Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1894-03-11

in all seriousness in London: who
ever reads an American book?' Inc
sheer was not deserved then, or II IL
was, the reason no longer exists,ior the
American author has risen TO world
ACKNOWLEDGED position OF merit, and
the humblest European library would
be considered very deficient to-day II 1t
had not its representation Of American
authors. But the American play has
not been so successful in obtaining
recognition.
The early stages of all art are neces-
sarily initiative. 1t was right that men
like Powers and Crawford should 90 to
Italy to familiarize themselves with the
works and methods of the ancient ana
modern masters Of sculpture. In TINS
line OF art there were no models, no MS
toric background, no inspiring environ
ments, no Inspiration, nothing, indeed,
but the money OF uncultured million
aires TO encourage the am bilious sculp-
tor n America, so that II he would rise
il was essential that he should take the
advice of Goethe and 90 into the land or
art
1t has been so with painting. In this
department OF art, America has stood
well 10 the front, and by this time We
might have had something like an
American school Of painting, were 1t
not that the men who can ahOrd 70
buy pictures in this country nave oeen
fascinated by foreign names and Tor
eign subjects; and so American painters,
the majority of them poor men, have
had to paint, in imitation'of foreigners,
TO keep the pot boiling.
But for the American drama there
has been no such excuse. Said gen.
tleman who has carefully studied this
subject, to me, when 1 asked him II he
had anything that might be called an
American drama: 1--WE have American
playwrights innumerable, and plays
that are entirely American in their set
ting, but they are all modelled on the
French or English plans, nor can this
verv we'll be avoided.
''Of arts sake, we know little or
nothing in this country. Theatrical
managers are business men pure and
simple, and they would laugh at you II
you talked to them about elevating the
stage from an art standpoint. 1t Is so
with our playwrights; no matter what
their abilities are or their private opin-
ions may be, they have TO please the
people.
lit is all very well to have an ideal
and to work for it, but you can set 1t
down as an incontrovertible truth that
the condition OF art in any country Is
the best possible evidence Of the high
est culturesof the people.
Ito the average American the thea
ire is not place for the exhibition OF
a high form of art, which if properly
directed might become as powerful as
the pulpit for good; it is purely and
simply place of amusement He goes
to the the theatre to laugh at horse
play and coarse jest, or TO chuckls over
the exploits OF the high kicker and half
nude dancer. The manager and the
playwright understand their clientele.
They are money makers, not art mis-
sionaries. They want highly favor
ed show to attract the masses and
scoop in the dollars and so they give
the people exactly what suits their rude
tastes"
The success OF Mr., Hoyt Is a case in
point. This man is undoubtedly tai
ented, and is capable OF better things
than he has yet given the public; but,
TO quote himself, no sis not in the play
business for his health" He wants TO