The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-02-03
AMUsEMENTs.


Female dcpravity Is. doubtless. n proper
theme for the dramatist-but in its employment
he must have some other purpose than tho mere
exhibition of it's acts.
think Mr.. Boucicault rehabitated his play
Of" Jsscbcl" to Justify his theory. set up In the
North american Rerie,c.
1t is n ncndish drama. There IL in II q heav-
lily laid on hellishness that ought to appa the
soul
But II doesn't
Simply because female depravity to DO OF
any thrilling service must not be laid on like
cold cream. but evolved like n spirit photograph.
Mr.. Boucicault says in his essay on The
Art of Dramatic Construction " that OF the two
essentials in n drama-the action and the char
acter-the action Is the more important. IL Is.
no remarks. the cause OF the suffering. Tor per-
sons suffer in consequence OF what they do or
Of what is done to them. and not because they
arc of a particular character.
Think myself that this IL shallow hereey.
II overlooks the important consideration that
being determines doing. and that in all noble
dramas. US in life itself. heroism always pro-
cccds from the character which enforces doing.
or else dcfcs IT.
But the play Of" Jcscbel." or Palma" as II is
now called. is planted sauarely on this heresy.
We. therefore. have action OF the most rapid
and continuous Kind but the heroine who acts
Is herself wholly destitute Of character, and We
are entertained by what she does, but never in
tercstcd in what she is
Sho is pantomimic fond. 30 constru cted that
she must be rs bad rs the scenes will permit.
But she utterly loses the authority OF genuine
malignty. for she is the victim Of the situations.
The indcfatigable creature never ceases doing
from the moment the curtain goes up. Sho
comes from the uttermost parts Of the earth
seeking whom she may devour. She uses the
name and papers OF n woman who died on the
passage TO marry n rich man who believes her
10 be somebody else. and we are here required.
Mr. Boueicault thinks. 10 DO interested in the
energy and efficacy of her movements.
think. on the other hand. that we endcavor
to interest ourselves in the adventurous and
sordid spirit which prompts this reckless feat
and which promises us a revelation OF female
audacty.
No sooner is she snugy married to the rich
merchant than she sets up an expensive de-
bauche lover In the most business-li manner.
steals her husbands jewels to provide him with
money. and attempts to poison her husband
when he finds 1t out.
Mr. Boucicault insists that this diversified
conduct awakens an emotion OF interest. lie
doesn't see that the motives have changed text
ure and that our curiosity Is now shifted from
sordidness to lasciviousness. 1t is enough for
him that the lively creature keeps ON doing
something.
She believes that she has killed her husband;
In fact. she is told SO by one OF her friends who
uses this ruse to get rid OF her. and she flies
to Mexico.
The moment she reaches the other side OF the
world she hears that her husband is not dead.
but has married another woman. and back
shc etn ia 70 And and h., n
think we have to shift our interest now from
lasciviousness to revenge
Now. the contemporaneous human interest
will not stand any such twisting as this. In the
first place. We are asked 10 regard this womans
desire to obtain social position. In the next
place. We are asked TO become interested in her
total disregard OF II. Then we are supposed to
contemplate. with curiosity at least. her entire
indifference TO her husband. and the prompt
ness and despatch with which she attempts to
kill him. And this is followed by an emotion Of
pleasure at the exhibition OF a revenge which
has no other cause than her Indifference to tho
man.
Tho truth is Palma does not get very far on
her mission before we discover that she IL
very vulgar wretch who comes under the legal
description OF malicious mischief maker. and
we nstinctivey feel that In real life she would
be put In a strait jacket
Her action is Of that kind which Carlyle at
tributes to n Catherine wheel. II sputters and
revolves without getting on.
don't think any reflective man can study the
play without feeling a strong desire to readjust
MIR. Boucicaut's rule--or 10 set up a better one
TO wit; That sequence OF conduct without de-
termination OF character is impossible And
continuity Of incident without continuance OF
purpose is mechanism without motor.
II may DO good masonry. but II is not even toll
cradle architecture
/. for one. cannot help protesting against the
absurd conclusions to which the realistic play
wrights are trying to push us with regard to
Action in the drama That II is an essential
and distinguishing element OF theatric litera-
ture has been made the basis for theory that
the drama can get along without anything else.
To such length has Mr.. Bouccault carried
this notion that he introduced II into his decora-
tons. and in " The Shaughraun ;" put his stone
walls on pivots. and turned the rude heads OF
observers by turning whole set inside out
The effect OF this application OF the Catherine
wheel business 10 the scenery was undeniabe
II did create what he calls an emotion But
then. have known the same emotion 70 he
aroused by four truckmen and two mules hoist
ing an iron safe into second story window
Action is PROFESSIONALLY OF supreme impor-
lance in a play.
BY why2 Is II not because. while words tell
only what we think and tones what we feel. that
actions tell ul.at i1e arsS
The liveliest exhibition OF mere motion that
ever saw was given by sticks painted and dressed
to initiate human beings.
The worst acting ever saw was that OF hui
man being who possessed the energy Of a wild
cat and the agility OF q monkey to no rational
purpose
II. then. we are without character. action is
mere paroxysm.
Mr.. Boucicault is the only clever mechanician
/ ever heard OF who believes that It IL quite
enough II his machines run smoothly. Do you
see how nicely the parts are adjusted 2" he ex-
claims. How noiseless the contact OF surfaces.
how easy and continuous the action? 1t Ia per-
feet work"
But what Is II for" you ask.
For 2" he cries. do you not understand
that 1t Is problem OF form and motion worked
out: that it is a triumph OF construction? 1t
proves that thing becomes perfect when 1t is
put together right And perfection is the de-