The central Presbyterian. [volume] (Richmond, Va.) 1856-1908, 1881-01-12

mel, physical, mental, emotional ana
moral they use this as the key Of their
interpretation OF her acting. They use
1T to heighten their estimate and inst;fv
their applause. These very same dr.
matte editors, too, are quick enough to
seize upon and make the most of anv rear
or imaginary virtues possessed by their
artists OF the stage There are few
names which are always being held M,
for admiration, such as Charlotte Cash
man, Macready, Edwin Booth, and John
Gilbert, as if these were anything more
than exceptions, and as if they did not.
largely or wholly keep themselves aloaf
from the members of their own profess
SION. And none are so glad as the pulpiS
and the religious press to recognise then.
virtues; nay, to insist upon the right and
privilege OF taking these virtues into con-
sideratlon In our estimates of them. And
we claim the same right and privilege
when the opposite is true. And we m
slst that the dramatic critic shall not
credit the vlrtuous and reputable raerR-
bers OF the stage, and refuse to disersdit.
those who are VIGOROUSLY, fauntingly, IN
blushlngy the reverse. We hold thai It
there be to day an actress who represents
before the world an embodied defiance OF
the laws which are at the foundation Of
our domestic and social safety and sanity
1T is absurd and disingenuous to pretend
that in such case the artist can no
separated from the woman. Her very
perfection of art is in her peculiar animal
and affectional endowments and faseins-
tons; and this Is what the critics and the
public are constantly and gloatingly
bringing forward.
Moreover, when it suits these dramatic
Daniels, they are very emphatic in ap-
holding the stage as public teache, OF
culture and morality. Be it so. We IL
slst on applying the same tests of person
al character and fitness to the instruction
of the stage as Of the school-room OF the
pulpit. This precise class of critics and
journalists are the readiest to go behind
the personal reputation of the Beeebers
the Talmages and the Woodhulls. Let
them be consistent in regard to the Nell
sons and the Bernhardts. At least we
who have daughters and sons, we who
have congregations and readers for whose
moral and eternal welfare we shall be
held responsible, are not going to iet the
great world raise its hosannas and strey
It's pal M branches in the path of any one
who rides in her nakedness upon the high
places, without our protest and our point
ing finger
We warn the age of its great peril and
toolIshness-the attempt to make p1ac-
teal severance between the intellectual
and moral. We have called it paCaya
revival. Calling it Greek" does not
alter the fact of its paganism. Art d.
vorced from religion and purity-whether
IN nude statues, or sensuous poetry, OF
French fiction, or tragedy-queens adyer-
Using their charms-becomes the rea2
Syren, Gree, Vivien, which preludes the
decay and death of society and of nations
We prefer to be " Semitic, " Heb-aistie''
as was Paul, who could not note the
supreme art and intellect of Athens, for
the yearning of his soul over its cultured
throngs of agnostics on Mars Hill, It's
affairs to an unknown god, and its city
wholly given to idolatry of-Artl
Christian Iatel6gencer-