Year: 1874

mans Farewell.


The poet may lay down his pen, the painter
his brush, with regret, it is true. yet not with
that same sorrow the actor feels when he bids
farewell to the stage. The writer, the painter
and the sculptor stand behind their art; what
they produce has thenceforth an independent
life, and may for ages survive It's creators
Homer poetry lives though his birthplace is
as unknown as his grave, and though Phidlas
is mere name his genius is embodied IN
the Elgin marbles. But Roscius, Better
ton, Garrick, Siddons, the elder Booth
Kemble and Kean, are nothing but traditions
of glory. What little we know of their great
ness has been preserved by the writer and the
painter. We see Kean in the criticisms OF
Hazlitt and Siddons in the portrait by
Reynolds The actor has at once the benefit
and the misfortune Of standing before his art.
He embodies it in his own person. 1t must,
therefore, be with pain greater than other
artists feel that he abandons his vocation and
disappears like meteor forever, leaving for
moment fading trail of splendor Tor.
although his reputation may endure, his
work vanishes. Something Of this sad.
ness must attend even the triumph Of
Charlotte Cushman in the farewell she is
taking Of the stage The majestic phantoms
of her own Imagination accompany her, and
the world will look on them no more. II is
strange to think that while the rude weapons
Of stone made by the prehistoric man remain
as evidences of his existence, the dramatic
creations of such genius must vanish as
shadows do when the light is withdrawn and
must soon become but cherished memory
page in book or q picture on the wall


The most intellectual of tragic actors
upon our modern stage, Miss Cushman has
no rival and will leave no successor.
Her passion has been emulated by others,
though by Nine. Janauschek it has been
equalled, but very few have approached
her power of thought. Her reading alone
would have made her q great actress, but
it is united with immense force of gesture
and attitude. No Shakspearian reading is more
effective, more poetical more just than hers.
During the closing years Of her career Miss
Cushman has played but few parts, and as
Lady Macbeth, Queen Katherine and Meg
Nerrilies she is most familiar to the public.
But older theatre goers will associate with her
name noble train of characters. She was
fine as Hamlet, remarkable, especially in the
Punishment scene, as Romeo, imaginative as
Rosalind, and superb as Cardinal VOL
sey. She raised melodrama in such
creations as Nancy Skies, almost to the level
of tragedy, and tragedy was tableland upon
which she made her home. The dramatic
world cannot part with such woman without
far more than usual regret, and in the honors
paid her last night on the occasion of her
farewell appearance here, New York expressed
a national appreciation. Of the ceremonies at
Booths Theatre, the address Of William Cullen
Bryant and Miss Cushman's reply. we give
elsewhere full report


What the stage loses when such artists as
Miss Cushman. like Pre@sero, bury their book
and wand, cannot be replaced; yet it is for
t1nate that outside Of these exceptional
geniuses the American theatre has so much
merit and ambition One theatre like
that of Mr.. Wallack is school
in which the nation may study.
It is the bright, consummate flower of Ameri-
can dramatic culture and preserves, with un-
usual success, the traditions of the great stock
companies of the past Transcendent genius
is rare, and we take it as the gift the gods
choose to send, but good plays, complete
company and perfectly appointed theatre are
always In the power of manager who respects
the intelligence Of the public and truly honors
his profession.