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Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 1 1 Browse Search
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Browsing named entities in Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). You can also browse the collection for November 10th, 1909 AD or search for November 10th, 1909 AD in all documents.

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Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Book III (continued) (search)
On trial (31 August, 1914), with its cut back scenes, showed the direct influence of moving-picture technique on dramatic writing. There are hosts of American farces, true to type, racy with American foibles, like Rupert Hughes's Excuse Me (Gaiety Theatre, 13 February, 1911), Roi Cooper Megrue's It pays to Advertise (Cohan Theatre, 8 September, 1914), Augustin Mc-Hugh's Officer 666 (Gaiety Theatre, 12 August, 1912), Avery Hopwood and Mary Roberts Rinehart's Seven days (Astor Theatre, 10 November, 1909). One may point to Rachel Crothers's The three of us (17 October, 1906) and A man's World (8 February, 1910) and say she is example of how a woman, anxious to show unity of purpose in her work, has been forced later into catering to popular demand. One may deplore that Margaret Mayo's cleverness of technique was used for the creation of such an advertising catch-piece as Twin Beds—which failed even to win the soldiers in cantonment or afield during the past war. It is too early