Word: terrors
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Dates: during 1920-1929
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...also the greatest of its kind that America has yet produced--but that, after all, is a conservative assertion. Mr. O'Neill has succeeded in a difficult and ambitious task; he has traced in the character of a single negro his whole racial history, and the whole psychology of terror as well, Beyond that, he has skillfully developed an abandoned element of dramatic machinery--the monologue; and he has manipulated his material with an unusual power born of freedom...
...when nothing is being said than when there is speech, and it is in his silences that Gilpin does some of his best work--though his speech, too, is excellent, and his rich, musical voice is a delight in itself. His gradual degeneration from brazen self-assurance to abject terror proceeds by subtle and orderly degrees, and carries the audience along in cumulative terror. In the first act, a dialogue between the pullman-porter, emperor and Smithers, a while trader on his island empire, is all that makes up the action; yet in it the whole exposition is stealthily unfolded...
...fourth scene is a welcome (though unintentional) lot-down. The next two again build terror, that ends in the shooting of the witch-doctor with the silver bullet which negro had intended to save for himself. The catastrophe is powerful in its contrasting mildness; the death of the emperor offstage, and the subsequent appearance of his body, verges dangerously on the anticlimactic. Perhaps it will sound like a plea of the sensational, but one cannot suppress a feeling that the play would end more effectively when the natives fire the fatal shots...
During the past three years, there has grown up in Cambridge a legend of the Bloody Crossbar, symbol of terror to those who face Harvard on the football field. It was conclusively proved in Saturday's game that for Yale men the Crimson "H" holds no fears. From beginning to end, the spectators watched a glorious struggle. Defeated in the final game of the season, the 1921 team will go down as one of Yale's great elevens and Malcolm Aldrich as one of Yale's greatest captains. Yale Daily News...
...verses headed "Amnesia" is poetic and apparently sincere, the technical frame-work is successful; but here the impression is impaired by a too highly colored wordiness. The setting is best managed in "The Walloping Window Blind", with admirable restraint and with something of Conrad's feeling for the terror of remote seas. One of the least objectionable modes of getting atmosphere would be the resort to dialect, if it were not now so much over-worked. The trick justifies itself, however, in the four pieces of fiction included in this issue because of the dexterity with which it is used...