The fact is, Mr. Howard
often expressed his disappointment over the showing women made in the
creative arts, and that he was not willing to let the bars down in his
own profession is indicated by the fact that, during his life-time,
women dramatists were not admitted as members into the club he
founded.
The reader is referred to two other articles by Mr. Howard--one,
"Trash on the Stage," included in the "Memorial" volume; the other,
on "The American Drama," which is reproduced here, because, written
in 1906, and published in a now obsolete newspaper magazine, it is
difficult of procuring, and stands, possibly, for Mr. Howard's final
perspective of a native drama he did so much to make known as native.
The most national of Howard's plays is "Shenandoah;" it is chosen for
the present volume as representative of the military drama, of which
there are not many examples, considering the Civil War possibilities
for stage effect. Clyde Fitch's "Barbara Frietchie," James A. Herne's
"Griffith Davenport," Fyles and Belasco's "The Girl I Left Behind Me,"
Gillette's "Secret Service," and William DeMille's "The Warrens of
Virginia"--a mere sheaf beside the Revolutionary list which might be
compiled.
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