The mirror. (Stillwater, Minn.) 1894-1925, 1896-05-14

UTONOISy UudU IIely HAAo OO'"OOAA
the churches and the theaters.
The contest between the two is Of
ancient origin and has been waged
at various times with great fierce
ness on the part of the church. Ii
in these modern times the church
insists on fighting out the old bat
tie, we may be satisfied that the
right will triumph in the end.
Wherever there is helpful, genu-
inc word spoken for the world,
whether it comes from behind the
pulpit or the footlights, it will not
fail of it's errand. If, however,
the church should come to terms
with the stage, and frankly recog
nize in it possible ally for the
help and lettering of the world,
we shall begin to think the day OF
practical common sense and real
charity has begun to dawn. But,
Judging from the character OF
some recent pulpit utterances, it
has not dawned yet.
In the meantime, however, the
Times would take the liberty OF
suggesting that the clergymen
might take some useful hints, even
in the hottest of their battle. One
of them recently "deplored the
universal tendency Of the human
mind to take delight in scenic rep
reservations" Now, that is fact;
first, because the human mind
must have recreation and amuse-
ment; and because the drama
touches directly on the emotions,
ambitions and wants of everyday
life. It is not "a fond and foolish
old king" or a Danish Prince or
a vagabond of the Catskills that
we see in Lear or Hamlet or RIP"
but our brother man betrayed,
tempted, struggling, conquered.
This is the object and business of
the theater, to hold up the mirror
to nature so that all types and
phases Of character and conduct
may be seen in their proper quail
itv and relations. It goes without
saying that both the successful
dramatist and actor are more than
ordinary personages. More than
average intelligence-so something
closely bordering on genius
required to produce or reproduce
a work that goes straight to the
hearts of the people. There must
be unusual insight into human ma
ture, some sympathetic magnet
ism, some real vitalizing power in
the writer or actor who can focus
the emotions of thousand souls.
The clergymen who, in every
age, have moved the masses, have
not been logical doctrinaires, but
men who spoke to their hearers
out of experiences of pain and joy
like their own; men Of broad,
warm human natures. who were
able to bring Christianity, vital
and glowing, home to each mans
emotions. We have only to men,
ton Luther, Masillon, Wesley,
Whitfield, Moody, Beecher any
reader can finish the list. We may
have what individual opinions we
choose of any Of these men; we
may believe them to have been
hypocrites, tricksters, even i'm
moral, but we cannot deny that
they knew the secret of success.
They brought the multitudes to
their feet and moved them as they
chose. And they did it largely
through the dramatic power in
them It would be difficult to
mention a great and successful
preacher who would not have
made great actor. Here is a
hint for the wise and good men
who feel their congregations cold
and heavy as lead, except when
they resort to sensationalism.
Men and women, as life grows
more strained and overworked,
need more amusement and stimu-
liant, and they will have it. Our
religious teachers are gradually
recognizing that this requirement
of the mind is as memorable as
the demand for food for the body.
We may be told that the same
plea may be made for the use OF
whisky. And that is true; and
the only successful combat against
whisky has been made not by
abuse Of liquor, but by substitute
ing innocent stimulant for it
the coffee-room and workman's
club for the gin-shop. The coun-
tries in Europe, and the towns in
+b;c country as anv theatrical