The sun. [volume] (New York [N.Y.]) 1833-1916, 1877-11-25
ANUS EBfI1N1


''"'" a.''"o' ''"y ho"o' enjoyed Nv the union
''i''' "'hI''
nuruou Seraphln"' winch is there played
w'n 'nc English trahsators tito OF " The
mo'n'r secret ~ one ol the most striking
ILLUSTRATIONS 'n"V we nave han upon inc stage IN
""'S country OF inc severe realism ana tho
"'''s'.' n','Sso' no Tess 'h"n inc unsatislatori-
w NV n"Vr""h p"oHc' Oh thW freheh
''''nou Whl'h Shapes dramatic art with reicr-
'hr' 10 'he conditions "l actual me- ana not
WIN reference TO poetic Justice.
"'rap,''h. mas been faithfully and ski'tnlly
'r"hsl''u Ihe PLAYWRIGHT VINO did the work
npp'ars 10 nave i"d some worthy scruplos about
"'S'uIuInH ue integrity ul Shrdou = compost
.lon' ne chans's arc IN the man, verbal.
in'r' IL snght mod'ii'at'on OF one oil the
V""'"'' rN' nlnu' III on'ui'h'c' perhhps't TO the
.r''Vis"s "h''n "r's'haIiy assalleu inc WORK
from 'h' uHramohtanc party IN farls. But the
r'Iau"hshlp "i IN" p'rsunagcs. inc continuity
anu meaning oil the incidents, ana the Intricate
c'mp'rNiy OF motives ana charactcr' remain
Jus, ~ H"ru"u cohce'Vcd thcm'
lh's III user Is ln"t OF sufhclent import
"n'' III inc history oil tnc freneh-AmerIcan
uINma I" mcrH some attention
hln'l" Mr. b"ucicaut ana his imitators
INV 'h""En' not "oh' eNp'uleht Out aoso-
iut'ly necessary I" water n French play before
WIN thcm II was not u question OF morality
Tor no french play has been produced in our
uhe so ain'haple To the objections oi the pn-
rls's rs was the English Formosa but
question OF commercial success.
IL WIS HeIu ny ihc auap'ors thht inc sympa-
thi's oil the audience should he consulted in
'h' ""'ueW'w ana disposition oil inc person
ages ana thr fren'h dramatists consulted only
inc ruth MS th'y found It in actual life.
AS consequence ot this no'hing came 70 us
III us in''ErNy-th inc dramas wore all translated
our oil honesty INTO English-n merely into
inc Vorna'ular' nut INTO the English prejudice
ana weakness tha' must nave an ideal and sat
isia'l"ry conclusion. pastered on to what is
stcrnly actual.
80 II was that Led Astray and Fernando
ana frou frou ana II score OF other admi-
raple examples OF French contemporary art
were not unlike Parian fsyches with Irish
pipes IN thcir.mouths.
In every perfect dramatic work as in all per
rect works OF art. there is vital principle
resulting from its organization which cor
responds to the individuality which life gives to
animal ami vegetable forms.
1t is for this reason that 1t has been said that
no part OF perfect work can be perfect in
ltselI. Tor themoment we regard part we have
lost sight OF the whole which was the object and
" '''''''' 49, ~ '"'' 20 f''''''
whole can De- separated from It's whole without
'"slhg us significance
Inc choppers VINO hacked these plays to
pieces Were wholly unconscious OF having driv-
On the lie out OF them. ana the audiences who
heli the au'opsles on the bodies never missed
the psychic principle. and were simply graft
h'd II the GuNanlc contortons OF the Torso sup
pllrd what they were pleased To call action.
Nheuler the REJECTION 10y Wallacks and the
mon square Theatre OF Mr.. Boucicaults
adapta'Ioh OF Ser"phinc. and III" acceptance
ny 'he la''er house OF MT Ca2aurans transla-
uon' means or not That these managers have
outSrown the notion that French play must
DE perverted before It can be presented here
nave N" means "t knowing
can "hV associate the fact ot such rejection
WIN We oih"s ia't mat Mr.. Bouccault as If
aware that tnore were now other stalls IN his
ihHrN''' had resolved 10 go out ~ the butcher
l'~ business ana ala iIouucc an original CON-
'uy'
Inc WoIk III tnat comedy bad as II WINS.
proven '' u" hlu'h '"t'r 'nan MS criticisms oi
IT, - wis " pi''' "i "r"h'eIue that h'ated IN
0IFS0lNln.r