The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-02-22
Mr.. BOnclcault OH Originality.

From The ~ Y. Tribune
Boucicault and Horace, two names we'll cal
cula'ed to lend distinction to each other, are
happily brought together by the former gifted
writer, the latter not being on hand either to
cooperate or remonstrate, in recent letter to
the London newspapers. question having
arisen as to the originality of Mr. RobertsOn's
new drama, School, Mr.. Boucicault comes
forward to prove, in the first place, that it is
entirely and in every respect original; and in
the second, that neither it nor any other
Legitimate drama ought to be original.
The advantage of Mr.. Boucicault's champion
ship in this matter is questionable, inasmuGh
as Mr.. Robertson's plays have way of taking
care of themselves at the Prince of Wales
Theatre, while the only effort of the great
sensational drsmstist at the same house,
fell sick and died in its infancy, in spite of
the most artful nursing. But that is small
affair. Mr.. Boucicault's remarkable decara-
tion that "the rules of legitimate drama
forbid originality absolutely and upon high
authority" possesses greater interest. That
this is his own opinion, he considers
sufficient to establish the point oonolu-
sively; but, to olinch it, he brings
Horace upon the stand, and makes him
testify to the same effect. "Horace warns the
dramatist," says Mr.. Bouccault, "against
original plots, and bids him beware of trying
to introduce original characters. He urges
heroes, and not to wander from beaten
track in search of novelty.' This is capital
example of Mr.. Boucicault's ell-known skill
in adaptation. Horace does say something not
wholly unlike this, and a dexterOus turn or
two, with a judicious "cut,' is all that is
needed to adjust it to the purpose of argu-
ment. This is what the poet really suggests.
He first tells the Pisos that in choosing a new
and unknown subject they must also take
care to invent new characters, and to make
them consistent throughout; and then he
warns them of the difficulties of invention,
and hints that the easier method is to select
q plot or fable from Homer-which is some
what different from distinctly forbidding
original plots and original characters. If Mr..
Boucicsult could take the trouble to 90 on
towards the END of the Ars Poetica he would
find Horace's views. more precisely set
down. He expressly praises Roman
writers for scornipg the aid OF the Greek
authors, and making effective use of home
subjects, either in portraying the manners of
high society Comedy, or in faithful repre-
sentation of humble life domestic drama). If
people will hurl about the arguments of the
old poets, they should prudently choose those
which have not the boomerang quality
of returning and rendng unskilful throwers.
For our part, we attach little weight to the
HOratian maxims. If they we're all strictly
followed out we should have dramas in five
acts only, We shouId be deprived o
| all scenes of animation and intensity,
We should never be allowed more
than three persons upon the stage al
once, and we should be pestered with the
chorus. But Mr.. Boucicault affects to think
differently, and, this being the case, somt
friend should call his attention to the follow.
ing lines, which may be found in an epistle tt
M@cenas. In the light of the prodigious sue
cess of Atter Dark, they have charming
significance
! 40 imitatores, servum pecus! ut mihi s@pe
! Bilem, scope jocum vestri movere tumultus."
Or as it may be freely translated, so slavisl
herd of imitators, how often has your rub
bish stirred my vexation and aroused M
| laughter 20