New-York tribune., 1898-10-17
THE DRAMA.
TIE CHRISTIAN AND OTHER PREACH
MENTS

To the Editor OF The Tribune.
Sir: | have read with the keenest interest ana
pleasure the able articles in your paper upon
'Cyrano de Bergerac" and The Christian, not
only on account OF their brlliancy and distinction
OF style but because. in the handling OF the sub
ject. your writer strikes deper and more thought
ful note than one is accustomed either to seek or
find in the average journalistic treatment.
But while inclined 10 agree with his criticism OF
Hall Gaines play In particular. would fain orcah
lance with him on the wider issue and remind
him that where Hall Cane has failed others can
and do succeed. 1t is disappointing that one pos
sessng such mental vigor and originality as your
critic should be ready to echo the unneahihs
catch-phrase OF art for Arts sake inns mas
never occurred w WI
wv. w" lays down the principle tina; tine prov
nce of fiction and he obviously intends to lnciuoe
the drama) is to tell a aIe-that and nothing else,
forgetting even TO add that this should he done ID
an acceptable and artistic manner,-tnouRh to 'i'''
he would doubt agree. Now | would remind
him that art Is largely concerned with selection.
and that the choice OF elicous subject IL almost
important factor in the artists success as Is
his treatment OF it, Thus. at the very outset. we
are compelled TO own that the mere telling OF
tale is but small part o. the whole duty OF ART
"W. w" especially nveghs against the handling
by novelsts and playwrights Of such political and
social topics occupy the attention OF refoTmers.
These he consider should be left exclusive
" to the tender mercies Of speakers in Parliament
or Exeter Hail. and he s withering in his scorn OF
the luckess authors who write novels and plays
"for the purpose OF teaching lessons. inculcatinS
truth. revolutonizing society,", etc Such, he tells
us. are invariably moral bores."
II may be contended in reply that almost an!
subject can be artistcaly treated Because a GER
tain social abuse is one Of the burning topics OF
the day that is no reason why it may not FUR
nish excellent material for fiction or drama.
Themes. like writer's are many-sided, ana II Is
obvious that II Ibsen had treated the subjects ot
unseaworthy vessels poisoned water supply
after the manner Of the political pamphleteer he
would have been moral bore and his plays miser-
able failures But his success has aroved that II
is possible deli oeratey TO choose. on account OF lis
artistic possibilities subject which is equally at
tractive the politician and reformer
Everything depends upon the treatment. ana no
nard and fast lines be drawn around certain
subjects as being the especial preservers of the
novelist or dramatist and others relegated to the
domain of practical mortals There need be TO
monopoly on either side. always assuming inc
power of the artist. All injustice. public or pr'-
vate: all unnecessary suffering, all social dsor-
der all unrecognlzed truth surely fair game
FOR authors. and should oner happH, orters nuI
There are such things as literary sugar r-Coa.eu t
pills and II compounded by genuine ariS' II 7, ali ali
epends on how it H. done Among such skilled com
pounders those whose names occur oHnanu az az
Dickers Charles Reade. George Eliot. Mrs Gas Gas
kell George Moore. and. among dramatisia. Henrlk
Ibsen and Henry Arthur Jones whose eIrnest ana anu
brilliant plays THE Middleman." The Physciam
and more recentIv ''The Liars" have, in spite
Of obvious moral intention. held large London au-
In concluding my too long letter would ask your
critic TWO questions: Does ha seriously thirk @ h rne
our political and social reformers are making suIn %
rapid progress as to be independent of any help
which art can bring? And would he not admit that
rcsponsbility on Inc part OF the artst-of LOYALTY
TO an ideal and desire to s"eeten HE ana he'p 0"
Ms ''''0" -''V"' FLORENCE EDGAR HoBsON.
No. Is Clinton-ave. Newark, n j.. OctoDer H.
Reformatory movements. whether political or
social. have never yet been affected hy anything
said or done upon the stage and the strenuous
and vouble activity OF contemporary politicians
and reformers appears to indicate that thelr
muscular condition is vigorous. their wind
ample. and their staying power abundant.-so
that. probably. they can get along for the pres
ent without theatrical aid.
All thoughtful persons, whether in the world
of art or out of it, conscious Of moral re-
sponsibility and are wishful to promote the wei
fare Of their fellow-creatures. Questions on that
subject answer themselves Furthermore. no
person. artistic or otherwise evade moral
responsibility even If desirous do
The moral element Is present in everything.
No word can be spoken and no act be done.
that does not involve it. and for that very rea-
son il should always be left to take care of IT.
self. The great artist is never. Intentionally.
didactic. Shakespeare. whose works are full OF
teaching. never undertakes to teach, never urges
a precept, and never strives to enforce moral.
The moral influence Of work Of art should ir-
radate from 1t precisely as the beautiful nfu-
ence irradiates from sunrise or a sunset. the
ocean or the stars. In the presence Of sunrise
at sea the learned professor who should i'm
prove the occasion" to expatiate on atmospheric
effects the composition Of color. and the refrac-
ton Of light. would deserve to be thrown over
hoard and very likely would meet with his
deserts.
The fact that art is selection has been So often
urged in the dramatic column Of this paper that
any reiteration OF it can scarcely escape the re-
proach Of tediousness But the alphabet must
still be taught and the protest against the
moral pocket handkerchief" on the stage has
still To he made 1t is not the fault of the re-
viewer: 1t Is the faul; Of experimental enthusi
asts who want to preach. and who persistently
mistake the theatre for the pulpit. Plays are
few but problems. alas as thick as autumn
leaves There is the question whether Noah did,
or did not. convey into the Ark quantity Of
California dried fruit. 1t is burning" ques-
ton. and it has agitated many great minds; but
II has not yet reached the stage, and hopes are
entertained that 1t will be evaded. Mr.. lbsen,
indeed may hear Of it. and. as "a skilled com
FOUNDER Of sugar-cOated pills" he will inevi-
tably put the public TO its purgation. II he does.
Nor is the Arks cargo the only open question OF
this seething period.
1t may he worth while TO refer to one example
OF moral influence. which is dramatic and not
didactic, in contemporary play. No person
who ever saw Wills G play of olivia" as 1t
presented by Henry Irving and Ellen Terry, will
ever forget the climax Of the third act in that
remarkable work OF genius and OF art Olivia
has been misled by her lover, and has been be-
trayed. insulted. and abandoned,-so that she
typifies with sufficient exactitude, the unfortu-
nate and deporable class commonly called
"fallen women" Her father. the old clergyman