New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1871-06-07
4 RARE OPPORTUNITY.

The people of London who understand
French have discovered what La Rochefou-
cauld long ago announced, that III the lnlsfor-
tunes of our best friends there is something
which is not altogether displeasing TO us.
The i'll wind which has blown the incompar-
able actors of France across the Channel has
been most favorable zephyr for appreciatve
Englishmen. The amusement column of the
London papers is full of new and strange
brlliancy since the arrival in the island-me
tropols of the dramatic divnities of the
Boulevards and the Palais- Royal. At the Ly
ceum Theater the two rival companies of the
Vaudeville and the Vari6tGs shine on alter
nate nights, Mile. Fargueil giving her impas-
stoned interpr Citations of Sardous algebralc
dramas, and Lesueur presenting with his
unapproachable comic seriousness the
school of burleSque and extravaganza.
But at the Sale de rOp6ra Comique
the best classic comedy in the world
is playing. Every night a masterpiece
is given by artists never yet equaled, and who
are not to be succeeded by their like, if we
may trust the discOuraging prophecies of critics.
Mariyaux, and Moliere, and Angler are rem
derol By company embracing De'n1nay, the
IN Gentleman who is absolute perfection
Talbot, who will carry out of the world when
he dies the ideal Old Man; Coquelin, who in an
age of extravaganza still holds infexibly to
the modesty of nature in the true cOmedy-all
under the management of Got, who is justly
open 70 the accusation of having saved to the
stage dozen poor plays by the irresistible
energy and viyacity of his acting. The names
of the women in this phenomenal troupe are
worthy of the neutrality-suspicious. Fa-
vart, who will teach her English sisters to be
gentle without dullness and powerful with
spasms, and Jouassain, and ovost-Ponsin,
and Roger.
Ii seems to be generally conceded by thought
full English critics that the decline of the British
Drama s a permanent and not a temporary
thing. Mr.. Robert Lytton in a recent striking
and elaborate essay has indicated as one of
the most potent causes Of the degeneracy of
the modern stage, the habit of late dinners
now universal in society. Ii is Impossible that
the stage should have the social Consideration
necessary to its highest development in
country where the better classes are habitually
at dinner during the hours devoted to theatre
cal entertainments. OF course, anything which
comes in conflict with the sacred solemnity of
the prandal repast must go to the wall in
England, and in time in America. 1t is well
for the Britons that, before the dramatic
art is given up entirely to The people
who never dine, the public may have
at least one chance of seeing actors who have
learned their business. 1t is, however, in the
highest degree doubtful whether these all
vantages are appreciated by those in high
places. For we read in our latest mails that
the Lord High Chamberlain has become
alarmed at the morals of the dramas pre-
scented by these distinguished artists, and has
formally interdcted the standard plays called
lie Subplice dune Femme the joint work Of
Emile de Girardin and the younger Dumas,
and Paul Forester, one of the most popular
pieces of the poet and Academicion Angler.
The sensibililics which have slept through tLe