Year: 1873

suggestions to be passed over in silence The
first took place in London, and had RESPECT
TO an article in the Pail Mall Gazette in refer
ence to Mr.. w. S. Gilberts play entitled
''The Wicked World" The other has taken
place in this city, and was elected by structures
Of some severity published in the HERALD in
relation to Mr.. Boucicaults drama Of lied
Astray." The first mentioned case was tried


in court of law, and, strange to say, decis-
ion was rendered in favor of both the plain
tiff and the defendant, nothing offensive to
good morals having been found in the play,
and nothing Objectionable in point of unfair
ness in the criticism The second case which
we have specified has been judged in the high
court of public opinion, through the liberal use
Of the columns of the HERALD, and perhaps,
as in the English case, both classes Of
contestants will claim the victory. Lied
Astray," in short, has elected interesting and
spicy letters from both sides, and having pub
lished an equal number of each, impartially,
we had intended to close the discussion as
summarily as the English judge with respect
to Mr. Gilbert's play The subject, however,
has obtained such prominence and has pre-
sented SO many valuable suggestions with re-
spect to what true dramatic criticism consists
in, that together with these remarks, we print
another communication, recognizing that at
such crisis, manager, author and actor have
a right to be heard, provided they have any
thing to say worth listening to and couch
their sentiments in such language as a sensi-
tive ear can receive without offence. Certain
other communications, however, we must de-
cline publishing upon any ground, dragging
in, as they do, extraneous questions under
guise OF legitimate protest, and venting them
selves in phrases which reflect the scandal of
their authors brains.


There are some convictions which are so
plainly essential to good dramatic critic that
but one opinion can exist with respect to
them. With the idea of criticism is insepa-
rably identified that of candid investigation
and courageous expression. To be intelligent
enough to perceive the truth, to be frank or
fearless enough, as the case may be, to utter
it, and to have the art Of SO uttering it as to
be interesting to the public--these appear to
be the three principal requisites in the case
under consideration. We shall no. stop now
to inquire how often these demands are COM
piled with-seldom enough, as the history of
the stage and of journalism, not only in New
York, but in every other civilized city, will
show. And what critics chiefly err in is
not too much rigor, but too much leni-
ency Perhaps we are not assigning too
great a proportion when we say that in nine
cases out OF ten, taking as whole, all over
the civilized world, what is called dramatic
criticism, such criticism is one of the count
less notifications of puffery in some more or
less insidious form. There are bright and
York can claim few.


But while we advocate the strictest impair
tiality in the judgments that are pronounced
by journals with respect to public entertain
ments, we are far from conceding to the critic
that license which steps behind the profess
sonal relations of the artist, attacks private
character and smugges in scandalous insinua-
tions under the pretence of devotion to the
purity of art. The theatres themselves are
public places of entertainment, and managers
and artists should expect to be sometimes Sc
verely handled. The misfortune to tho pub
lie is that they are not handled severely
enough.


Another idea we must take issue against is
that which the dramatic critic sometimes
shares, in common with dramatists who de-
pend for their material upon those varega-
tons of the broken Seventh Commandment Of
which society is full. To maintain that
chastity and virtue are merely conventional,
and that no absolute standard of them exists,
is to launch into sea of scepticism whence
no harbor can be deserted for the security of
those sweet and pure affections that fulfil the
idea of home. There are certain principles
which are eternal and unalterable. demon
stration in Euclid is not less capable Of change.
Among the principles is that Of moral cleani-
ness. The views entertained by particular
peoples at particular times undergo various
notifications, but these principles remain the
same, and the wisest and best men in every
civilized age have perceived their beauty
their fitness and their uniformity. To Defend
therefore, a piece of dramatic pruriency on
the ground that no absolute standard Of
morality exists and that virtue is a mere fleet
ing phantasm, having no essential place in
the economy OF the universe, is merely to
employ the dodge CT the reckless advertiser
who snaps up the first conscienceless plea that
occurs to him.


1t can scarcely be out OF place here to add
that, having literally opened our columns
for several days in order to admit the pros and
cons with reSpcct 10 Mr. Porcicault's l,toct
acted lucubration, we now, with the leave of
the gentlemen and ladies most interested pro-
pose to close the discussion, and with it the
extensive and gratuitous advertisement which
it has been the means of conferring. Still,
we bear no grudge against theatre or manager
for ihis Our Tnissinn ia To toll Tho truth 4