The Portland daily press., 1881-02-12
Recent Publications.

The Actor and his Art. By c. Coquelin
Boston: Roberts Brothers; Portland: Loring,
Short & Harmony. In this charming mono
graph M. Charles Coquelin, me mber of the
Comedie Francaise, makes a manly, brilliant
and honorable plea for the position of his art:
He argues that, of all arts, that of the actor is
the most intimate although the most perish
able.
The poet, says NJ. Coquelin, has for his ma
terial words; the sculptor, marble or bronze;
the painter, colors and canvass; the musician,
sounds; but the actor is his own material. To
exhibit thought, an image, human por-
trait, he works upon himself. He is his own
piano, he strikes his own strings, he moulds
himself like wet clay, he paints himself!
And since art is creation and because it is
the actor who fills with life and spirit the out
lines which the dramatist has indicated-it is
sure that acting is an art and not the least of
arts. M. Coqueln quotes to this effect tho
words Of M. Hugo, who said of Mile. George
in Marie Tudor, 'Tn the poets own creation,
she creates something which surprises and en-
chants the author himself" Marmontel, Vol
taire, Dumas, George Sand, Feuillet, De Mus
set, Ambrose Thomas, Halevy, have similarly
complimented the Interpreters Of their works.
M. Lemaitre of the Coincide Francase, per-
ceiving that the part of Robert Macoire was
written at the height of absurd melodrama,
took the brilliant fancy to play it as burlesque
He associated with him in this idea NJ Firmi n
and while the other actors played in all seri-
BUSINESS, these two comedians carried the play,
gave to the whole superb effect of unlimited
nonsense, and delighted the audience. The
authors of the piece, who had intended grand
sacrifice to the tragic muse-were consoled for
the demolition of their ideals in the substan-
tial development of their pocket books. This
was creation indeed, recreation! If it is
argued that the triumphs of the theatre are over
with the day of the actor, that nothing but
memory (and that not often a true one) is left
of the kings and queens of the stage-M.
Coquelin rightly says What of this? "Marble
is more lasting than canvas, verses more en-
during than marble, but time devours them
ALL
In the never-ending discussion whether the
actor should feel the passions which he repre-
sents, or remain unmoved himself while setting
in motion the springs of feeling in others-M
Coquelin believes that it is proof of art to
remain unmastered by the spirits that himself
has called.
He believes fervently in the power of the
stage to give the most charming pleasure, the
most direct mental elevation, the most lively
humanity. He speaks with the dignity of a
man whose art and ideal give him the right to
uphold his profession. And the public will do
well to remember that in the character of the
drau ptaI i.
theatre-it is purely question of supply and
demand. If the public will pay more to hear
Shakespeare, the tragedies of Hugo, or some of
the bright and unexceptionable comedies,
which often take the modern stage, than to
listen to plays of Objectionable tone-they will
not find managers slow to take the practical
hint. The public has no one but itself to
praise or blame for the prevailing tone of the
stage. M. Coquelin's brilliant essay has
proved the right of the actor to be called an
artist; and it is certain that art reflects the
color of the times
Songs of Sunshine and Shadow by Maude
Moore. Boston: D. Lothrop & Co.; Portland:
Dresser & McLsllan.) This is volume of
natural, sincere and graceful verse; Mrs.
Moore writes with feeling and refinement, and
without affectation. The subjects of most of
her poems are taken from the events and
thoughts of everyday life, and are treated with
so clear touch and SO fresh and delicate SEN
timent that her work will not fail of wide ap-
probation. She has good skill in versifca-
ton and ranges easily from strong pathos to
dainty playfulness, and her work has woman
" ND md skxv
than passing friendliness from is readers.
Poems of Many Years and Many Places. By
William Gibson, Commander U. s. Navy.
Boston: Lee & Shepard Portland: Loring,
Short & Harmony The impression left by Mr.
Gibson's work is OF decided poetic talent, de-
veloped into somewhat rank growth by the
authors wide range of travel and experience,
and needing the limits and pruning which an
acute sense of the fitness of things, and entire
refinement of moral and artistic tone would
give to it. Mr.. Gibson's work varies greatly
in degrees OF merit. The Hymn to Freya is
admirable-the metre is ringing, the tone is
genuinely Morse, and the atmosphere of the
poem is luminous and soft. Persephone is as
Southern in quality as the Hymn to Freya
was of the North--but its color and music ara
made little heavy by somewhat too elaborate
wording. The same is true of the Sibylla Gu
mana, and the unrnymed stanzas of three
lines each with which the poem ends, miss
the subtle pattern of melody which Tennyson
has set for this form of verse. Niagara and
the Approach of Mars are somewhat confused
and wordy. Castellamare is an unlovely le-
gend told in Byronic metre, with not very
good taste. Empedocles again, is vague and
inflated with sonorous wordiness. Desolation
is poem of much picturesque power. Others
of these poems are matter for sharp reproof for
their want of refinement. Mr.. Gibson's style
is at present over-ambitious-it is possible that
with care and good use of his talent he may
become more than tolerable poet.
Quiet Hours Boston: Roberts Brothers;
Portland: Loring, Short & Harmon) This
little volume contains choice poetic selections
of medtative character, chosen from among
the writings of many poets. 1t is similar in
design to the first series of the same title, and
will be welcomed by the many readers who
have already found pleasure and consolation
in the pages of Quiet Hours
The OrthoGpist. By Alfred Ayres. New
York; d. Appleton & Co.; Portland: Hoyt,