The Ouachita telegraph. [volume] (Monroe, La.) 1865-1889, 1883-03-10
THE LATEST STYLE OF CRITl-
CISM.

ga revolution has broken out" cried
little gentleman in black, rushing
into the dramatic editors room.
:Take it to the political editor"
emo, mean a revolution in journal
ism, and in your particular line. I be-
lieve you are the dramatic critic Of
this paper" said the little gentleman,
Pumping into chair and drawing
forth a manuscript. H
ssHaven't time to look over any new
plays to-day" said the dramatic edi-
tor. ssCat again in about three years
or so.''
"Don't want you to look over Il
play" said the little gentleman.
"Something far more important. a
revolution has taken place in dramatic
criticism"
"NoNsc for it," said the dramatic
editor.
s'But we have reached IL stage in the
,esthetical progi ess of the world when
the public demands n more
"Heard that by tho gard BEFORE"
said the editor. 81 tell you this is my
busy day."
cit is your business to hear and
learn" said the little gentle
man. cart, in its passionate
serenity, stands reckoning you to a
higher plain. Will you go up to that
plain and become one of tho educators
of your time, or are you content to
dwell upon the full houses and draw
ing we'll level OF criticism ?''
81 say this is my busy day." shout
ed the editor.
(sNk tNp,oS Ss re c,n
portance than any you can have on
hand" said the little gentleman. 81
come to you as missionary of art to
lead you out into the Jean Francois
Millet atmosphere Of dramatic criticism
where everything is purely, exquisite
ly, augustly Greek, and where you will
DO taught to fall down upon your
knees before the Parthenon and where
the very air is permeated with
eff you don't light out this moment
I'll have you bounced" said the editor.
"Suppose you were writing up the
appearceane of new actress" contin-
ued the little gentleman, edo not dwell
too long upon the unimportant point
of her acting, but float away into the
artistic phases of the question. Say,
for instance, that the harmony in blue
and gold which she Wore in the first
act was charming, but that the right
leg OF the table at the back was not so
purely Grecian asst might have been,
and that the candlestick used in the
second act was all out of harmony
with tho shutters. Then go back into
history a bit. Lug in something about
Reynolds, Claude or some other fellow
no matter who, and never mind about
its having anything to do with the
subject you are writing on. Wander
away into Florentine mysticism, and
sling in lot about the romantic, the
classic and the plastic. Then pitch in
and say that the actress reminds you
of the pure Egyptian, Roman and
Greek types of beauty, dilate upon her
ears, mouth, eyes, face, neck, and say
anything you like, so long as you
don't come out tlat-footed about her
acting. Always keep that in the back.
ground. Say, for instance, in the
opening up, 1T is strange what charm |
hangs about the ruins Of dead Troy,
but then everything that is beautiful |
in woman is coupled with that city,
made living real thing by the biind |
poet of Greece. Has another Helen
come among us? Then you compare
your actress with the old Helen |
racket, and"
"Stopw cried the editor.
"Then you say that her laughter is
as the laughing of pleasant fountains
over" But the little man suddenly
dropped under the table, and his remains
were duly deposited in a wagon and
taken to Flatbush.-B'Ook{Wn Eagle.