The record-union., 1898-01-31


/. The debate now going on in, the writ
ing, reading and theatrical world con-
corning the temptations of the stage
and the morals Of it's men and women
sprang out of a bitter assault upon both
by dramatic critic writing from Lon
don to New York paper something
like four weeks ago. Since then the
hot shot has been flying and the read
| ing public has been given the opinions
of both critics, stage people, managers
too much to say that the subject is un-
worthy all the chatter.
The truth seems to be and it will set
| tie down 10 that, that on the whole
there are more temptations assailing
women Of the stage, and men, too, for
the matter of that, than women and
| men off of the stage since it is a small
and cramped and close-contact sphere.
But it is true also that the really virtu-
Gus person is not much more likely to
go wrong because of adopting acting as
a calling, than if any other of q bus
iness or artistic character is selected.
| Taken as d whole, the number being
considered relatively to the whole num-
| Der Of people in all other callings, we
are Of the opinion that the men and
women of the stage win average up
fairly well as to virtue, honesty, square
dealing, respect for human rights and
penarallv for manly and yornaulv con-
duct, charity, good heart and virtue,
with the people in most other callings
that bring them into contact with the
world.
| The truth is, we expect and exact
| more of people Of the stage than Of
others. They are before the world con-
stantly subject to keenest scrutiny as
we'll as great temptations, and when
one Of them goes amiss the whole
world knows of and comments upon it
since all these people are constantly in
the public eye and on the public tongue.
We have known so many charming
families among actor folk, SO many low
ing wives and true husbands among
straight to the rule gentlemen, so much
Of Charity. good heart and loveliness of
character on the stage, that we are not
willing to believe they have all moved
in an atmosphere of necessity corrupt
ing or corrupt, or that they are but
the few who have passed through fire
unscathed.
But in saying this we are referring
distinctly to the operatic and dramatic
stage, not TO the concert hall or the
variety stage, which more properly fall
under the classification of shows" Our
idea is that the person who goes upon
the stage does so with quite as much
knowledge Of what is right and what
is wrong, as it is possible for a person
to have who has arrived at years of
| responsibility. If they are morally
weak, they Will not, We apprehend, be
more likely to be corrupted there than
elsewhere in business and the world.
The person well grounded morally
and in self respect will not find we ap-
prehend, the stage greatly more diff
cult path to tread with cleanliness, than
most others that lead along public
ways. Nevertheless this is by no means
saying that the stage is what it should
be, nor that it is not invaded by senti-
mentalism, and a looseness of doctrine
and habit and by plays and devices that
are worthy Of all reproach But these
make manifest their evil influence more
among auditors than actors.
1t is the effect of the doubtful, the
untrue and the demoralizing in the
drama upon the spectator, the witness,
that most concerns thoughtful people
In truth it has never been noted that
the lines Of the play, however cruel
| their philosophy, false their doctrine or
damnable their teaching and exhibit
has ever made much, if any impression
upon the lives or morals of the people
who read them as a matter of business
or art to audiences.