The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1879-08-22

company In the last of Mr.. Byrons great successes-
that TO say. the last but for he Is ever rcpac
whom I either could not see or now blame my.
SELF Tor having neglected to take their names. out
whose clear and graceful acting remains IN my men
Dry One Tor instance. at the Opera Conique-Mr
Rutland harrington. II l am not mistaken so hu-
morous IN the amusing and thoroughly English
farce or "Pnaforc."
THE DISSEMINATING PUBLIC
We should be thankful 10 ~ Got for placing "Pn-
afore" in its proper category at last 1t is farce
i'll his opinion. lie evidently did not ind any music
In It, He admits that his impressions the result
Of an 'old. too superficial study" lie then goes
to compliment the ladies of tho audience and--ths
critics.
What would it be if could have fully judged Of
the dialogues of the pieces and the delivery OF the
actors? But did the applause or laughter of the
crowd. after all. guide me; and do we not know by
experience my distinguished colleagues of the COM
eie FRANC ,ise and myself how subtle and discrin-
mating Is the judgment of the London public, espe-
cially OF The ladies, whose perception amazed us
IRON the nrst by its Geiicacy and Of that other
grdde drne. the press. whose art critics recog-
nized behind their tncog"o 10y the acuteness and poll
ish of their sty and ideas, whose pen il
sometimes armed with 4 just point of irony.
H. Got crticses very justly the lack OF ensemble
in the English performances caused by the individu-
atty and self of the stars being given too much
prominence. Respecting the methods of dramatic
expression u. Got offers interesting remarks.
lie says:--
Another reproach. We are told that we sing. and
this is often true, think but French art springs
almost exclusively from the ancients. using rhythm
in prose and measured and universal move
ment in passion, whereas the originality Of
English art lies i'll the genial force OF the idea.
whether dramatic or burleslue 1t Is almost always
somewhat rude aud rough. This art should. there
fore. be homogeneous in its expression. But let
me assure YOU you also frequently sing vour words
more than you suspect; and may add that you are
right when il is the author who wishes 1.-THE
author. who is the master of all Of us. Now. what
poet. what lyrical orator but wishes to be sung.
seeing that he begins by singing himself? Listen to
him. Several tIiues at Temple Bar was present ut
the pleading OF your great barristers. One evening
u line opportuni'y-tor which am still grateful 70
the Savage Cub-cnabled me to hear close by and
clearly understand the pure. eloquent and har-
monious voice of the illustrious Mr.. Gladstone.
What power! what charml And what would your
actors lose by pronouncins and modulating thus?
ENGLISH AND FRENCH ART
NJ. Got sums up by decliring that "the level OF
theatrical execution in England seems to be con.
siderably rising" He has the ''Gcrman stage ct
Vienna and Weimar and Munich carefully nursed.
especially at Vienna. 1t is not superior yours
this head. Respecting the moral tendencies OF tha
stage he places the English theatre higher than the
German. And thus he concludes:-"For each
country providenally bears certain special fruits.
has not art in general. and dramatic art in par
ticuar been and is it not still rather the vine. ~
it were. the popularity of France?s 1t is true
that Shakespeare, sweeping suddenly with the
great wings Of genius above the mysteries and plat
itudes of the Middle Ages preceded by several
grand outburst OF the seventeenth century; but
it is the less true that tho stage Is still
national product. lovingly appreciated and cult.
waited my own country. You have authors Ger.
tanly. and brilliant ones, but not after all,
authors. translated adapted the chief springs Of
your dramatic life? Do not refuse this piece Of
pride tor you have a right to SO many others. In
word, the Greeks. in my opinion. and you are
ID
Roscius does not exclude Aristodemus. It il with
this would conclude"