The Manitowoc pilot. [volume] (Manitowoc, Wis.) 1859-1932, 1884-02-14
True Criticism.

1t is somewhat the fashion among
| certain classes of journalistic critics to
make show of superior wisdom by
| decrying and disparaging everything
that is generally regarded as meritori-
| Gus IN literature, art or the dramatic
world. These critics generally start
out with the announcement that GER
| tain actor is pronounced failure, and
finally sum up by admitting that he is,
OF course, one of the greatest actors in
the world either of this or any other
time, but he would be ever so much
better if he would only mold himself in
| accordance with their profound sugges-
tlons. Ii they see picture which is
attracting wide attention and meeting
with the commentator of the artistic
world we may be sure that these supe-
rlor mortals will at once proceed to
show that the artist has signally failed
to catch the true idea and that his work
Is the merest daub, and yet they will
finally admit that there are points
about 1t that make it, all things consid-
cred, one of the most remarkable paint
ings in the world. The average reader
who endeavors to get at the critics
ideas of an actor, such for instance as
Irving, is quite puzzled to know what
conclusion to draw from the criticism,
and as this duplex style of criticism
grows in favor there are great many
bewildered people who after reading
all the criticisms are obliged at last to
tall back upon their own judgment
And 1t is no wonder tnat the new-fang-
led criticism bewiiders the average
reader. What would anybody think of
Irving after reading column of such
stuff as this in fine print? First, that
his acting as whole is simply execra-
BILE, his mannerisms affected, weari-
some and disgusting, his elocution
something that should not be tolerated
by cultivated people, his conceptions
third-rate and secondhand, and that
the only thing that makes him success
full with the public is that he has that
finished and perfect actress. Miss Ter
ry, with him. And yet, (ah, saving
clauseD the critic goes on to say of
course it will be candidly admitted that
no such wonderful acting as Irving's
has been seen for many day; that he
exhibits a depth and profundity in his
Interpretation of characters which at
once stamp him with the rank of genius,
and that if it were not for the trifiino
defects alluded to he might be regard
ed as one of the greatest if not the
greatest of living actors. The theory
of these would-be critics is that the
''rose that all are praising" is not the
rose for them-that is, not unqualified
ly, although under certain circumStan-
ces it might be. The little fable pub
lished in the last number of the Century
is commended to these wiseacres. 1t
tells of a fool who could gain no respect
from anybody until he finally hit upon
the plan of disparaging everything and
everybody whom other people regard
ed as worthy of praise. If book were
mentioned he TUNED up his nostrils at
it. A scholar attainments were scout
ed, an actors abilities pooh-poohed, an
artists productions scoffed at, until
finally the fool, by this simple and easy
process, came to be regarded as wise
nIan UOrVIV IIoIrI Vou1tIIespUo
were wont to tremble. But he remain
ed fool nevertheless. England COM
plains of Americas lack of ability to
criticise, and no wonder, because the
most of out criticisms are merely at
tempts to exhibit the wonderful learn
ing of the critic, and not to intelligent
ly set forth the merits and dement's of
the person criticised. We will after
awhile learn that true criticism is very
different from all this. and when we
reach that point when we can calmly and
candidly contemplate an actor, pic
ture. literary production with an in
telligent desire to genuinely reach the
true measure OF their merit. the art or
science of criticism will be intellectually
advanced in this country, although the
individual critic may not have the same
opportunities of airing his own learning
as he has at present Philadelphia