New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-11-06
PREACHERS AND ACTORS.
A LETTER FROM TIRE REV. DIR. ARMITAGE.
WHY ACTORS SUCCEED BEsT N MOVING THEIR
HEAaEBs-rHhTB ADVANTAGES OVER PREACH


in which you ineficency OF the pulpit with
canior for which every true preacher will thank you
But You aso institute comparison between the popular
effects produced by the oratory Of many well qualified
minsten and the acting OF indifferent order OF talent
on the stage according the advantage 10 the latter
Without intending IN any way TO discuss the merits or
dement's Of the drama and actors. such submit
few Thoughts Cor Jour nation upon the relative de
signs methOds. ana Effects OF eoquence, In the pupit
and on stage. To begin WITH then there very little
in common b,twten tho purposes OF the pulpit and the
stage OF between the motives and aims of
the preacher ad r1e actor, that there is great
danger al unjust comparison between them. In fact
they better capable of being conirased than com
pared. The preacher rgart- himself eGhas-ador
for Christ whose great duty it is q win them
from WONG right from tTansgression against God 70
obedience and he hopes 70 this done b. 4 radical
chan e effected u thoir .nicns pursuits only, bat
in their moral character. that every thing which de-
hasng shall be removed tom their hearts and lives and
everything which Is noble both towards God and man.
substituted therefor. Hence while he may appeal 70 the
emotions certain extent he has 90 do with the
and With the conscience. These hoidthe
citadel 10 the moral nature Of his hearers AMI therefore
he plies them with every grave notice which he can
command. and which he thinAs adapted 10 effect
for what 30 believes TO h. his message from Cod
The WORKING of intelligent conviction with q cone
spending clence in The himself and his life, Is
TIM highest aim aud nobest work OF the true preacher
Tbs aabsorbng design Of the true actor is 10 obtain
for himself aud give to others rendering #
author. and expression, without regard TO
the character Of the sentiment IFS final influence upon
the lives OF those who hear him The may cOh,an
valuable intellectual historical even moral lessons OF
il may enforce injurious pTeccpts as in cases where
prostitutes thieves dueli>a. assasns and suicides arc
introduced and th.ir respective crimes justified IN Ian
gaCc distinguished for s genius aud eioqlencc. Not
unfrequently IL suicide committed thc most ycuons
Of dramatic characters preceded ny beautiful speech n
iusthoa. Ion the actor al te 0m0Oas steps OF Sc
duction pointed cat ~ith rFeTN facility OF intrigue
But Whatever complexion TIRE play may bear tie actor
feels no possibility therefor. Ills only business is to
give fOrcefli 0tteraIct aud c ct IN justice 10 his au-
thor and himself And cpnfcs-ey chief effect aimed
~ Is not con ion 81 right correction ~ wrong.
but The Of che audience OF az least it, enter
tanmeut. The reason t. ohvioas enough. The great
md of drml is 20 enlist ami control the pa ona
This is wondcrful rae Of -ik -pcare, the monarch of
al authors f0- the stage. Lnrd kames says: "Saake-
speare superior 60 all other writers in dchncang pas
sion IL difficult o. say What pant ne most eAcei-,
whether in mUllin: every passion to ptouay oi car-
Letter discovering the sentiments that proceed Hoh
OF passion, OF IA EXPIRE, M properly every
die rent sentiment his sentiments arc adjusted to the
peculiar and crcams4 Of the speaker aud
tn rropriety il ~ less perfect between hls sentiments
and his Gicou" Now the work of the actor l. one OF
Interpretation il begins ana closes there II. therefore.
the actor possesses education. senshiy fine ptrcc
and wilbal. mastery Scuus wnicA moves the sources
,f feeling from rapture 70 dcs ar TN his audience feels
beviouing romance thrown l.,unl them az rhc ii-
jul enoe and teyeoIic % of single feeling To hc
secret Of happints aHa the end OF human htc the
aim of his profession is achieved and he l. accounted
master at his work. But al that May he done by
preacher, and YET his ask is scarcely Dc-un.
