New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-06-29
THE PATH OF THE CRITIC.
That A1cait Him IN
Dramatic Criticism

81 feel like Atlas when consider that In twenty
minutes am supposed to treat the subject that you
have given me- Standards OF Criticism IN Dramatic
Art" said Franklin H. Sargent yesterday morning
at the third session OF the conference OF the Ma
tionaI Association OF EIocutionsts. which Is being
held at the Board Of Education Building this week
But before try to give some standards of critt-
cisu in this line want to emphasize two great
dangers that lie In the path OF the critic The first
of these is overgeneralization overlooking the real
aspects life; and the other Is the tendency TO be
too gosspy-to be blind to the grand spirit OF tbs
artist, seeing only the trivial faults remember
how on the first night that Henry Irving ever
played in this country. the dramatic critics OF tbs
daily papers got together after the first act and
united IN denouncins him for his mannerisms and
the garishness of his acting. In the midst OF their
remarks one other critic entered and sencing them
at once rebuked for losing sight OF the grand
spirit Of the artist IN the details OF the art Ado
Iaide Nelson the only Juliet; Edwin Forrest, tina
only Lear and Salvini. all OF them left you fuller
and richer than you We're before In all OF them
there was the same great Quality-the preservation
of the revelation Of human nature The highest
standard OF all is the ethical side. The theatre
should give US permanent values in the solution of
the problems OF life The play that like TO sec Is
the one that appeals own experience of life
Human emotions are the same the world over. and
no matter how old a play may be. IT may deal with
the very problem that is confronting you to-day
The French do not bIunder in the crude way OF
sacrificing the soul OF poetry and human meaning
10 pictures. The French soubrette has no gariSh
She Is first seen standing quietly in the doorway,
perhaps in the act of turning the knob. and her
frst answer is only movement OF the head
The first inspiration that l ever got In tech
nidus was at the OdSOn, Paris There was one
woman alone the stage, apparently doing moth
ing yet her every mental depression or exhllara-
ton reflected In the audience. she possessed
the three characteristics OF an actor-concentra-
ton enthusiasm and responsiveness With these
three a butcher would go through part well
The first Of dramatic Judgment - the sen5a-
ton of unity: next comes a duality. where tne
mind sees the distinctions OF separate parts and
third there is a blending of unity and duality, a
growth in symmetrical succession
Summing up my remarks would say that the
standards OF criticism in dramatic art should be
character, not characteristics; charm, not Per
sonality, and correctness, not ceverness
MFR Sargent had chance to get Hing at
Robert Browning, when chosen by Mrs. Emma P
IIadIev of SOmervflle. Mass, as one OF the COM
Tnitfee to criticise her reading OF The Forgive
ness by Browning. Mr.. Sargent said that there
vas roo great mental strain on the part or both
the reader and the audience but he thought that
Iygs the way Browning affected most people
Mrs Fadiey was the only person In the confer
euce-man wOman-who was brave enough 70
take advantage OF the opportunity 70 reciee and
he criticised by her fellow elocutionists-