The sun. [volume] (New York [N.Y.]) 1833-1916, 1875-10-25

drug in the market. You can count the
playwrights of Paris equal to the produce
ton of good play upon the fingers OF one
hand, and the number instead of increas-
ing is just now diminishing. Since the
Franco-German war the field of French
dramatic writing has been comparatively
sterile In England poet so eminent as
TENNYsON has failed in his attempt at n
dramatic poem, as his Queen Mary"
clearly Shows. The plays we get from
London now are only light society pieces
Under such circumstances, IL is not to
be wondered at that with our far less pro-
life literary development we fail to sur
prise ourselves and the world with plays
which drive out the works Of the old
writers, or even claim a parallel place
alongside the work of tho more developed
and Intellectually more highly trained
centres of Europe.
An American drama, like the French
and English drama, has that best Of stimu-
lus for its production, adequate and even
handsome pecuniary reward. The author
can turn his hand to no work so profitable
as that Of writing plays, SO long rs he can
make them successful. Fortune awaits
the successful playwright, while the sue
cessful author Of books gathers his return
in bare living. Yet we do not get our
American play. Besides the theatre man
ager is always eager for novelty. He has
his agents securing London and Paris in
competition with Others for any work
that promises success; and he will he
found just rs eager and just ne munitccnt
by any and every American dramatist
who may prove himself able to meet the
want OF the public.
II il true that the name OF play
wright, who is popular, gives added pc
cuniary value TO whatever he may pro-
duce. But even q famous name will not
carry bad, an uninteresting play more
than few nights. The public are them
selves the critics of the work, and the
glamour of name will not deceive their
eyes and take captive their emotions. II
therefore happens that in no department
of art has Notwithstanding that by adapt
ability to the public demands-so far
field for its display, nor deficiency
so unrelenting court OF punishment, ms
the playwright enters when he gives his
work TO popular criticism. The trouble
with us Is therefore not with tho managers,
but with the authors. We fail to develop
an American drama Of any account, not
because the public and the theatrical
caterers for the public are deficient, but
because the literary talent we have does
not 20 out in Il dramatic direction; be-
cause the conditions of dramatic writ
ing are not present. and because,
though compared with the best pc
RODS OF the drama their work is
OF Indifferent value, yet the French and
English beat us in writing plays. That we
| do this, even though success I'm the writing
| OF dramas is the most profitable Of all the
| forms Of literary work, proves pretty PLAIN
| ly that we do not breed dramatists "a we
| do men of other sorts. II the theatre man
ayers have their drawers stuffed with
Enacted American plays, II is because the
plays do not deserve 10 be produced.
When we turn up an American SHERIDAN
or DUMAS, his plays will not be gathering
dust in managers pigeon holes. He will
live sumptuously, and the managers will
not ask him to come 10 them, but will 90
after him in his luxurious quarters. lie
will have no occasion TO cry out that the
critics have rejected plays of their own IN
their desks, nor will ne have to clip hi.
wings TO keep down TO the level of the
| character actors.