The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-01-15

more than double those of the Pantheon and the
Bourse, the former Of which: vaults Included.
cubes but 10000 metres, and the latter 100000
metres. The new opera house Is consequently
THE HUGEST FABRIC IN FRANCE
ton since Titus built the Coliseum at Nome. But
why did not the French Titus live to see the CON-
Well The opers boSse mar been nsheo ena
before the fail OF the Empire had not economy
stood in the way OF the original project. AS at first
arranged the opera house was to have been lnaugu-
rated for the International Exhibition Of 1867, but
In 1854 II was discovered that NJ GARNER was con-
Quoting his works at such rate that the cost OF
500, 900. At the instance or M. Fouid, the Fl
orders that the building should be slackened: but
TO cover his retreat he published sentimental
''' ~ THE len NEW HOTEL DrEu,
or central hospital was SO tar from complete. 1t
would be unseemly that the house OF pleasure
should be fnaugurated before the house OF suffer-
lug. This little bit VI shoddy morality did not
deceive body, and It rather made the Emperor
their new opera house; they were already proud
o. 1t, and impatient to see foreigners come and
theory with Parsians that prodigalirIes IN arcnI-
lecture are always remuneratlve, and that 1t was
million francs when the opera house, once com
pleted, would repay the investment In hun.
were the @ ns
ing this tune. and they both made
sturdy attempt TO Obtain it, that the opera honse
should at least be inaugurated on the 10Th or
August, 1865, which was the first centenary OF the
great Napoleon, but parsimony had already begun
TO prevail in the imperial councils. Baron Hauss-
mann's achievements were being roughly critl-
cised, and the EmpeFor who was not sufficiently
fond OF music to risk parliamentary storm or
M. Garnier's sake decided that the building should
be proceeded with ''at leisure" SO NJ. GARNER,
with chagrlned soul, was obliged to make his best
OF the comparatively small sum voted to HIM
every year 10 complete the works. He mad calcu-
lated that ne had still some ten years occupation
before him when the war and then the Commune
broke OUT, arrestng progress and threatening the
building with premature rum. During the siege
n IA
Tor military stores. Under the Commune 1t became
A NEGOTIABLE FOR EXPLOSIVE MATERIALS
and NJ. GARNER had TO perform prOdigles to shield
1t against bombat dment by the shells rom Mont
martre and voluntary incendarlsm on the part OF
the insurgents. However, 1t has survived so far,
and there it stands; but one cannot help thinking
that the Emperor Napoleon committed grave
rapid finish that 1t might have been lnaugurated
IN the Exhibition year along Win the magnificent
Avenue de iOpera, which Is 10 lead by and by from
the opera to the Theatre Francals but which was
Retarded Tor want OF unds Inc inauguration OF this
opera house ana avenue in 1867 would have been
a lit thing done at fit time. 1t would have been
the splendid mementO OF year when the Empire
had reached its zenith, when not only subjects but
sovereIgns were Hooking to the capital, and when
Napoleon Iii. might justly regard himself as the
nrst potentate IN Cnrlstendom. The occasion was
allowed TO sip, calamities beell, and now the in
auguration OF the opera house will be like an adj
journed wedding taking place in house of mourn
ipg, All the more so as the building is not unlike
q Brobdlngnagan wedding cake.
