New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-04-15
CERTAIN STAGE CONVENTIONS.


Why is H. that the associations OF the cigarette
upon the stage are almost invariably immoral
The good man mny be seen calmly smoking
choice Havana, unaware that dire disaster will
shortly sweep down upon him from the left upper
entrance, and cause him 70 throw away that OK
ccllcnt cigar which he is no doubt enjoying great
ly, and 10 assume an attitude OF profound despair
near the right lower entrance, while he gives sly
glance 20 a friend in the parquet But the good
man does not smoke a cigarette. The honest
workngmah may be seen smoking q comfortable
pipe, while resting after n days labor aud prcparn-
tory 20 being accused Of some improbable crime
on the strength Of i'm possible evidence concocted
by people who could never have existed no matter
how hard they had tried. But he never smokes a
cigarette, for all they are 50 cheap
and many OF them taste bad enough
70 satisfy his rude, earnest yearning for
very strong things The villain of the play rarely
smokes pipe, unless he be q rough villain. There
is something too suggestive OF honest comfort.
apparently, Of good conscience, Of placid sense
OF well-being about pipe 90 make IL appropriate
for villain, who on the stage suffers unce asiDg
remorse and continual nervous dread, whereas
in real life he undoubtedly enjoys himself hugely
much OF the time. Neither Is O robust cigar al
ways consonant with the idea OF a villain There
is certain hrartiness about big cignr and feel.
ing that only courageous man would tackle it,
that seems to make it inconsistent.
But the cigarette is the peculiar property OF the
elegant villain, and above all OF the villain whose
function IL is 10 scatter ndscriminate misery
among the fair sex until near the end OF the last
act. It is supposed, apparently, to suggest airy
grace and irresistible fascination combined with
the most diabolical wclyednrss, though in fact
none Of these qualities ore necessarily associated
with cigarette smoking in real life, where persons
addicted 10 this petty vice ore os like as not TO
be the most harmless, inoffensive, unattractve
and insignificant OF Gods creatures. Not 80 upon
the stage. 1t is not the supposed title Of the
false nobleman that leads the simple country girl
to abandon all and fly with him at the right second
entrance IL IL not the witchery OF the moonlight
hour, al too literally bestowed by the lime light
man, nor the warm words OF passion that are also
slightly redolent OF beer But 1t is the contempla-
ton Of the satanic dexterity and grace with which
the elegant villain rolls his aristocrntc cigarette
and the all-conquering swagger with which he
smokes IL, that renders him SO supremely enchant-
ing that the unhappy gy-url forgets home kindred.
friends, everything, and flies So would any woman
IN real life, but without him.
Then there is the elegant villains velvet coat
This Is puzzliug again There Is no SOFTER gentler,
more innocent and exemplary material in this
world than velvet. and yet st is constantly parnded
in literature and upon the stage as the price Of
virtue the symbol Of vice and the favorite apparel
Of the wicked This impression is so we'll estab-
llshed that no stage manager Of the old school
would think for moment Of allowing the disSi-
rated and heartless young army captain, the I'M
prlncpled visoount, or the accomplished and gen.