New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-12-25

end. The manager commonly treats a corrc-
spondence of this kind as SO much gratuitous ad-
vcrtisng and reioces in the censure as well as in
the defence of injudicious friends among whom
the Rev. Hugh r. Chapman is entitled to a front
sea-. But Mr. Tree may reason to regret the
present discussion; which, it is true, he did not
begin.
So may the authors who of late seemed To con-
slider that they had only to fail in with what
they believed to be a prevailing taste. 1t will
probably be some time before NJ Henry Arthur
Jones thinks II prudent to produce another Mas
queraders." or before a leading manager cares to
put il on the stage. Mr.. Jones. it Is said is
writing play for Mr.. Alexander to follow Mr.
Henry James's Guy Domville'-for Paul has
became Guy. 1t will be curious to see whether
this discussion has Impressed upon him the
prudence of decency: of attempting to he
decent There is a flavor of historical accuracy
in the remark that when manager desires
to have a little variety in the way of play
which does not turn upon adultery. he has to
engage in a prolonged struggle with the play
wright. resentful of the excelsior of what he
thinks the finest thing in his piece.
We have heard a great deal of late about the
ennobng influence of the drama. More than
one actor and manager has lcctured upon it.
The stage. if you believe these gentlemen. is a
pulpit and they are the preachers and minis
tiers of new religion. The point has been
pressed too far Art has nothing TO do with
preaching or with religion. let Archdeacon Far
say what he likes: and he has problhly
written more nonsense on that subject in his
new volume than anybody else ever ventured
to put into print. II remains true that many
picture Is q better lesson than many a sermon;
on condition that the artist never meant it to
no md he iS of no long
as its teaching is unintentional and indirect. it
may be valuable. a of duty is fatal, and
is self-"onsciousness. There is where the
players and playwrights have made their mis-
take. To their conviction that they have
mission is due what their present censor in the
leading journal calls the inflated estimates OF their
position and functions in which they frequentlyin-
dulge. They are invited to stop posing AS teach
ers. and stop discoursng upon the lofty aims and
aspirations Of their art. If they will relinqush
those pretensons and mOdestly regard them
selves as purveyOrs Of amusement for the public.
they may then shift. was said above
good part Of their responsibility on the public.
Then also. the true meaning and influence or
their art is more likely to he appreciated II
will be art for arts sake; not for the sake OF a
sermon
Society must in any case accept It's share Of
the prostitute has brought upon the stage; upon
writer's for the stage. well as upon actors.
Society has done its best to spoil them, or some
Of them London. in it's treatment II actors
and actresses. probably stands alone in the
world. In no other European capital has an
actress a foothold in smart Grawing-ro'ms. me
reasons for the difference between the positions
Of for example. French and English actresses.
are or some If them are extremely crcditabe
to the English actress; and not dscred!tab!e II
Society Still the social recognition and social
distinction to which they have attained has
helped foster the notion that the stage Is
suitable place from which 70 announce new
social views or. perhaps. even 10 undertake the
readiustment If the relations between classes
heretofore wide apart The sooner actors and
actresses and playwri;er, drop that notion Inc
better for all concerned. t. rebel against exist
ing conventions does not necessarily make a man
A reformer. nor promote the success or MS re-
form. or his own success. He will do that best
by giving us good plays. and acting them well.
G. w :.