THE STAGE DEGENERATEDs
The new opera house IN Paris, that most
not unnaturaliy suggests some reflections on the
wewOrn theme OF the deReneracy-real or sup
posed-of tne drama IN modern Gays. is II true
OF our fathers :? II II be so, our whole ctvlliza-
ton must lie mistake and sham. For the
ann OF all men, whether they avOw 1t or not, Is
pleasure, and IL as certain mOrallsts affect to be-
lleve that pleasure, on which art and wealth
chiefly lavish their stores at the present day, Is
become the mere minister oil frivolous and even
sensual tastes, it becomes clear that she chief
good OF modern life IS something which TAILS in
below the ideal of what beautiful in lie
as 1t appeared 10 the master minds OF pagan
Greece AS lar as the drama Is concerned the
tru IA seems to be that what Is termed the degene-
racy OF the stage, really means It's gradual perfection
Dy restriction to It's legitimate OBJECTS. The drama
has had TWO brths-tne one IN ancient and the
other in medieval times. In either instance 1t
sprang from the religious feeling OF the age. The
fret scenic representations at Athens were IN
honor OF Baccnus and performed during the les
tlval OF the god. We know from Horace and Pliny
what sort OF an affair was the first tragedy. Thes
pls, OF the earliest lessees ana managers, had
no Otner stage than wagon, and Tor The
'CoPYRIGHT0
OF "Acests" received goat nom the discerning
publishers OF the day. regular stage was not
introduced till the time OF 1Eschyius, VINO further
insisted that the actors in MS pieces should be
properly dressed-a very necessary regulation
proDaoly Tor the early actors. There were no
srase and pavs We're acteS WITH sucn attention
TO scenic effect and such due care OF the acoustic
arrangements as tohave been probably unrivalled
TIL within very recent GATE. There was no need
10 simulate an artificial sun, or sea, or pictur-
esque background. The sun Of southern Europe
Gulf OF .Eglna were themselves visible to the
spectators who saw them 10y a better light than
Atnenians devoted the whole day to the theatre
when play or rather series OF plays were to be
ar's S 'hey at air a.
dramatic representation were rare. occurring
only in holiday time. To an American or Q
FrenchInan
THE ATTENDANTS IDEA OF PLEASURE
must appear simple marty dom. He would go to
the theatre early the morn ming and see at least
set oil three tragedies, being followed by short
''satyric" piece, which cannot be called Immoral
morality was entirely absent from the
mind of the author In writing 1t. Thus
an Athenian gentleman would listen without
modern audience would weary OF the 'Agamem-
non" before it came to a close, might possibly
make an effort y SIT out the ''CnGpnora," but
for the ''Eumenidea." Is IT. that inc mag nlncent
dramatic eplc-as IT may be called Of the "Ores-
teian has no attractions for the race Of men who
delight III the ''Grande Duchesseh and MADAME
pArcniducs" Very far from II. We go to the
read In the solitude OF our chamber. where the
mind can be concentrated on the pages Oh Milton
or Tenuy son Tor religious instruction we 90 to
church; tor comments on current political events
We glance through the newspapers. To the
the place OF a book. OF pulpit and OF newspapers.
Though appreciatlve In the highest degree OF wit
could ''G not read Hv and ines could read
could rarely AFFORD to buy books. while
religious teaching there was none, except
through these plays, the plot OF which
generally chosen from legend OF the
national mythology, or at least through these
plays and the recltations OF the rnapsod.sts. And
Tor comments on the last news from the seat OF
war In Thrace or buotia, the pending negotiations
for peace with sparta, the last blu OF CieOn Tor the
democratic vote Tor illusions to all subjects which
are now treated IN leading articles, the Atnenlan
looked To the play. Bschyus and Arstophanes
sought 20 appeal 10 every emotion OF the human
heart, to the sense OF religio 10 the love oil cOun
try, to the political opinions OF the audience. the
plo orly m IN IN
tere1t. HIS stock In trade, 80 TO speak, consists
in tangled pots, in critical situations, In witty
repartee. lie rather AVOIDS determinations on the
grandeur OF Freedom on the respect due To the
Almighty, or on the mysteries OF the eucharist.
In the comedies OF Arstophanes are TO be found
sacred hymns Of exquisite beauty. but, according
70 modern notions, scarcely IN their place wnen
preceded and followed oy humorous scenes which
are TOO often coarser than any represented on the
Paris stage.
THE DRAMA has NOT DEGENERATED
but has been limited 10 It's proper spuere. For
what applies 10 the difference between the Attic