Another fact which fproids comparison between the
eooneuce Of the 5ta,o ana the pulpit is found in the
authorship uf The productions which delivered there
-espectivrlv The pulpit orator mast produce Lis
compositions n mIttor whether he h. first, second or
lhir1 thinker H5 must originate u.s. sermons week
Il the least rs best hC may, AM whoa Ds dcouse' nave
been once delivered must IN wise repeat thenl 10
tc same the actor spc1ks neither ais own
words nor thoughts tads the play produced ready
tn his hands ami frequently IL is wok OF tAe highest
possite genius such a. drtmaiis now living could
propagt as in the works OF ,hakcsPearc sncA gigantic
productions carry power with them auy where. scldom
indeed does thc author of play succeed IN enacunS
il well blu-sf If he makes the attempt. although
.s q writer lac mny possess that GROWING giit
Of God which We call genius. Ue may brand
he base or commend tic beautiful, Win q singular
ipaprau hut his goes into the hands Of others
thai it, tui effect may be properly fct The preacher
however must both prepare and deliver hlr own com
pstoDs And net ONLY th hat he l. expected TO treat
NJ nuuiries. round OF subjects, covering the entire
stretch Of religious truth critical. diactic. controversial
historical theoretical emotional and practical what
ever his tastes and capacities may be- he IS expected TO
DE many-sded and man OF all sorts Of work lie Is
foin Icn by the necessities 81 the case 10 cJnine nm
SELF to one hemisphere II thought feclsg But the
actor is left TO his choice in the selection Of Tragedy
or comedy and Oh tho gltcr weshticr ORDER AZ be
may Judge tacm bet adIp,et 10 his tastes
and Capacities II he eKccls in that particular de
partment most grateful 10 his own preferences
and powers no more demanded his hands Take for
example renowned fellowciilzon df Boom NOb0uy
dots hs wonderful attachments in rendering certain q
tie great creations of our Immortal poet: bnt al OF
shakespeare Is not equally acceptable t. him There j.
in hin certain adaptation OF mind heart person. man
ner and voice 20 grel; characters, sucn Hamlet, bui
very little Of the lighter characters Of the great
bard And yet SIR. Booth has found 10 uecdfu "a devote
lifetime of study and practice h5 favorite ca deters.
I'm reaching his present proficiency IN certain great
M has beea obliged to every facility within bis
reach in the form Of comm .ntary. note glossary onl
the suggestions + living sample so thai his by ID ana
heart have worked until each particular play IL which
ne exces not only every word IL committed TO memory
blt every shade OF thought and Of expression has
received its settled Interpretation, 10 gesture, look
syllable anu tone. He Las tested scores 90 different
accents fntonacIs. attitude, aud g-stcatons upon
every important sentence th the most "tahe ha
been adopted ana the cons qurncc s mat DE- cn reeit
e play slight variations. or hundre night
.o14ecutiveiv and rs q piau. In his calling delight h.-
audiences 10 the Inst Can any preacher living DO any
thing ~ that sort IN his pul1it How long would ne he
tolerated I'm such course II Be did choose Hnch m th'd
Of address Wouid u be al ,wabe for him 70 AXE our
I iords sermon the Mount, Psul's Grafton before
Agrppa 23d chapter of job. al these toSethcr or
any otnur inntaht passage from the Birc, spend lie
tine upon H. and rely upon is delivery 20 c1ec TIE pnf-
poses Of his ministry Yet this is IN exactly parallel ease
4o fir a. originality composition is concerned or
le il obliged TO use some other form OF competition
lan the bare text - Sculpture, can he take sermon
from Augustine. Chryso-tom, Massilon. Jeremy TAYLOR
~ Robert Hail. commit 10 20 memory, spend years upon
tho study o it, best rendering 20 Che sense the forces
II gesture management OF tho voice tie grace u ue
&c ana then deiivcr again and again 10 any con