The herald., 1898-08-07


article written by A. E. Lancaster. in which
reference is made TO the assumption OF NJ
Auguste Filon in his recently published
work on 1.-THE English Stage" that blank
verse is dead beyond resurrection.
Mr. Lancaster proceeds to combat this
assertion, and while he recognizes the fact
that blank verse is in a condition of "in-
ertness," he proceeds to give reasons for
the existence of the defect complained of.
He says:
The actabiity Of plays is the first essen
tial, for if they lack actability they may
have all the other virtues but they will
amount to nothing Now the quick, con-
densed and nervous life of the present day
is said to make it impossible for us to listen
in comfort to the exceedingly long speeches
which abound in many of the blank verse
plays to which our fathers serenely gave
ear. In other words it is claimed that this
is partly the reason such plays are no long
er actable.
But this statement may be controverted
at least partially The German theater
from time to time produces plays contain
ing speeches quite as long as any to be
found in Shakespeare, and these speeches
are listened 10 interestedly and applausive-
ly DOtN Dy lne GtTIIldI duullOIS anu Uy tite
very large contingent of Americans from
time to time present. What is the reason?
The Germans who live with us are COM
PEELED, by business and social competition,
to lead the same restless and nervous life
that we live. Yet they do not demand
constant succession of laughter-making
plays or of plays, at least that make no
demand upon the thinking apparatus. upon
tragic side of life. You see these Amer.
canized Teutons going in crowds to applaud
plays which American managers say they
would not dare to produce. plays like the
masterpieces of Hauptmann and Suder-
mann, which the American manager recog-
nizes as "queer and heavy" so far as he
recognizes them at all. Some of these are
plays which. if Engished, might appro-
priately be- blank-versed.
From this Mr.. Lancaster goes into dis
cussion, with illustrations. of the defects
of blank verse as 1t is found written, which
Is quite interesting. His conclusion, how
ever, seems to leave the solution of the
question as far off as ever. He says:
The question as to whether blank verse
plays will ever be successfully revived in
this country is closely connected with ths;
other question as to how far the touch
known as the literary touch will be al
lowed to make itself felt. 1t would seem as
though the very minimum of description
must be observed, description sharing the
same fate that has begun to overtake
asides and soliloquies. These very useful
conventionalities do not have much Shirt.
given them nowadays, and when the rein
carnated bard of Avon makes his appear
ance he will be surprised to learn how
many Shakespearean excrescences he VIII
be forced to abjure.
Now the true reason, ignored by Mr. Ian
ter for the decadence of blank verse lies
not in its non-adaptability to the taste of
educated listeners, nor In its want of power
over the minds of the unframed. 1t is sim
ply that with very few exceptions there are
no readers upon the stage of today with the
ability to properly render and interpret the
music of the poets lines.
Julia MarIowe, Modjeska and Frederick
Warde may each to some extent be except
ed from this sweeping assertion.
The proper delivery of blank verse Is as
much a matter of education as is the sing
ing of great operate role, and, equally in
both cases there are many who try for dis
tinction and fail to achieve It. The would
be singer has to give up. If found wanting in
elemental requirements of voice. tune, time
and pitch but the would-be decaimer of
blank verse goes on his way unruffled. He
has good voice, perhaps uncultivated he
knows nothing of rhythm or measure or
true emphasis: he cannot scan a line and,
like Moliere's bourgeois, he has no realizing
sense of the difference that exists between
poetry and prose. His remedy is heroic
one. He proceeds to ignore the poetic meas
ure, with its emphatic beats, which he can
rot understand, and forthwith transposes
words, inserts vile pauses, ignores correct
emphasis and makes the text "colloquiai."
Wilson Barrett is the most shining example
of this kind of treatment that / can call to
mind just now but his followers are le-
gion. think that Wilson Barrett knows
better, but he is actuated by a mistaken
idea that his method makes blank verse; or
rather the subject of the blank verse, better
understood and more popular among the
general public. Or, he thinks that he can
make the subject better understood if he
should ignore the medieval trammes of
Shakespearean verse and treat 1t as some
thing deserving to be consigned to oblivion
This forgetting of the plane of poetic ex-
altation is deliberate on the part of some
actors, but for the majority who happen
on the stage, graduating from dry goods,
insurance, stock brokers and other count
ers without any of the preparation or
training, not to mention literary education
indispensable for high-class work they are
as ignorant of blank verse and its require
ments as a. hen is of algebra.
The remedy for a state of things where
such ignorance Is calmly accepted by crit
,ics asan inevitable condition is not easy to
point out, and would take too much space
there. But until actors are trained to the ex
ercise of their profession, as an engineer.
IAN architect. a lawyer or a physician Is
trained to his. there is little hope of any
Improvement in the existing state OF
things
o o o
There is an allowed amount Of license TAX
en- by a certain class of vaudeville perform
ers, and also by the low comedy men in
farces and alleged comic opera. in which
local topical subjects are brought in and
mentioned In such way as to excite q
laugh. At the Orpheum especially this sort