New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-06-11
THE DRAMA.
ON SHPMATES.

sailor who loved the GIRL and was loved by her in
return. came back from sea, rescued her from the
tyranny of her treacherous and schemng relative.
and married her himself-incidentally compelling
the uncle to give mp her property. This occurred
at Clifton Staten Island. and Mr. X. G. Morris has
set forth these facts in piece entitled ODD Ship
matesr now visible AT Haverly's Theatre.
It need not be sald that the fable of Mr. Morriss
piece is r1ts. All readers and playgoers recognize
tina. fact at the first glance. This story-to GO no
further back-isthe story eragan. of Derrick Ton
Bestnqn, Neeaie Fan Wink'e Cocdlcs, and HeHdrick
Dedder. Nc plot could be more respectable, on the
score Of age. But Mr.. Norris, in his treatment OF
this fable has made two fundamental errors. He
has wasted time and strength on prel;minaries that
ought TO have been implied and. after reaching
one dramatic situation. he has neglected to invent
an Ingenious effective, dramatic method OF display
ing its consequences During the most part OF the
first two acts the spectator is waiting for something
10 happen During the last two he gradually be-
Genes more and more disappointed over the improb-
able. inoppcrtune. tame, and even clumsy manner
in which useful dramatic mystery is handled. ard
a elimination reached. If an old posture of social
relations was to he treated at all. it ongh at least
70 have been treated with freshness of invention
One of the first duties Of a dramatic author Is So
lection The ordinary facts OF everyday life are not
be tedious In order to produce dramatic effect it is
necessary to choose and display what may perhaps
be descriptivey called the points Of intersection in
human experience To introduce several persons
upon the stage and them to converse about the
weather and similar topics is TO be strictly in keep
ing with fact. Anybody can do ths-and, nova
DAVIS nearly everybody does do 1t. But this is not
the making of dramatic situation or the writing OF
dramatic dialogue; neither does il lead to the dis
pav of character under dramatic circumstances The
dramatist must not use talk merely for the sake OF
talk: neither must he the method OF narrative
The hero of a novel may give his autobiography
but the hero of play must move before the spec
tator's eyes, in action to a climax in experience
novel may begin at birth-like Peter Simple or
Midshipman Easy, "-but play can only begin
after much has already happened. The dramatist,
accordingly is bound to select, for stage illustra-
ton. persons who already stand, or may readily be
made 10 stand in dramatic rel alton TO each other.
There is a common sailor in Mr.. Morrs's play who
possesses a paper that will criminate the wicked
uncle Toward the end of act second that bad man
taunts the worthy mariner so as 20 make him dis
play this paper and then in struggle for Its pos
session shoots him and obtains part of the maign
document. The introduction of a murder into
simple domestic, almost dvc, piece. seems alb
rupt and inharmonOus Yet tins scene Is essen
TALLY dramatic and from this point the interest OF
the piece ought to have been carried upward to
still stronger climax Mr. Morris's method is to re-
serve from the knowledge OF the audience the fact
that the sailor has not really been killed. and to
bring him on at the end of the play in the course OF
another set-to between the chief beligerents This
shows either carelessness poverty of invention
Having the witness the paper and the situation
within his grasp, the hero surely had no need
10 descend to the vulgar e1pedient OF
brow beating and istIcufs. The dramatic
way would have been to apprizs the au-
dience of the real state Of facts and then to de-
wise strong situation, wherein under exciting and
psthetic circumstances the temperance OF the
supposed dead man might overwhelm the CRIMINAL
dramatist may mislead his characters, as TO one
another TO any extent that common sense VIII adj
nit: but it is not dramatic art to mystlfy the
audience and then 10 spring surprise upon them'
Jeontes does not know that the statue Of Herm'on
is actually the living woman, presently TO descend
from her pedestal; but the audience knows II. and
the ioy of the audence is TO see his awakening to
the truth.
There are other defects. which lie more upon tie
surface. and could more readily be repaired. The
STYLE is mostly of one piece and little OF no effort
seerus 10 have been made to match language with
character In the first act there is Of pratt
tie a1d Of sweet nohings; and here, and all the
way through, Captain Ucathergdge eyinces
distressing propensity TO preach There
is certain set speech of his, full
of nautical metaphors expressive of his good wishes
for the future of hi, sweetheart which is really
affecting in its artificial tone and cut-and-lried
emotion and which may be cited as an instance Of
his dire predilecion for drawing moral and an
nounciug trusm In this act, and throughout the
play Likewise there il an excess OF nautical Ian
cuage Sailors do not talk in this manner, either
ahoat or ashore and even if they did, peculiar
manner of speech is necessarily shorn Of It's due
effect in dramatic art, by being overdone There Is
q woman in the play who has been sailors WIFE,
and il appears to have been thought humorous TO
make her, also talk the lingo of the forecastIe ana
hitch up her waistband and generally conport her
self like an old sea-dOg. Dickens dealt freely IN
this sort Of exaggeration; bat things read about
and things seen produce very different effects. The
woman in the play is bore. Another
exaggeration is the One-armcd soldier who
rnsbes through the scene in pursuit Of
the housemad. Frivolities like this are
unworthy of use-except in the broad aud harum-
scarum domain OF farce. The hOuse-maid talks OF
striking seven bells asaslgna that dinner Is ready
" Sheu-backsr are mentioned. There Is piquant
reference to " guf-tackle." conscious purpose to
be marine obtrudes IN all things. some OF the
names are emblematic-after the manner OF The
Pilgrims Progress" Captain Marine Uedthergage
plainly enough follows the sea. This strenuous
nsstance on the atmosphere Of navigation fatigues
an observer and hurts the illusion of play. The
effect is likewise marred by the Introduction OF
certain Mrs Cherry Jones whose presence is needless
and whose attitude. conduct aud language are
absurdly untrue to female human nature and 10 the
possibilities OF social life This lady Is the wealthy
- widow Of the late Surrogate of Richmond
Countv business in the piece Is
follow Captain Ucathcrgdge and excaim upon
him. "You are mine you belong 20 me" and
to be DISCONTINUED by his blunt refusal Of
-. ,llr.s-as a Ll..n.-A