The record-union., 1898-01-18
TEACHINGS OF THE DRAMA.

The Paris correspondent Of the Lon
don Times writes to that journal as
follows in commenting upon Octave
Miroeau's new play at the Renaissance
Theater in Paris, Les Mauvais Berg
ers," in which Sarah Bernhardt plays
the part of a starving revolutionist,
shot down upon the barricades:
It is rot sc. much of the piece in itself
that I wish to speak as Of its being u
type of a school, a sign of a growing
tendency, in which light it is worthy
enough of the attention Of the British
public-perhaps as a salutary warning.
I have already said that the license OF
the press in general and its flippancy
il Drawing judicial censure are paralyz-
ing authority. The most dangerous
theories are now being placed upon the
stage; the imaginations of the unculu-
waited are being fired by ideas for which
they are not prepared; the animosity,
not only of races but of social caste
is being sown abroad; and as if we had
not yet divisions enough we are now
having. with all the prestige of art
and superior stage setting, the infiam-
matory theories of the socialist club.
"Repas Du Lion" given the other night
at the Antoine Theater, was a sort OF
lecture It was admirably constructed,
but the dramatic interest was sacrificed
wofully to the theoretic exposition or
the social question. In this new piece
by NJ. Mirbeau, we have gone a step
farther. The very life blood of the rev.
olu-ionary artisan throbs in this dra-
matte play. We are shown men who
protest and believe that the employer
IS depressing them simply for his own
pleasure, using them up as if they We're
automatons, not only without soul, but
without flesh and blood. Here, as ever,
in this new type of piece, the employ
er Is a selfish and ferocious tyrant and
the xorkingman a long suffering slave.
To make matters worse, in NJ. Mir
beau's piece woman is associated with
the work of revolution, and, in fact,
becomes it's apostle.
There IS probably some exaggeration,
but, unquestionably, great deal or
truth III the foregoing extract. Some
thing of the same tendency referred
to by the "Times' correspondent is
noted in this country. The dramatic
stage is a great teacher. 1t breaches
and teaches to larger audience than
does the pulpit. to an audience more
susceptible to the insidious encroach-
ment Of error upon the domain of
truth.
Obviously the truth is the thing for
both pulpit and stage to deal with, but
when either appeal to passion and pref
udice they commit themselves to error,
because passion and prejudice are all
ways wrong-in degree, at least.
In this country of all others, there
is the least reason for preaching any
doctrine that Is inflammatory and CAL
culated to create hatred and distrust
among people Of the common coun-
try. Reference is made to socialistic
teaching by the correspondent. We as
sumo that he means the radicallsm OF
socialism. For conceding that there is
much that Is true, good and uplifting
in the greater socialistic theories. there
is much in even the attempt to radi-
caIly apply them, that is dangerous
and calculated to defeat the very end
sought to be attained.
The drama on the American stage
to-day is quite largely Influenced by
these, they appeal to passion, to the
cultivation of class hatreds: 1t is given
to much tanning Of the flames of ig-
noble, not worthy. discomfort. Happily
In America, where every man is an
oo*ivn apd visible ,,vif f,s xba (snt-ary, :
ment, and where there are no limita~-
tons upon political or social ambitions.
there is not much soil ready for the
planting of the seed OF anarchy and
revolution. That there is room for So
cial and political reform is undeniable.
but the way to these with us is through
and by means which demand neither
the stimulus of passion nor the preju-
dice OF hatred and selfish seeing.