The hatchet. [volume] (Washington, D.C.) 1883-19??, 1900-08-19

/ THE VALUE !
/ OF APPLAUSE !
VIOLA ALLEN GIVES HER VIEWS. {
VIOLA ALLEN GIVES HER VIEWS.


could have appreciated the value of
proper recognition in the shape of Ju-
dicious applause or by rapt silent at
tention-the highest compliment that
can be paid to talent. Charles Lamb
reserved the full power Of his wrath
and wit to condemn the brutality OF
kissing. which has been called by an
other author applause turned wrong
side out" Remembering the produc-
ton Of his i'll fated tragedy, Lamb says,
81 never shall forget the sounds on My
Night" and then reflects, as 1t not
pity that the sweet human voice, which
was given man to speak with, to sing
with, to whisper tones Of love In, to
express compliments, to convey a favor
or grant sult-that voice which in
Sddons or a Braham arouses us, In a
| Siren Catalani charms and captlvates
us-that the musical, expressive human
voice should be converted into rival
of the noises of silly geese and lrratlon-
al, venomous snakesP
Apropos, witty Irshman was once
asked If he had Missed a play. He re-
piled, GLOW could | hiss and yawn at
the same timer"
Joseph Addison in The Spectator,
has immortalized In his Trapping
Trunkmaler In the Upper Gallery"
! the kindly auditor. This trunkmaker,
! so called, upon hearing anything that
pleased him, took up his staff with
/ both hands and laid 1t upon the next
| piece of timber that stood in his way
I with exceeding violence. Furthermore,
/ 1t was observed Of him that his blows
were so we'll timed as to satisfy the
most judicious critics. Upon the ex-
preston of any shining thought Of the
poet or exhibition of any uncommon
grace in the actor the trunkmaker's
blow fell upon the bench and wainscot.
| If the audience failed to concur with
| him, he smited second time when II
the audience still remained unaroused,
he looked around him with great wrath
and administered n third blow, which
never failed to produce its desired eff
feet. Occasionally, however, he Is said
to have permitted the audience to be-
| gin the applause on its own account
and at the conclusion Of the proceed
ings ratified its conduct by single
mighty thwack. With the players the
trunkmaker was naturally n favorite.
They not only connlved at his obstre-
porous appreciation, but cheerfully re-
paid such damages as his blows occa-
stoned. That he had saved many a
play from condemnation and brought
fame to many a performer was agreed
upon by all hands.
Although applause and appreciation
may and do stim ulate the actor to his
best effort, yet they should not be con-
sidered the only end and aim Of his
existence. They are merely the medium
which shows him whether he is achiev.
ing that for which he strives-namely,
to make his art felt.
In studying Lorlmer Stoddard's
dramatization of Mr.. Crawford's new
novel, "In the Palace of the King"
have been greatly interested In trying
to discover the points where we may
look for applause or silent approba-
ton, but 1t is oddly the case that the
actor is rarely, If ever. able to tell what
lines or situations may be relied upon
to produce these results. If this could
be DONE one could prophesy with pre-
cision the exact amount Of success a
play would achieve.