New-York tribune., 1907-10-20
THOUGHTS ON ACTING
FOR ACTOR AND AUDITOR
From Leigh Hunt.

The Art of Acting is not to be taught ~.
schoolmaster, but by the world II is an a.
which has been admired by the greatest critic,
ancient and modern; which Horace did NOT thtnt
il beneath his genius to admire, Addison to recon.
mend, and VOltaire to practise we'll as 70 nro
tect . The drama is the most perfect ,ro,,
ton of human life. BY means Of the stage If rsn-
resents man in all his varieties OF mind bis a.
pressions OF manner, and his power OF action a..
is the first of mOralites, because it teaches rs e
the most impressive way. the knowledge or nr
selves . Those who have produced the -.
eral idea that tragedy and comedy are sorsu
direct initat tions of human life have mistatar .t
habituaI for their experimental knowledge
Tragedy is imitation of life in passions. :, &.
comedy only which initiates both passions 49,
habits. tragic actor then is to be estimated -
as he always copies nature. but as he satisAss a.
general opinion Of life and manners He -
neither on the one hand debase his dignity IN, go
natural a simplicity of manner, nor on the o,h
give ii ridiculous elevation by pomuousnes, a.,
bOmbast. He cannot draw much Of his InovIss~.
from real life because the Iofticr passion, 80
rarely exhibited in the common intercourse or -
kind; but. nevertheless. he should not ind,,,, -.
self in novelties of invention because the bea-t
his audience will be able to judge where ther -
perience has power.
Much study should strengthen his iudens-.
since he must perfectly understand before b -.
feel his author and teach others to feel. -. az
there is strong natural genius iUdsma,+ -
usually follow in the development of gr.ot WI "i
sions, but it may fail in the minute pronr;o.i.eS.
the stage; where there is not a strong na,r,.1
genius. the contrary will be generalIv tos,rd
the common actions Of great character. na -
study the manner OF the stage for their 7--- -
Hotuihs Out nature. IL has lonr bso.
question whether as great genius is reoyirN5 a.
comic as IN tragic acting. This question r,r.. =
asitated with respect to the best actors opIy- e
Hleolocrlty IS more easily attained In t-s.aS -
distinct utterance and a grave ;,5,-.'' 80
'Isase' winch IS the look OF common M, -,
q'diily man TO make sublime speeches = -
stage ana TO call himself tragediau. ha 80 20
"a'e any race whatever: all that is necessa-z -,
tis eIle ar alternately with the arms and to iss,
ItJ every syllable. and the newspapers Mn -,
MN ne IS a most respectable performs- @a
oe comic II Is absolutely necessary IN bsr,. -
nland OF feature and of tone: comedy, 5a., -1 a-
"a equivocation; the humor OF which "a 60
- INC opposite expressions Of look aud o, to1a
snsnc, i..is asreement Of both differing froru ,s-
nevertheless. it appears 10 ma ,b..
oaeeulan IS finer genius than a srss+ o-Is,s
LESSONS are more difficult OF cn7ce,+f0- -
tragedy IS wholly occupied WITH - '
bahi.s Is COMEDY Is occupied with passions .rs
passions OF comedy are more faint 4nsD .S- 'As
uasedy' they are rather emotions ara ir,, s-o7 u
Yl II 'ley strengthen into a powerful chos.
'hey become tragic: thus sentimental oo.
-0' ''e passions sometimes exert All ,h.
strength. Is nothing more than an Alternate -
pouhd OF comedy and tragedy EJur,o- IN s'.-
anu WINS out never elevates: Il meets Wit,
,oo s'eat familiarity our common ideas ard -
Us with its powers. leaves Us suffcenr
Cohtentment with our own: Imagination s,,-.-'
"'nS' ana eIevates too; It carries Us or g. 80
tevei with earthly objects and ordinary csras' !.
oeals the mind to its highest pitch OF ascent =
ports Us through every region Of tbousb+ - -
s.,is' -I.'Is' and teaches us that we have so1stEir
Is more than mortal \ tragic actor. there
fore as he displays more iu1aeina+I,y ,l.'- 80
more p0ef'caI genius than comedian