, 1874-01-11

THE DRAMA.
With last evenings performance at the
Academy Of Music endod q week OF unusual
briliaucy in dramatic matters, because On that
occasion were concluded the engagements OF
Sig. Salyini and E. A. Sotnern, artists whose
names are as household words to us now, aud
who have won their distinction BY no device,
but BY the power OF their art. It is not ofteu
that two stars OF such magnitude in the dramatic
system are in conjunction in Chicago, and that
tho students Of stage astronomy hare grossly
neglected the study OF the Jupiter Of the system,
with his interesting satellites, is greatly to bo
deplorcd- An aste1od OF the Lotta and
Maggie Mitchell order can always se-
cure attentive Watching, unspecu1ativo and
merely superficial watcaing. but tho great
monarch of the realistic school can be passed
over without attention Of any Kind, save on the
part Of the few. To speak plainly, Salyinl'a en-
gagement las been failure In Chicago, while
Mr. Sothcrn's has been a series of successes.
That Mr. Sothern has been appreciated, is 3
source OF negative joy. because there could be
found no earthly excuse for different state OF
things; We eau find shadow Of comfort iu
telling the world that If Salvini had played in
English, or il his repertoire had included more
familiar dramas, such as "Queen Elizabeth or
1.-THE Merchant OF Venice" or if lie had played
Othcllo every night, the result might have
been different. Let us bo thankful for
1u.'' "N1ea n'Ae 1eoo' "AA 1o'o
selves that it was no WORSE Let
US draw satisfaction from 1.4. contemplation Of
the poor business lJno IT nli lue theatres except
tue Academy, and Say lt-was not good week for
the drama IN Chicago. But to
sALv1sl-
t.nr -. ham &F1a
form an opinion Of the man aud his powers. We
have seen him Ii tragedy, comedy, and melo-
drama While he is uu4 u4ueasiolauly great in all.
he is less SO to Al Engl4sl-speaking audience III
comeay, where Tie Rct1ou Ii loss m4rAod and a.
most too delicate for ready Interpretation. T1at
be can play in comedy VIII any OF our best
comedians there IL no douoS; but, soen oasa-
ly III the mirror Of llbretto. hls beauty Is
cioudcd, lndla;iEci, anu NOT 1uuy lutel-
hSlble: We aio AZ agreed NJ" upon
Sayini, and unite N regarding; Ills style as tue
highest type Of tbs realistic DRAMA. We have
said mat realism Is the essence OF Ills acting
that Ills acting Is the essence OF reallsm but
that does not mean that his lea4lsn ~ tile es-
seuco Of acting. Lie is tLe very roof and
crown i" of d school which is not the highest
one, for he has nothing OF the ideal In hlin. He
docs not pay Hamlet AZ he does Otesto or Conrad,
because daAt ii not n, isolated character 70 bo
embodied and - ietteied WITH pe1sonalty' uan-
and every person III the audience il Hamlet.
This is not 90 with Conrod nor Olhel4o: Inc
passions OF these latter are NOT eiealants OF our
nature. nor 10 lacy ssIiio 1nAt sSmpa-
.hcnc chord IN US that thrills aud
vlbrates with the doubts and lears OF the meian-
choiy Dune. But Of the school OF real1sfs ns ls
the prophet. for hs has revealed to US the sweep
ng irresistible power qf sha s9oo ns
1ormance as any one can well conceive Of, derel-
oping with every succeeding hue from tue first
enhance to the fall OF the CURTAIN rising from
tiny spring IN tue mountains to foanlng' de-
Saatatlng torrent which lrFcslstlbly sweeps over
the incidents OF the tragedy, aud carries to
destruction all that stands IN It's way. Ills
Oo1eao ls not passion Is man o. passlo1s. :ts
and the LEFT bg
tlat terrible last act ~ one winch
be eous Of
It is word Of coasanlmate art, tor the n'etamcr-
phosis accomplished BY events ' y more Wonder
1ui than magSs ., more shoeA'nK thaa lmaSlnatlon
can picture The very set Of tho actors textures
changes with the movement OF t4e play. The
iAtent demon, unooscrsed IN mo hfsE two acts'
| HJ1n u