The Sun.
London, England, 1839-08-27 00:00:00

DRAIVIATIC_, ART AND LITERA-

TURE.

(From the Times.)
An anonymous pamphlet has been recently pub-
lished on " The Past and Present State of Dramatic
Art and Literature," the main object of which is to
express regret at the decline of the English drama from
its former glorious state, and to suggest measures, or
rather a measure, for its restoration to its former
honours. The pamphlet is ably and eloquently written,
is the work of a man who has thought deeply on several
points, and who is warmed with enthusiasm for his sub-
ject. However, we must confess we like the general
reflections, and the historical details of his book, far
better than those parts that are directed towards his
main objects—namely, the proving the cause of the
degradation of the drama, and the suggestion for its
restoration to its pristine glories.
To the existence of patents, to dramatic monopoly
alone does our author attribute the gradual decline of
the drama. He traces that decline through the reigns
of successive" stars " at the patent theatres, and also the
falling of public taste from the early time when the
"play was the thing" through the successive phases of
actor-worship, " point"-watching, and spectacle-hunt-
ing. He has compared the productions of the
English dramatists during the first sixty i years
--the time which elapsed from the first regular
drama to the closing of the theatres by the Puritans—
with those of the last 179 years, greatly to the disadvan-
tage of the latter ; and he has assigned as a cause of the
early superiority the co-existence of a great number of
theatres, at all of which dramas of the higher order
could be performed, and which, therefore, offered a field
for competition.
Now, we do not think that our author has suffi-
ciently proved that the granting of patents to too
houses exclusively was the cause, rather than a mere
accompanying contingency, of the decline of the drama ;
but, however, we will not pause to break a lance with
him on this point, but rather proceed to his sequitur,
that the abolition of the patents will operate as a reviver
of the highest class of dramatic writing. We much doubt
this salutary consequence. Remove what legal im-
pediments you will, open theatres without number, still
they will not stand in their former unrivalled position.
They will have to contend, as at present, with cheap
periodicals, cheap steam-packets, cigar divans, literary
institutions (all of which afford amusement at a cheaper
rate than can possibly be afforded by the stage), music
in the domestic circle, late dinners, suburban residences,
with a host of et cetera which might be easily enu-
merated, but to none of which reference is made in the
Pamphlet.

lOur author may answer, that the theatres have
hitherto been shackled, have not been put in a fair
position to fight their battle against all those petty
1 evils ; but that the patents being removed, the conse-
quent improvement of dramatic entertainments will be
so great, and give such a new impetus to the public,
that all present obstacles will give way. To this an-
swer we would reply by a fact. The Surrey, the Vic-
toria, the Pavilion, the Garrick, and Sadler's Wells
Theatres are all placed in the centre of numerous po-
pulations, and some of them are successful in the
highest degree. The managers of these houses are in
the constant habit of performing Shakspeare's plays,
and as no law is enforced against them for so doing, they
may be considered sufficiently qualified for the purposes
of experiment. Now, these theatres have not been
the birthplacesofanyextraordinarydramatic productions,
the main object of removing the patents is the opening
of theatres in 'Various districts ; here are theatres
already open, commanding nearly every suburb of Lon-
don, and not a single piece beyond mediocrity produced
at any one of them.* If the managers cannot afford to
Pay writers of the first class, we do not see that the
abolition of patents will give them any increase of capi-
tal ; if the public cannot appreciate high works (unless
forced to like them by the national reverence paid to
Shakspeare's name), the point is settled. It can hardly
be necessary to disturb the patents for the purpose of
erecting additional " legitimate " theatres in a place
eomparatively so confined as the city of Westminster.
Two houses must surely be enough to preserve a whole-
some competition within the limits of that city ; and we
can hardly expect two series of managers so perverse,
so combining in their perverseness, as to deny a public
the higher intellectual food which they claim, and for
which they promise a golden reward.
Are we, then, predicting that the high drama will
never revive ? We predict nothing. Time may work
all sorts of changes, but we cannot see any magical
effects that could follow an abolition of the patents.
We can scarcely help regretting our difference of
opinion with the author as to the essential point of a
book we have perused with so much pleasure, and in
which the general.view of the drama, its advantages,
and objects, are so excellent and enlightened. The
views in the following extract are exceedingly just, and
perfectly in accordance with our own opinions—opinions
which our readers may have seen more than once in
our columns :

