On disait i° édification, 20 art (ou métier), 30 divertissement, sacrifiant trop souvent au premier terme les deux autres. Nous disons, nous: divertissement: le thMtre n’est pas la chaire, la comédie n’est pas le prêche . . . ne confondons jamais les genres ... “art (ou métier): les rfegles du sermon sont une chose et les regies du drame une autre : Dieu veut de l’ouvrage bien fait ... Edification qui est le résultat suprême. C’est par le moyen d’un art sftr, par le plaisir qu’il donnera, que nous parviendrons 4 porter les 4m es sur le plan de Dieu oh nous voulons les aider 4 revivre, 4 se retrouver, 4 se reconnaltre, 4 fonder, 4 agir.

Henri GhEon.

Within the past twelve months three plays by Gregorio Martinez Sierra have been produced in London : last winter Canddn de cuna and El Enamorado, and, now running at the Strand Theatre, El reino de Dios. Of these the first and last may be said to belong to the théâtre chrétien (and Catholic) of modern Europe, considered in its wider sense. It is not proposed here to discuss Martinez Sierra as play wright, novelist, propagandist, publisher (SE Rena-cimiento’), manager of a theatre (’ Eslava’ ), producer of plays—his activity is enormous—but to consider briefly those of his plays whose setting or action has a definitely religious colouring, and in particular El reino de Dios, Cancion de cuna, Lirio entre espinas, Los -pastores, for interesting though they are, we may leave out of present account his free adaptations of old plays, such as La adultera fenitente by Agusti'n Moreto and others (on St. Theodora of Alexandria) or the Lucero de nuestra salvacidn of Inocencio de Salcedo (Our Lady’s leave-taking of her Son when He started on His last journey to Jerusalem). In these he has, so to speak, revivified old bones, the ideas are ready made.