National Republican., 1873-04-25

and here Mr. D. gave limitations Of the elder
Kean, Charles Keau, Mr, Macready, the elder
Booth, James Anderson and Edwin Forrest a.
'Jack Cade," Mr.. Feohter a. "Hamlet," all Of
which provoked applause and laughter and were
regarded a. most excellent Then followed very
happy anecdotes Illustrating the fact that q
Frenohman cannot understand Shakespeare.
An ACE or IrTKLliaENoR.
That this is an age OF general intelligence, Of
startling Incidents, marvellous Inventions and
stuPendous events cannot be denied. Il Ia not
thirst for gain, luxury and yves wealth, are few o.
It's predominant characteristics. Nothing OF
late has been 90 unlN Nersaly admired as the BIAS.
RnemCn. In no way Is the degenerate taste q
stage. The English dramatlsts, Jonson, Beau.
mont, Fletcher, Ford and John webster rest IN
unbroken slumber on the shelves. MasslngsI u
rarely heard Of and even Shakespeare u dishon-
ored on the stage. Heels have ecllpsed the hon
ors Of the head. The brush Of the scene painter
z substituted for the pen Of the poet; the sslll OF
the carpenter for the genius VI the actor.
The purest sentiments and the exhibition OF
the noblest virtues have given place TO the
double cntendre and the coarse Jest Of the bur
lesque ofthe blondes. Any respectable manager
will make good my assertions, Every recent
sHAKsrEHEAN REVIVAL
has been q failure. Our best actors are rarely
rewarded with crowded houses. II is universally
admitted by those competent TO judge that the
English and American stage are now far below
the French, Italian and German, "a sentiment TO
Which many IN shs audience took ,sS exception
Contrast these with the times when, In Lon
don, the nobility and gentry cfammed the boxes;
when royalty went In state; when Burke, Fox,
Reynolds and Sheridan took their seats In the
to see the matchleas Siddons walk
In glory the boards Of DTury Lane; and when In
at midnight crowds began TO
gather To strive for places to see George Fred
erck Cooke at the old Chestnut theatre. Now
the manager lowers the standard to meet the
public taste.
Itauan onar. "a No ,,,,ro "a ho comma tol o., thu
legitimate drama than strain OF soft music TO
verse Of immortal poetry. The one, with Its
sweet sound, even as you listen dies away upon
the ear; the other lives forever In the mind-a
dover laden with perpetual fragrance. The bulk
Of those who gather at the Italian opera patron
Ize the opera bouffe, where ladies laugh at songs
SRS MSas TsSS se &c y
at, and steal away to preserve their regulations,
HISTORY RErEArs
itself, and II tells that when the people OF Rome
gave themselves over to luxury, when the drama
declined, the days OF the republic were num-
bercd. II should therefore be the aim Of every
scholar, morallst, every public-splrited man and
drama from It's present debasement.
HOW A THEATRE SHOULD BE BUILT.
The theatre for dramatic performances should
RSs Se Eys ss Ss
each action Of the play, each change OF features
Of the players acoustics should be carefully reg
ulated; the actor speak and the audience hear
which from without distract attention and with.
In promote conversation.
The pit or parquette at the lowest part should
he even with the stage, and rise AZ II recedes
II practicable, the pit should be revived; the
people en- ndsss help the actor; the appointments
and decorations rich, not gaudy. The police ar
rangements should be perfect. No liquor should
be sold on the premises, nor separate places pro-
vided for improper characters. Some compe-
tent person honld examine every play before
produced, and leading poets should be Induced
to write for the stage.
TuE PROFESSION.
While l would advise no one TO adopt the
stage as profession there will be from time TO
time, and Al all times, sensible mon and women
who will enroll themselves In its ranks. For
such as these I hope to see college where
genius and talent can be trained for the struggle
for fame. After all, on the people it depends
course, or rise again TO nObler heights.