The sun. [volume] (New York [N.Y.]) 1833-1916, 1876-04-09
AM USEM ENTs.
Some Suggestions ss to the Uses and Abuse.
Of Burlesque.

Berlesque has always been favorite
form Of theatrical entertainment. It was the
essence Of the old Greek comedy. The mere
form Itself even seems TO be pleasing TO great
numbers Of persons, since In many so called
burlesques which have been probably PLAYED
substance has been notably wanting. The writ
ers OF such pieces are often amiss In the choi co
Of a subject. Not infrequentv do they try to
travesty something which, strictly speaking. Is
nearer to a burlesque than to anything else. In
general, modern comedies offer no worthy op-
portunitles to the caricaturlst. Many OF them
10 their original condition are too much like
farces TO be put to any such use. and none OF
them have the grave and grand character nt for
tho object OF q parody. Plato makes Socrates
say. "All oppostes can be fully understood
only by and through each other; consequently
we can only know what is serious by knowing
what Ia laughable and ludicrous;' from which 1t
would necessarily follow that we can only know
what IA ludicrous by knowing what ISIS erious.
The contrast between the burlesuue and the thing
burlesqued should be az wide Us possble-tno
wider the better, so long as the relation between
tho two remains obvious. That THIS relation
NAV be apparent Il is necessary that the matter
travestied should be known, at least In general
way, to the audience. In the old comedy OF
the Greeks mot merely single scenes, but
the very form Of tragic composition was
parodicd, and doubtless the parody ex-
tended not only to the poetry, but also to
tho music and dancing, to the acting itself,
and tho scenic decoration. Nay, even when
the drama trod In the footsteps Of the plastic
arts. II was still the subject OF comic parody, as
tho ideal figures OF deitles were evidently trans
formed Into Caricatures. Now the more imme-
diately the productions OF all these arts fell
Within the observance OF the external senses,
and, above all, tho more the Greeks, In their
popular festivals, religious ceremonies, and
solemn PROFESSIONS. were accustomed to, aud
familiar with. the noble style which was the ma
tive element OF tragic representation, 80 much
the more irresistbly ludtcrOus must have been
the effect OF that general parody OF the arts,
which IL was the object OF comedy to exhibit"
II we were to follow the Greeks In caricaturing
personages In high places and events OF national
interest, subjects could not at this time be
wanting. Hut this Ia kind Of work that re.
quires hardly less talent than IA needed to write
- tragedy. Indeed, with this kind OF compost
ton In view, as comedy, one OF tho greatest OF
the Greeks urged "tnat II Il the business OF one
and the same man TO be equally master OF tragic
aud comic composition, aud that the tragic poet
~, In virtue OF his art comic poet alsO.'
In this Kind OF writing, although the greatest
license IL allowed anu the wuOle purpose Is
spOrtive, the style, the form, and the representa-
lion must he serious. Win all his whims, cross
purposes, extravagances, the writer must not
lose sight Of his aim, which IL n satiric b. and
ludicrOCs contrast between the grand show and
the petty reality, the proud place aud the mean
occupant, the blustef OF the event and its really
contemplate character. In TINS style OF compo-
sition there Is an opportunity for wit aud genius
To do cool and he appreciated. But II Is not
easier Of ACCOMPLISHMENT than Is any other
work OF real excellence; II cannot DO achieved
Ia IN hour nor Ia night