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Leopold is delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. This means that we have checked every single page in every title, making it highly unlikely that any material imperfections – such as poor picture quality, blurred or missing text - remain. When our staff observed such imperfections in the original work, these have either been repaired, or the title has been excluded from the Leopold Classic Library catalogue. As part of our on-going commitment to delivering value to the reader, within the book we have also provided you with a link to a website, where you may download a digital version of this work for free. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience. If you would like to learn more about the Leopold Classic Library collection please visit our website at www.leopoldclassiclibrary.com

300 pages, Paperback

First published January 1, 1904

About the author

William Archer

617 books10 followers
William Archer was a Scottish writer and theatre critic, based, for most of his career, in London. He was an early advocate of the plays of Henrik Ibsen, and an early friend and supporter of George Bernard Shaw.

In 1878, in accordance with his father's wishes, he moved to London to train as a barrister. He was uninterested in the law, and was by now fascinated with the theatre. He qualified for the bar in 1883, but never practised. He supported himself by working as dramatic critic of The London Figaro, and after he finished his legal studies he moved to The World, where he remained from 1884 to 1906. In London he soon took a prominent literary place and exercised much influence.

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Profile Image for Surreysmum.
1,180 reviews
May 26, 2010
Conversations - i.e. edited & rewritten interviews where Archer himself did a fair bit of talking - with playwright Arthur W. Pinero, novelists Thomas Hardy, Mrs. Craigie (John Oliver Hobbes), Mrs. St. Leger Harrison (Lucas Malet), poet/dramatist Stephen Phillips, plus fellow men of theatre George Moore & W.S. Gilbert, Professor Masson, publisher William Heinemann, DNB founder Sidney Lee, military historian Spenser Wilkinson and actor-manager George Alexander. As you might guess from the high proportion of theatre people, Archer was himself a theatre critic & journalist, as well as a proponent of a national, endowed theatre at a time when English theatre was dominated by actor-managers. Now history gives a certain gloss to these things, but I must admit I genuinely enjoyed the interplay of ideas - not terribly structured - between educated minds, and was fascinated to see (for all the wrong-headed false predictions) how many accurate ideas of the shape of the 20th century were actually floating around in its first years. Archer, for instance, makes a stray remark about the demise of war because weapons will become so massively destructive - well, it's not quite right, we still have war, but close ... And Mrs. Harrison makes some extremely accurate predictions about developments in twentieth century fiction. The only interview I found really disturbing was, predictably, that with the military historian Spenser Wilkinson. Heinemann's opinions about the publishing industry were very interesting, and Sidney Lee's conversation about his lecturing & travelling in America most amusing. The Pinero and Hardy interviews would, I should think, be an invaluable source of anecdotal material for students of those two writers. Oh - and Gilbert answers the question, which came first, the music or the words?! (With him and Sullivan, always the words). Very entertaining.
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