Arvin, Neil C. "The Technique of Scribe's Comédies-Vaudevilles." Modern Philology XVI, No. 3 (July 1918): 47-53.

Asserts that "Scribe was the greatest technician in the history of the French drama and … all the dramatists of the nineteenth century who aimed at constructive excellence profit, consciously or unconsciously, from the new models which he gave to dramatic art."

——. 'The Comédie-Vaudeville of Scribe." Sewanee Review XXVI, No. 4 (October 1918): 474-84.

While admitting that Scribe's short plays are "devoid of literary value and written in a mediocre, prosy style," Arvin insists they are historically valuable for the picture they paint of nineteenth-century Parisian society.

——.Eugène Scribe and the French Theatre, 1815-1869. Cambridge, Mass.: Harvard University Press, 1924, 268 p.

Seminal study of Scribe's life, career, and milieu.

Koon, Helene and Switzer, Richard. Eugène Scribe. Boston: Twayne Publishers, 1980, 174 p.

Biographical and critical survey of the playwright.

Legouvé, Ernest. "Eugène Scribe." In Papers on Playmaking, edited by Brander Matthews, pp. 254-74. New York: Hill and Wang, 1957.

Reminiscence and appreciation of Scribe by his collaborator on such plays as Adrienne Lecouvreur and The Ladies ' Battle.

Matthews, Brander. 'The Pleasant Land of Scribia." In his Principles of Playmaking: And Other Discussions of the Drama, pp. 133-146. New York: Charles Scribner's Sons, 1919.

Characterizes Scribe's accomplishment as a limited one: "He is successful in achieving all that he is ambitious of attaining—the entertainment of the spectators."

——. "Eugène Scribe." In his French Dramatists of the 19th Century, pp. 78-104. New York: Charles Scribner's Sons, 1924.

Concedes that Scribe's characters are lifeless but praises the playwright as "the inventor of the comédie-vaudeville, as the improver of grand opera," and as "a play-maker of consummate skill."

Nicoli, Allardyce. 'The Coming of Realism." In his World Drama: From Aeschylus to Anouilh, pp. 485-518.1949. Reprint. New York: Harcourt, Brace & World, 1965.

Examination of Scribe's career in the context of French theatrical history.

Pendle, Karin. Eugène Scribe and French Opera of the Nineteenth Century. Studies in Musicology, No. 6. 1970. Reprint. Ann Arbor, Mich.: UMI Research Press, 1979, 627 P.

Critical discussion of Scribe's libretti, his collaborators, the theaters for which he wrote, and his influence on the development of both comic and grand opera.

Smith, Hugh Allison. "Scribe and the Weil-Made Play." In his Main Currents of Modern French Drama, pp. 108-21. New York: Henry Holt and Company, 1925.

General assessment of the merits and faults of Scribe's dramatic technique.

Stanton, Stephen S. "Scribe's Betrand et Raton: A Well-Made Play." Tulane Drama Review II, No. 1 (November 1957): 58-70.

Detailed examination of the play that seeks to demonstrate that Scribe "did more than any other dramatist to restore to modern theater the classical practice of Molière—to enlighten mankind through the ridicule of human folly."

——, ed. "Camille" and Other Plays. New York: Hill and Wang, 1957, 306 p.

Includes translations of A Peculiar Position and The Glass of Water, as well as an introduction in which Stanton discusses Scribe's development of the well-made play.

——. "Ibsen, Gilbert, and Scribe's Bataille des Dames." Educational Theatre Journal XVII, No. 1 (March 1965): 24-30.

Analyzes the influence of Scribe's play on Henrik Ibsen's Feast at Solhaug and William Schwenk Gilbert's Engaged.

Walkley, A.B. "Adrienne Lecouvreur." In his Drama and Life, pp. 279-82. London: Methuen & Co., 1907.

Review of a 1905 staging of Scribe and Ernest Legouvé's play, with Sarah Bernhardt in the title role.

Additional coverage of scribe's life and career is contained in the following source published by Gale Research: Nineteenth-Century Literature Criticism, Vol. 16.