The gold leaf. [volume] (Henderson, N.C.) 1881-1911, 1899-03-30
PLEA FOR THE DRAMA.
UNIQUE POSITION TAKEN BY A BAL
TIMORE MINISTER
On the Subject-Art's Appeal to the
Heart-Says the Drama Meets One
of the Profoundest Needs of Human
Nature, and Instead of Condemna-
tion it Should Receive Countenance.
baltimore SUM-

Baltimore Sum-
Rev. w. R. Lord, at First Independ-
ent Christ's Church, Charles and
Franklin streets, yesterday spoke
upon The Theatre" He said in
part:
''Few people realize what large
factor the theatre is in our social life
If we should visit any of our cities
for the first time and watch the
crowds that throng the playhouses,
counting the number and marking off
those who attend in proportion to the
population, we should be surprised.
l am told that from 20 to Is per cent.
of the population of our city see the
inside of theatre at least once a
year. What are we going to do
about this great fact? Once for all,
let us understand it cannot be ban
ished from the world.
First, because it appeals to the
profoundest wants and needs of
human life. Human life appears to
most people in fragmentary way.
Life is transient, so rapid in its move
ment, that none but the greatest can
relate and unity it's various parts
Now, the drama gathers up these
fragments and combines them in a
representation of life, and thus salts
ties the craving of the mind for
unity.
Human life in its Wilderness has
three elements, or, better, aspects
the actual, the ideal and the real
The actual is the sum total of human
conduct, false and true, good and
bad. The ideal is that which lies in
the mind of the individual or the
race, while the real is so much of the
ideal as men have appropriated in
the actual. Let us mark this dis
tinction in all literature and art. and
refuse to call that realism which is
only aotualism, morbid, unreal
human. conduct. Now, art and litera-
ture, to be true, must have all these
elements. 1t is the work of art in
dealing with humanity to represent
to humanity actual life, realizing the
ideal.
A CONDENSATION OF ARTS.
''This is true of all the arts. Let
us see it to-day in the drama. How
does it differ from the other arts?
Primarily, in that it has action.
More than this, the drama gathers
the whole of human life by means Of
all the arts into a complete represen-
accompanying, sculpture, poetry
and music-all these plus action. 1t
is the mistress of the arts because it
not only employs all the other arts,
but represents humanity by them.
1t sets for human life as it is, and
suggestively as it ought to be and is
going to be.
I'm the second place, it Is the most
complete appeal which art can make
to the human heart. All Of the arts
are bound together and unified in the
drama, and used as an instrument to
suggest the ideal.
lin the third place, the drama APP
peals effectively to the ordinary imagi-
nation. Only the measurably Guilt
waited Imagination can construct
human life through the suggestion Of
literature. Many people seem by
nature to have little of this faculty.
For these and for all, the stage serves
as the best medium in exercising the
imagination The field of experience
is enlarged. The life of other people,
of other classes, is through the drama
fer the first time, perhaps, under
stood.
You must see that an institution
springing thus out of the human
heart, and appealing thus to human
life. cannot be put down. 1t has its
roots in human life itself.
TURN IT TO TRUE ACCOUNT.
..What thena We must take it as
we take the church when we find it
corrupt not to try to wipe it out,
but make it what it ought to be.
Let the drama be as bad as it may,
the only possible course for any one
who understands it's source and
meaning is to true account. Facing
these facts there are others which we
must consider. Think of the SEN
sitive, of the artistic side of human
nature. Through it may come not
only the best, but the worst, effect
upon character. Think of the power
of the theatre relative to the church.
l can hardly conceive it possible that
the ordinary church influences, hymn,
prayer and sermon, can produce an
effect sufficient to withstand the
sensuous and sensual appeal Of the
vulgar drama upon the heart the fol-
lowing night. Admitting that the
church attendant is also an habitue
of the theatre, witnessing its ordi-
nary PLAYS. it seems to me certain
that the latter must vitiate the in
tluence of the former.
A POWER FOR GOOD.
..On the other hand. with the
powerful appeal to the imagination
and the sentiments which the theatre
makes, especially to the young,
can conceive that there, too, the
power for good may be greater upon
! some than the influences of the
church can be. Again, there are
great numbers who go to the theatre
who do not go to church at all; who
never put themselves in a position
where the noblest appeal can be made
to them, namely, the religious one
who scarcely ever hear a lecture
which has in it an ethical motive, sc
that unless for them the theatre be
comes pulpit, there is no other way
to reach the spiritual life Of sucf
people.
Now. let us look at the presen
condition of the stage, to see whethe
it is. in its present condition,
useful instrument for the high end
L =: !,