" They (managers) have had no idea of the province
of the imaginative power, and have been for either over-
-I.4gYing-it vritt the assistance of realities, or opposing it by
tatroducinee'ontradictory circumstances. The introduc-
tion even 'of scenery and costume requires a most delicate
hand to prevent their too rudely overpowering the ima-
ginative mood ; and the violence of giving real things,
such as horses and other animals, or a real mob, real
watchmen, real water, destroys, all illusion. The
imagination is disturbed by such dose approximation
to facts ; and it is an endless and hopeless task to en-
deavour to dupe the senses and the understanding by a
direct appeal to them. If they may for a moment be
deluded by the laborious efforts of the carpenter or the
property-magi, the attention is withdrawn by the
slightest cause. Not so when the spell is raised by,
and appeals to, the imagination ; then incongruities of
the grossest kind pass unheeded. The Thane of
Glamis may be habited in " plush breeches and a floured
Wig'—Ophelia may be acted by a boy—the Prince in a
east suit of Lord Southampton's ; then may a

" Cockpit hold
" The vasty fields of Franco ; and they may cram
" Within their wooden 0, the very casques
" That did affright the air at Agincourt ; '
letting ' imaginary forces work.' Imagination has then
drawn her circle round herhearers, and, creating a mental
world, holds them fast, spell-bound 'by her "so potent art,"
At her will time collapses, space is dissolved, place appears;
her creation is such stuff as " dreams are made of," and
se equally wantonly, and equally powerfully transports
whether she pleases ; we hold by her mantle, and
skim o'er earth or sea—bright city, or thick-woven
forest—to the battle or the revel, from earth to heaven,
from heaven to earth, till the vision fades from us, or
some rude reality wakes us to fact.
" It is from an ignorance of what constitutes the es-
sential requisites of dramatic illusion that the contest
concerning the unities arises. One of the conditions
on which effect is produced by imagination is, that
reality is not too grossly to oppose her. She can sup-
pose much, but genius can alone decide what sip: will
suppose. Those who contend for the unities are gene-
rally the unimaginative, who want everythinz reduced
as near as possible to reality. The meaner part of
such men's judgment, or faculty of comparing small cir-
cumstances, is the most active portion of their intellect,
and they arc looking out for bare facts. With such the
unities are indispensable ; as also to the dramatist, who
is obliged to eke out his imaginative powers by having
recourse to a mere copying of reality. To the dramatic
genius the unities are nothing ; for he prevents your
perceiving the want of them. The work is imagina-
tively homogeneous without them, and the series of
events complete.
" We have been led into this dissertation to sustain
our assertion, that it is by the predominance of the ima-
gination that the drama must triumph. All extrinsic
aids, except most delicately and judiciously applied, en-
cumber and overpower it. If proof of this is needed, the
fact that the finest dramas have been produced in the
meanest theatres is sufficient substantiation. And here
Nee may remark that it is fortunate that the imaginative
Power of the poet is much less expensive than the rea-
lities endeavoured to be substituted by the painter, the
mechanist, and the tailor."
These are excellent views, clearly and forcibly ex-
pressed. ne extract is a fair specimen of the work,
and, if space permitted, we might adduce others of equal
merit relative to fanatical objections against the drama—
to the
orded stigma
ts cast on the histrionic profession by harshly
wAc of Parliament—and various subjects of
the kind.
In Conclusion, we are bound to say, that though se
differ from the author thoroughly as to his hopes for the
amelioration of the stage by the abolition of patents, we
have rarely met more sound opinions and more varied
information, so well expressed in the small compass o
30 pages.

Why, at any rate, are not first-rate pieces roduced
in three acts—two—one? Many of our old English
dramas arc undivided into acts, and no one would dream of
interfering with pieces not in five acts.

ORDINATION AT lIIGHBURY.---011 Wednes-
day last the Rev. S. Martin. late student of the Academy
under the direction of the Louden Missionary Society,
was ordained to the pastoral office over the Independent
Church assembling at Ilighbury Chapel, Grosvenor_
street, Cheltenham.
REPRESENTATION OF SOUTH CHESHIRE.
This day ( Saturday) a requisition will be presented to
John Tollemache, Esq., of Tilstonc Lodge, near Tar-
"deY, requesting him to contest this division of Cheshire
at the next election, whenever that may occur; and we
have access to know that Mr. Tollemache means to return
a favourable reply to this proposition. Again, we have
reason to believe that this gentleman intends to come for-
ward on the principles avowed by Sir Robert Peel when
he last became Premier, combined with such an infusion
of Whiggism as is prolessed by Lord Stanley ; that is to
Say, just as much Toryism as will please the Tories, and as
much Whiggism as will content the Whigs.—Manchester
Times.
SHEET'-STEALING.—Nro less than ten sheep-
stelanadl ers were apprehended last week in the parish of Rock-
St' Peter; and what makes the fact more extraordi-
Bol'arY is, that the- kr e teen moving in a respectable sphere
re e, be;ng'farnrers. In one in_ stance twelve stolen sheep
found on the prisoners' premises.—Norjblk Chron.