THE STAGE AND THE PULPIT.
Question. What do you think of the Methodist minister at Nashville, Tenn., who, from his pulpit, denounced the theatrical profession, without exception, as vicious, and of the congregation which passed resolutions condemning Miss Emma Abbott for rising in church and contradicting him, and of the Methodist bishop who likened her to a "painted courtesan," and invoked the aid of the law "for the protection of public worship" against "strolling players"?
Answer. The Methodist minister of whom you speak, without doubt uttered his real sentiments. The church has always regarded the stage as a rival, and all its utterances have been as malicious as untrue. It has always felt that the money given to the stage was in some way taken from the pulpit. It is on this principle that the pulpit wishes everything, except the church, shut up on Sunday. It knows that it cannot stand free and open competition.
All well-educated ministers know that the Bible suffers by a comparison with Shakespeare. They know that there is nothing within the lids of what they call "the sacred book" that can for one moment stand side by side with "Lear" or "Hamlet" or "Julius Cæsar" or "Antony and Cleopatra" or with any other play written by the immortal man. They know what a poor figure the Davids and the Abrahams and the Jeremiahs and the Lots, the Jonahs, the Jobs and the Noahs cut when on the stage with the great characters of Shakespeare. For these reasons, among others, the pulpit is malicious and hateful when it thinks of the glories of the stage. What minister is there now living who could command the prices commanded by Edwin Booth or Joseph Jefferson; and what two clergymen, by making a combination, could contend successfully with Robson and Crane? How many clergymen would it take to command, at regular prices, the audiences that attend the presentation of Wagner's operas?
It is very easy to see why the pulpit attacks the stage. Nothing could have been in more wretched taste than for the minister to condemn Miss Emma Abbott for rising in church and defending not only herself, but other good women who are doing honest work for an honest living. Of course, no minister wishes to be answered; no minister wishes to have anyone in the congregation call for the proof. A few questions would break up all the theology in the world. Ministers can succeed only when congregations keep silent. When superstition succeeds, doubt must be dumb.
The Methodist bishop who attacked Miss Abbott simply repeated the language of several centuries ago. In the laws of England actors were described as "sturdy vagrants," and this bishop calls them "strolling players." If we only had some strolling preachers like Garrick, like Edwin Forrest, or Booth or Barrett, or some crusade sisters like Mrs. Siddons, Madam Ristori, Charlotte Cushman, or Madam Modjeska, how fortunate the church would be!
Question. What is your opinion of the relative merits of the pulpit and the stage, preachers and actors?
Answer. We must remember that the stage presents an ideal life. It is a world controlled by the imagination—a world in which the justice delayed in real life may be done, and in which that may happen which, according to the highest ideal, should happen. It is a world, for the most part, in which evil does not succeed, in which the vicious are foiled, in which the right, the honest, the sincere, and the good prevail. It cultivates the imagination, and in this respect is far better than the pulpit. The mission of the pulpit is to narrow and shrivel the human mind. The pulpit denounces the freedom of thought and of expression; but on the stage the mind is free, and for thousands of years the poor, the oppressed, the enslaved, have been permitted to witness plays wherein the slave was freed, wherein the oppressed became the victor, and where the downtrodden rose supreme.
And there is another thing. The stage has always laughed at the spirit of caste. The low-born lass has loved the prince. All human distinctions in this ideal world have for the moment vanished, while honesty and love have triumphed. The stage lightens the cares of life. The pulpit increases the tears and groans of man. There is this difference: The pretence of honesty and the honesty of pretence.