The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-06-28
Tennyson's Drama : Shall - 10


The appearance Of Tennyson's drama,
"Queen Mary" is one of the great literary
events of the century. Both in its merits and
its faults 1t is a surprising effort. For strong
and vigorous English it is unsurpassed by any
poem in the language, and it is, besides. ex-
ceedingly rich in daintiness as well as lust-
ness of speech. Many of Its best lines and
best speeches are introduced apparently tor
their own sake. just as we sometimes see q
characteristic part introduced into working
drama for the sake of afording favorite
actor coveted opportunity. The fourth act
in Mr.. Tennyson's play, which is, byall odds,
the best piece Of writing in the dramatic form
since Shakespeare. is justified only in its ex-
celtenoe, for Cranmer's imprisonment and
death wore only incidents, not pivotal events,
of Queen Marys reign. Wyatt's rebellion was
another incident, and yet if the poet had not
given it prominence beyond its actual i'm
portance az part of his work we should not
have gained one of the best pieces of prose
ever penned-the speech of the rebel
lions nobleman to the dissatisfied pop
ulace. More in keeping with the drama
as drama is the daintiness of treatment &C
corded to the Princess Elizabeth. Her love
scene with. Courtenay is exquisite and
throughout The piece her actions are .subordi-
mated to those Of the Queen with skill
evincing great dramatic insight Another
effective scene, even in an acting play, Is the
quarrel in Mary's presence between Gardiner
Al Del t1at 10
hands it would not be of its kind one Of the
finest stage pictures in the historical drama
. So much. may be said Of the work-there
are so many grounds for honest difference Of
opinion-and mere stage success is, after all,
q problem, that can never be determined be-
yond dispute unless the curtain is raised and
the lights turned upon an actual representa-
ton, that it is likely, in spite of all our praises
Of the play as o poem, its merits as drama
viii be practically tested before the excite
ment occasioned by the appearance Of the
work is allowed to die out The only ques-
ton is. Where ia the manager who has the
courage to undertake its representation But
this Is q question that We presume will not be
answered unless the public evince q very
strong desire to see the play on the boards Of
one of our leading theatres Shadowy as most
Of the characters are the actors would gain
great favor by investing the parts with the
fire and potency it is the mission Of the stage
to supply. No such opportunity is likely to
occur again during the present century for
graceful and cultured elocution as that af-
forded by Tennyson's faultless and vigorous
verse. Gould company be found capable of
reading the lines and looking the parts sue
cess might be won through triumphant elocu-
ton. This in itself is worth striving for,
though, it must be confessed, exceedingly diff
cult of attainment If the play is not an act
ing drama-and it is our deliberate judgment
that it is motif still might be the subject Of
great dramatic reading that in the end
would work revival Of what is almost lost
art Many of Shakespeare's plays are nearly
as deficient in acting qualities as Tennyson's
Queen Mary but if they we're well read
people Of culture, who are shocked with the
wretched elocution Of the minor actors.
would take pleasure In the recital Reading
Is an art that is lost to the stage, and here is
an opportunity to restore it and at the same
time afford the public . chance to judge OF
tho dramatic worth Of q work that must be
tested behind the footlights before people will
be content to accept il as drama suited only
to the study.