New-York tribune., 1867-08-14
THE DRAMA.
UNDER THE GASLIGHT.


A new play, entitled "Under the Gaslight,"
was acted at the NewYork Thcater Monday evening
IL is the latest production OF Mr Augustn DAILY, the
adapter OF Leah" and dramatist OF Griffith Gaunt
and h we believe the first original drama from his pen
that has ever been represented. rumor lately aioat
described II American version OF The Great city,
but that rmor unfounded The piece Ia based neither
upon novel translation Of foreign play but Is strictly
the invention of the writer. In form 1t is legitimate,
being comprised in five acts In character II Is misce
ianeous involving the elements OF comedy, tragedy
meodrama and farce In tone and In style 1t romantic
ana sensational As vehicle for the produotiOh oi
theatrical effects II has distinct utlityi but as work
OF dramatic art 1t has permanent value To aim at
the low mark Of popularity ts In all cases
TO imply disregard alike OF the oo-
legations of authorship and the verdict OF eflcai
taste To hit mark Is TO evince neither rare nor
praseworthy skill. Aiming ut that mark, however ana
dsregardng the dictates Of the literary conscience the
author OF Under the Gasght" seems TO indicate his
adherence to OF the stage that is none the
less perncous because Of Its general prevalence. In
many theaters and in many journals that view, under
many forms, has been persistenty stated for a long
time past 1t amounts 20 tbs that the drama as an art
is dead; that the theater is merely shop; that
Il ia the province OF dramatic authorship 70
follow public taste aud not to lead IL; that
nature Is only apprecabe by the aesthetic few; that
the public want highly spced sensations and stage effects
and that 1t folly to offer anything else upon the stage
that IL very well for essaysts and critics 10 write about
art and the dignity OF the drama but that in fact there
is no art and the drama has dignity and the essayis
are superne fools and the people who attend theaters are
dolts and the only men are they who seadfssty
avail themselves OF the prestige of the stage the Qux
otc industry OF the essayis and the dulness OF man
kind to gather In plentiful harvest OF dollars To what
extent this view Of the stage affects the majority OF
modern dramatsts. those critics only Will appreciate
who accustomed TO look beneath the dramas that are
represented and consider the motives that prompted
their composition. Now and then play like Caste
appears that clearly implies literary conscience per-
yudng and controlling able mind But II Is only now
and then Most OF the plays that are produced indicate
writers Of ordinary talent perfectly complacent In SELF
esteem naturally socitous TO prosper and persuaded
that the stage offers eligible opportunity for aston
shing some quantity OF spectators that are barren OF
everything but money It is the popularity OF such
plays that they involve or two startling
fleets bedded In mass Of trivial sentimentaism
and feverish romance The wreck OF ashp that casts
all hands into the gurgling ocean; the breaking OF
bridge that drops heroine into cataract the winning
OF race by pasteboard horse; the ringing Oh reai
chime OF real bells whereat conscencestncKen villain
tumbles over precpice; the nundatiOn OF coal mine
ch are some OF the catasrophes Of the representative
modern drama 1t would appear TO be the belief OF these
dramatsts that the only way 10 impress mans mind
10 beat on his head with malet. Only invent some
thrilling stlationso they seem to reason-and your
drama s sure to succeed. wants to make your blood
run coldp SAYS the Fat Boy in "Pickwck and most OF
the modern dramatsts are similarly minded. They want
70 make our blood run cold and they want to profit by
the agreeable sensation Hence the multiplicity Of bad
plays Low motives never lead togrea RESULTS No true
and lasting work was produced whether By writer
painter sculptor musical composer or artist OF any de
scrptlon whose motive In its creation was the mere de-
sire for money Mariners on the OF art who sail
for Cowes and market generally get there they GER
tainy do not arrive at Parnassus and Helcon. To the
true artist on the contrary his art is both nesmabe
reward and an nex0rabe ruler He Is born TO its service
voice that only he hear summons him to its altar
surging impulse, deep down In his SOUL impes him to
labor for It, and gives him rest Now and again must
speak whether poem, In picture In play and not
for any reward that give him, but the organ
OF indomable fate. All, life is made tributary TO /
his genius and all happiness Is made consequent hde
ity TO his No work leave the hands OF such
artist that snot as perfect as he make It, II he be
dramatst hts plays will take hold upon human nature
and human life and the ideal world OF imagination and
will interpret them in symmetrical and beautiful forms
dramatic art that viii touch every heart and elevate
avery mind and enrich literature and help onward the
spiritual education OF mankind. 70 be such tiramatst
attain anoble eminence; not TO be such dramast
vorhy wearing their crown but the others kind OF
literary carpenters puryeyors Of theatrical rubbish to
BADLY administered stage We will not judge the author
u Under the Gaslght" sterny to rank him with
pests OF the drama But 1t Is duty to say that
lis play so far from indicating genius for dramatic
rt, shows distinct bias in tho wrong direction. The
'ay may chance to onjoy prosperous run Itamey
10 puGed by toughtless ana eare.oss Journalists "