, 1872-12-15
"HAMLET" At AlKEN'S.


"HAMLET" At AlKEN's.
10 the Editor er The Chicago Tribune:
SR: Some time ago, after sitting through 3
performance Of King Lear mot voluntarily,
but since I had young lady with me- who
thought it "perfectly splendid ~ registered a
vow that I would never 60 to see another
tragedy played, at least, until became 3 howl
ing misanthrope and took pleasure in seeing
into what low and base creatures human beings
could convert themselves. But, after due con-
sidcration, concluded that could lawfully 30
far dispense myself from my VOW as to 60 and
see h1r. Barrett and the members Of Aiken's
Company play at ssHamlet :" to 60, like the
modest lover, hoping little, asking nothing, but
wishing for good deal.
Besides. everybody goes to see "Ham1et." As
black broadcloth is the Americans idca OF full
dress, 30 is 's Hamlet his idea Of tragedy. He
goes to see it, matter who plays, whether it is
Booth or Barrett, Smith or Jones. Once
q year, at least, he must listen to
'tTo be, or not to be-" It is part Of his duties
as citizen. Then, too, it is chief among the
very few tragedies which it really pays man
ager to put on the stage, and, OF these few, some
draw only because OF the scenery and the cos
tunes; because they are spectacular, not be-
cause theyare tragic. To make s'Julius Caesar II
acceptable, the manager has to advertise 'new
and sumptuous scenery, costumes OF une1am-
pied Bplendor, etc., etc" Here, at least, the
taste for tragedy is pretty much over, whatever
may be said about the crowds which attend its
representation. We prefer comedies, comedi-
ettaH. ueludramAe, 1t is poinatre1By that pays
hast ba-s w. s;t do.rn ~ ho1,a 49, raaa p,s fs,
oes1 neie "e si' uonn -: none ano ieaa 10"
elegant e1tracts 11om osneAo OF Lear
and say to ourselves how much We would like to
see those plays On the stage: But when re do
come to see them as WHOLE from Act 1, Scene
to Act gcena Il. thew drag fearf,,11v. Trnat
49, ,1ho h,s 1900 t~;aa -
w e..', w. ,,t -4A1 e.4o- ~ .-,-
ing their hands at tragedy. possibly because it is
high~toned, dull. but enainently respectable:
noeah1v hac,uaa +hov ra,1,v tb;n1r t,,ara ;s a.
a r ~ Nor - 49, ao+o-a 49, a1eaa -.
mano -of ". Nor 40 .ne aesois, as class' snare
the popular Discrimination for the tragic muse,
either because they think it is higher and more
5io,;;aa uort or haconaa IT, o;va. +han, co,t.;,
az5.1t.a, e.,~ =, n~a;a7oo .1h;.1, 49, @.l
@oFAn'"eea o'ee al Au'ief''e "n.en 1nes 10 uo1
possess when assuming comedy parts. The
stage-struck young mon and women almost in
variab1y take to tragedy.-r1ov Hanalet. noT 7ooo
49,. 7,o.;7ozao.n
nom D'sus"eo''o* t,-
Tho difference in language between tragedy
and comedy was long ago defined. The latter
vas hut common talk. the former assumed
1oft;ar or roora a1ev.ted d;ction rhv1oed or M
.o.ele. ~ ae 81 tnsa e4.:r .! ~
rhymeo' s"aa NOT mere prose. but' as l'1s nttlng
often taken to be proper that Kings and ouoens
and tragic characters generally, should be
stilted and pompous. and should not deliyer
themselves exactly Like people Of this world.
When the actor says, twin you please come in
to supper ?" we want him to aay It as ne do.
But when he declaims:
u.rhe tvrant tottar. and tha senstanod,,
,o+ ,a;,,,- ,,saa ~ ;nd,,1oa - +1ot ~nrt -, +.7,
49,, 4ee0 pras;da1F;e, a,eato lu ~ -.
asen Iute ant h; e.eottoa ~ "e % ~ nos
d " ;1t naen pa az i;a ia;ts s p.onlok 1
1 a Juss ua' etl. nes me n9s Ino
iey @ aave h no. se precise ana mea,aennea stan
nd aada Ky ~ "nse ~ ~ a,d as ~
t " ac' rs 10 p,ease a1o %aen aIy one ta1Hh @ nl y
~ MAtu oou9 uLnntu!A1, W ue 1opues. my ~
10 ~. .ne "Hy ~ Ae1 .uat R!auu ana peeulaE Lung,
2 tlaensuy. ~, Juss ene snaue 70 maHn your
nss 5;, '9u H. elis suoua s,;t ilerh ~ tne
county 5ui nne uoea Nv. qu1te pene4e u1tn,
ous she uoes nos EhoM' ana 10 p1etenus 10 Know
Auu %no ~ aoL" aao!.e 20 pA.ea - ~ n9
+t %on X ia;aa a. - !.aa5,1 teetins
nora hen te tav e ean tsir - ~ "
~ 41,s+ :nr,9 r,orass IT,; a,ntaua
afxx1r \ manila fhat ha
toa2a that Ye1,. eheda orar Cor1,e;a sra no
sa1tiar than those which many main artisan has
drnnrad ] m h;s dead daneTfars fpca n Taaitv
tra9aiiy p demands a. c1oss an adheTenca ' to ny
ture as comedy does. md and therefore M it is harder
to nlay + ' WaIi' s;nce It reo11ires ~
tba p1ay aetor ' daensr lnowladea ~ ~
the human heart. and it's fashions
of e1nrcesino nrofonnd emotion Than comedv
aver can Shatsnoara;a stato1v hlank o varao
shon]d ba snnken alow1v and d;ntinct1v It
sho11d mt be sn a1urred oveT AZ to denr;vs i ~
ita me1oSv Int u ;a nnt tha1efors r ha ~ IA. a.
accorne 70 10 +ha , ,,iaa - the eocrt;on 81
;sts # ;s Mt ~ ho s1oton sa - aorn,+b;ng ont-
s;de # on1se1vaa .a orsd,,ata doae hs 1,atin
ye1ed;ctnrv IL Msnn'kan ~ vo;re 1na,nfac ct,1re3
~ - T1,rosa - aroto7 1aa a..n1snr 90
norons an rrthrocai 1roas as hnt Vhen be cama
to +bat nart ~ h;a snaacb F. d;d nnt ,dont fte
dec1.n,at;o, atrIo I "' 14 Do' "@Ae' 'A0
IA - nanarai s1't thino h,varar-;+ !. car+s;n1v
40 At AfEena-ta frac sctor canceves 81 f bn
traa ~ at nta; ~ acsut ~ ~ Du
tear assion to atteIs m ~ h. dec.na ver1 anq
naatIv nr ha ~ wsEs % tbroucb ~ Tia bnainess oas as
- - yara "a 5oh .+rh;ch ~ - ~ ba 5ona ~
sonner the hatter IA doaa ,,ot Ike , Tie yor aito
bnt he is M set down for It. and Il it. mnst be done'
~tAs -" - WV ""A1 ~" ~ "A@ ~ "A4s!IS ~ No4e3