The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1895-04-14

the dramatic instinct Is innate IN man-
Take the little boy fer insEahse ne
straddles his fathers walking ssi.ss pees
on . paper hat, q sword 81 BIS saae ana
prssends he IL q soldier. "hAs - ne
6oing7 Acting. OF course. ARC. iss Us
hope. laying the foundation for tu'ure
deeds OF valor. The little gfrie taxes ner
doll IN her arms. sings TO IL ana tocAS
IL into imaginary slumber.
Here Mr.. warsie brought his srms up
In front OF him In the form OF crsoie
and as he told Of the little girl rcck'ns
the doll he suited the action 20 the words.
IL was done so cIeveriy that rnammas ara
their children did not even give rim .tme
10 tell them that was acting before
perfect storm OF applause niisd the the
atre- TIE speaker then told how the
young lady parades the street with her
parasoi. how the young maiden osngnts
IN putting on her mothers long skirts.
the boy who hides his face beneath
hidecus mask and frightens his comrades.
All these. Mr.. warde said. were forms OF
acting, showing the dramatic instinct He
then mentioned the fact that when ne
formerly Iectured before the pupils OF
the High school he said the actors art
was the greatest OF ali because 1t IN
cluded all others.
II remember that some gentleman took
issue with me-" continued Mr. Warde.
q year ago.
To illustrate what he meant by his
sateG.enr Of the relation of the actor
art 10 other artS he mentioned the scuip-
to-, and said that people stood IN awe
or him and his Hebe, yet there is no
life. The painter takes his sheets or can
vas, and with his pigments paints land
scape or group OF figures. one can al
most breathe the air of the dying day
and hear the lowing OF the cattle. Yet
there Is no gentle wind to stir the leaves
of the gnaried trees; those cattle never
low In anticipation of the evening. ana
those buds on tree and shrub VIII never
burst. Why? Because IL Is paint. only
paint Then he referred 10 the musician
and his power to reach the soul with
beautiful strains OF harmonious music.
The actor, he said. did more than them
all, because the creatures OF his art i've.
To assist his comparisons he brought
into play gestures that were fitted 10 the
thought he desired 10 impress upon his
hearers. and it was a great pleasure TO
notice how deity he turned from his
tracing OF the outline of an Imaginary
statue to the picture Of the painter. In
the one he stood with his left hand be-
hind him, the other carrying with 1t the
minds eye of the audience Inen ne
changed subjects. moved 10 the other
side of the stage, and with his right
hand behind him described the painting
with his left hand. Every step he took
and every gesture he made were In per-
feet unison with the thoughts that found
expression in his words.
In speaking of the life Of Shakespeare,
Mr.. Warde dealt at some length with the
theory that Lord Bacon wrote Shake
speare's plays and by logical argument
showed its fallacy. Having done with
the life OF the great drama,ist and poet,
r. L. h a
the most important passages from Ham
let" 1.-The Merchant of Venice Romeo
and Juliet" LAS You Like IT, Henry
VIII" and King Lear" His idea was
to show the intimate relations between
the masters work and education, religion
and temperance. Centainly ne accom-
plished what he desired, and what was
st,il more, held the interest of his au-
dience until the last word had left his
mouth Mr.. warde fairly threw himself
into his work. He went from one import
ant scene TO another with great rapidity,
stopping now and then 10 make explana-
lions and gave his hearers a clear idea
OF the character dealt with. In word and
action, gesture and general demeanor,
the lecturer showed that ne was in love
with his subject, felt at heart the truth
OF everything he said, and wanted his
hearers TO gain a better knowledge Of
Shakespeare.
Read his works first for the story"
he said. Don't skip. even Il you have to
turn TO the last page to see how It
comes out and II they are married and
1--we happily for evermore; then a second
time for the poetry and again for the
beauties IN the work. 1 guarantee that
II you follow this system and learn to
Judge the plays by your own thoughts
and IDEAS, you Will read the same work
twenty times and find new truths and
beauties each time. Young ladies. ask
yop to put sTriiby' aside for a little time
and read Shakespeare"