The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1854-10-27


agitation and disr nption. And whether Bron-
son, Seymour, or Ullman, becomes the special
instrument in the overthrow of the abolition
alliance ia Of little moment compared with the
importance Of breaking this alliance into pieces.
Let all men, therefore, OF national principles
direct their united efforts 10 the defeat of
Seward, aud, from the lights before us, the thing
may De done. Men are nothing when the great
pyistiples which lie at the foundations Of the
UaRon and of American society are at stake.
DRAMATIC ACKNOWLEDGEMENTS RIGHTS
OF OWNERSHIP IN PLAYs.-Within the past two
or three years dramatists have begun to fou-
IRISH in America, and sundry comedies and
dramas, the work Of American authors, have
been produced. Some Of these play have been
good enough to steal, and they have been
stolen. Actors and actresses have had plays
written for them to order, and their imtators
have found means to possess themselves Of
copies. In some instances exclusive transla-
tions and adaptations of French pieces have
been made and sold to certain persons, when
their rivals have procured and acted such
| dramas without any ceremony. For instance,
| the drama of The Founding Of Paris" is
claimed by Mrs. A. f. Baker as her property
the translation having been made for her-but
the same piece is played by Miss Dean,
under the title Of /" The Belle Of the Eau
bourg.' Again, Nrs. Farren claims the
sole right to play Mr.. Weston's Anglicised
version of Victor Hugo's "Lucrezia Borgia,"
but it is played by several other persons. We
believe that no one has ever attempted to steal
1.-THE Gladiator" and Metamora,r but that is
accounted for by the fact that the public could
not be made to believe that any actor, other
than Mr.. Forrest. could play the principal
parts. We believe he is the only proprie-
tor of plays that has not suffered from pirates.
The last case Of this kind Of piracy is tn,
appropriation of play called Camille" Our
readers viii remember that Miss ]. NJ. Daven-
port played it for twelve nights at the Broad
way theatre, commencing on the 4th of Sep
TENDER last. Camille" is an adaptation Of
"La Dame aur Cameiias," drama ia five
acts written by Dumas, (fls,) and produced at
The Porte Saint Martin theatre, Paris, during
the season of 1852. Miss Davenport saw il
played at that house, aud being struck with its
power as an acting piece, she resolved to pre-
sent it to the American public. She brought
a copy to London, engaged the services of
well known author Mr.. John 81. Wilkius), aud
working as c0lialrdtenrs, they succeeded Ia
expuneing the immortality from the play aud
still preserved its effect. The play has been
very successful in this country; and by the fol-
lowing manifesto from Miss Davenport it seems
that some other persons have found the temp
tation to take it too strong to be resisted
To ALI WHOM IT NAY CONCERN --Fhs undersigned
specially represents that she the and sole
proprietor Of certain dram attic competitions entlet
'.camile. the Fate of . Coqustte," and "Adren.e
the Actress" and that she has caused tho BE-
.sanst sfr1sias upon said eopyrshts IN .oy assrss
they will DO TO he fullest extent Of
Managers Q, theatre: are b @ ctn.0asd
J. NJ DAVENPORT
The manager of the Buffalo theatre an
nouuces that Miss Kimberly will play at
that theatre, commencing on the night of
Monday October l6, and that during her
engagement will be played "Camille, or the
Fate Of a Coque.te, from the French of Alex
Dumas, Jr,, and which has been played In
Paris over two hundred nights, and has re-
Gently met with unprecedented success at the
Broadway theatre, New York." &C., &c.
This is probably Miss Davenport's piece
her property, and if it is, it is as much acrime
to steal it as would be to take her watch or her
purse on the highway. We mention this parti-
cular case because the circumstances are very
strong, and because it is the last one. We might
direct the attention of the public to
the case ct two Irish comedians, who
mutually charge each other with lar
ceny of this kind, and who disgraced them
selves and tteir profession by coming to blows
in the streets of New York. We might also
say that such is the low state of stage
morality on this point that authors and owners
Of pieces are obliged to use the utmost
vigilance to prevent piracy. and that then
they do not succeed in preserving their
property from the grasp of profane hands.
Manuscripts are bought outright from dishonest
prompters-stenographe are engaged to take
the speeches as they fall from the lips Of the
actors, and human ingenuity is exhausted to de-
wise means whereby the products Of one mans
brain, and anothers money, may be obtained
without their knowledge or consent.
We believe that there is no law for the pre-
lection Of dramatic authors in the United
States. The copyright law would not prevent
the acting Of the piece if it was printed, although
the title alore might be copyrighted. They
do these things better across the water. An
English author never loses his right in his play.
Bulwer. for example, receives stipulated sum
for every nights performance of Richelieu''
and the Lady of Lyons" and as Mr. Forrest
refused to pay this sum. he could not appear in
either Of the pieces above named, in the United
Kingdom.
There should be some such law here. At
present authors who have ability sufficient to
write good play Can employ their talents to
much better advantage, and those actors who
do pay we'll for original plays are plundered of