The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-10-11
Our Native Drama and Native
Dramnfists.

The truth about this discussion Of "native
drama" is that we have no native dramas, or
few indeed worthy of that name. We have
no school Of comedies, for instance, like
those written by Alexandra Dumas, or Scribe,
or Sardou. We have none Like those of
Robertson, or Tom Taylor, or Stirling Coyne,
or even Sheridan Knowles. Yet when we
look for the elements of dramatic interest in
our society America is as rich as France or
England. writer like Sardou, who is more
OF stage carpenter than dramatic author,
VIII take an old subject Of French history,
or social scandal, or political idea, and
clothe 1t with brightness and pageantry and
stage effect, and send it running for season.
even in critical Paris. A writer like Robert
son could take a society topic and weave
around it the daintiest fancies and make it
the talk of London. If we except Mr.. Bouci-
cault-and we can scarcely call him an
American dramatist-we have no dramatic
Writer who has given us a school. Mr.. Bouci-
cault is uneven in his works, as all may note
who have seen ''The Shauphraun" and
"Belle Lamar, probably the best and worst
OF his creations. His best work is Irish. Our
dramatists have run to caricature Where
we have successful play it comes not so
much from the work itself as from the actor.
Mr.. Jefferson created the character of Rip
Van Wrinkle. The play had never attained
any prominence until he took up the part and
recreated it. Mr. Forrest did the same for
''Metamora.' Mr.. Owens made character
of Scion Single. Without him the
play is nothing. Mr. Raymond has
done the same with his little sketch of
Colonel Sellers. Without Mr.. Raymond the
play would not last week. If the mighty
Dollar" amounts to anything at ALL which
we question, it will be simply because of Mr..
Florence. And yet thert is no department Of
literary labor where the returns are so quick
and large as the drama Two or three years
ago an American wrote foolish wretched
dialogue for the spectacular play Of the "Black
Crook" For this bit Of work that might
have been done in week by any fifth class
local reporter he received quite fortune.
Mr.. Howard made a large sum out Of
Saratoga" play that was nothing 1t
is not, as one Of our correspondents has
argued, the fault of the managers that
the native drama is not encouraged. They
would only be too glad to find an American
play if anybody will write one They do
not keep theatres open as a nursery
for struggling intellect. They do not
pay money to allow every poetaster or
stage-struck writer to test his fancies on their
boards. But good comedy will not only
be q fortune to the manager, but to the
writer. Why do not some of our really clever
writers-Russell Lowell Bret Harte, Whit
tier, Longfellow or John Hay-attempt some
thing in the way Of comedy or drama?
Tennyson, after thirty years brilliant and
steady poetic work, has given US a drama
which high critic speaks Of as in some re-
spects Shakespearian Why cannot some of
our really great writers who share with Ten
nyson the first position in English literature
initiate his example and give US something
worthy of their genius and Of our literature