persons who will make their first acquaintance with tho play when they seo it performed. Dalmatia is hot the only country where "The Wicked Uncle," or "Tho Worst Woman in Creation" would allure the judicious patron of tho drama, who would only be puzzled by high-sounding names drawn from history or literature. "What's Hecuba to him or he to' Hecuba?" —"Standard." SONNETS TO MIRANDA. The following are four of the seventeen sonnets "to Miranda" in William Watson's new volume of poems: If I had never known your face at all, Had only heard you speak, beyond thick screen Of leaves, in an old gardon, when the sheen Of morning dwelt on dial and ivied wall, I think your voice had been enough to call Yourself before me, in living vision seen, So pregnant with your Essence had it been, So charged with Ton, in eaohsoft rise and fall. At least I know that when upon the night With chanted word your voice lets loose your soul, ' I am pierced, I am pierced and cloven, with Delight That hath all Pain within it, and tho whole , World's tears; all ecstasy of inward sight; And the blind cry of all the seas that roll. Tou dwell amidst a world not far below Splendour of courts, and state of queens and kings, • Tet cheer tho halt" and maimed, with ministerings Of Love. The scoffer says, "Tour radiant . glow - But mocks their hopeless gloom!' It is not so! Rather do these thank God for her who brings Morn and \a wafture of all fragrant things, . . To hearts that little else of sunlight know. Far bo the day when Life shall have no more Its hills and valleys, only one doadplainl Myself am of the valleys, whence do soar The peaks, and proud' in valleys I remain; Tet watch the mountains from the river shore, Nor rail at heights I may not hope to gain. , Too long I wear this mask that I have . made— .. Rather,' this woof of silken words, where each Half shows mo, half conceals; too long I teach Truth to walk delicately in rich brocade, And hide my heart, with cloth-of-gold arrayed I loved and love you—here is (simple speech; I loved and love you, who aro out of reach; There, take my secret stripped of lace and braid. But what avails it? Tou give ear to those Who buzz and flutter betwixt yon and the sun; And I am too disdainful of my foes To answer them. Their web is poorly spun, And easily I could shatter it if I chose, •But I am proud as you. Magnificent One! I should have cleaved to her who did not ' dwell t ~ In splendoUT, was not hostess unto kings, Bat lived contented among simple things, And had a heart, and loved mo long and well. Her, too; I loved; and left her—need I tell?- , For the triumphant light that round you clings; I left her for the Heaven your presence brings; ' ■ _ I left her also for the pangs of Hell. , I hoar the Midnight tolling to the sky. Tho human tides ebb fast, that broke in . foam ■ Far around London's great impassive Dome. '~ Somewhere asleep the happy, meadows he, And sweet is there the saviour of tho loam. And now, sweet dreams, sweet Lady!— And good-bye!