New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-12-12
ACTOR, CRITIC AND PUBLIC.

The opinions of the public. with reference to the
theatre not largely derived from the press
With the majority of spectators the success Of an
actor does not depend upon reason, but upon feel
ing It is not the intellectual attribute of the stage
that attracts many persons of the intellectual
order; it is the attribute They are weary
of thought they long for sensation II an actor
can diffuse a personal charm he will succeed even
though in technical sense his acting Is detective.
Newspsper censure cannot invalidare The power Of
genius. the fascination of beauty, or the aHurlng
grace of q sympathetic temperament Newspaper
applause although 1t may nnpart to the actor a
certain vogue cannot establish him in the pubic
favor That success he must capture for himself
not so much by what he does, as by what he Is.
The power Of thinking 0he faculty OF Judgment
the clear comprehensive, minute intellectual Vlslon'
IS very rare but the instinct that apprehends a
benefaction through the feelings is almost Uni
versal No man should mistake his indy iddal de-
lection for the failure OF human progress When-
ever we listen to the voice of the Past and near the
old assurance that the Present IS failure we
ought to reflect that every Past was once Pres
emit and that every succeeding Present has re-
sounded with the same lam alton fer the glOries
of departed days; and thus we shall perceive that
the golden time exists Just as much now as II ever
did-and just as little. Art originates and expands
not from outward instlation. but from inward I'M
pulse go
The nress however intellectual is under no obi
CATION to provide instruction in either the art OF
writing plays or the art of acting theH' Luz
province of the press Is, first, 10 make d IFu0
record of the news of the day. keeping always
within the limits Of decency and discretion; ana,
secondly to comment on that news IN a ratonal'
able vivacious manner, so as TO promote the puoio
good With reference to the stage its moral aspect
its intellectual quality, its spiritual drift ana S
artistic and industrial prosperity the proper
objects of attention Beyond that point the Hills
trations of the press are superhuous ana may De-
come Injurious. Vanity is a principal agent Al
human affairs Sheridan right when he salo
ba
with many members of the stage it Is an lnnrnily
to overrate their professionals regard II as az
end and not as a means in CIVILIZATION. Naiiity
does not need encouragement. No doctrine couIo
be more dangerous in its ignoble influence upon
character than the doctrine that consideration 1or
the praise of critics should be valued ana tiuSt
as handspring of production or excellence III any
form of art 1t is desired either to eXaggela'e
or to depreciate the influence of dramatc crl'o1s'
Int IT Is not always possible to understand the
superIative practical value of it, as proclaimed py
many persons The newspaper article on lle e''eo
never settles anything. If well written II may IN
terest the readers thoughts excite MS culioal.S'
increase or rectify his knowledge, ana. posslplS'
suggest to him beneficial line of rehechoh oF
studv That ia all. Newspaper commentator may
accelerate the success of play already recoshiIeo
as good and newspaper ridcule may hasteh Inc
obseuuies of play already so bad that It's Iah"le
is inevitable But criticism establishes no man
rank fixes no mans opinion. dssuadeS no man
from the bent of his humor The actor Whom 1t
y1P9
- fo,,nd for him The actor whom it states does
not expire :. l., 49,,
criticism is neither hostility scorn 1t Is easy
+ uttar blame: it is difficult and much better 10
,,++er Intelligent and thoughtful praise certain
c,,4oote however which must be treated II theat-
rcal history be written, can only pe treateo III
o,e vvav The presence of foreign schools OF acuhs
cannot he ignored and the irrational claims tnd'
are made in their behalf ought TO be met Win an
occasional word of protest. In the FACE Oh way
ward innovations the plea for reason ana sum
plicfty is appropriate. The worst inhueHce ths''
proceeds from the stage is one that also ploCeeu
from the pulpit, and. perhaps, from all aTtls'io p
suits-tbe possible weakening Of character from
encoura cement of the love of admiration III peiS
who are before the public, whether as a5.ots' %
tors writers, preachers, or personal eAniDito -
or,- hind IT takes a man a long time TO learn the
,,agr,eness Ignorance hippancy, and folly OF me
orintons and remarks of most other persons ABOUT
,i,,ss1f mr. his proceedings; to learn that the oiS
v,+iopaI wa, OF living is make duty rigld law
and 70 ignore what people say. Many men never
laarn e. and actors in particular, whose fortunes
7aoord n, nonular liking, are sometimes p1iapie III
41,air rastless craving vanity The same pehfVio
\ econ in clereyrnen. At least half OF ali thde
occurs in the world Is of no possible Importance,
ana ought never to be noticed The worlo "oui0
sec less vanity and hear less of nobodies ana noun
ings If society and the press had not such an N
,,aterate disposition TO chronicle small Deer
To understand human nature; TO ABSORB anu -
ordinate the literature of the drama: to dTscrinl-
mate between acting and talking; to see the ie''
moral and spiritual aspect of the stage and iike
wise 20 see and understand the popular aspect OF
il; to write for public OF miscellaneous re~asi@