But first let us trace the course of the drama when it fell into Christian hands.
That fierce Northern blast which overthrew for ever the gorgeous fabric of the Roman Empire, withered and blighted everything that could be called intellectual or refined. The civilization, the literature, the very language of Greece and Rome, were extinguished, and the world had to begin its intellectual schooling anew. Then the church stepped in, and moulded those rough elements into a nobler race than that which had been swept away. The Roman had been taught to live for the state; the Christian was taught to live for Christ. The church filled their rugged minds with great ideas and noble purposes; she laid the foundation of a great faith, and on that built up everything. A belief in one Supreme God, in eternal joy for the good, eternal pain for the wicked: such was the doctrine, easily learned, easily understood, which she unceasingly poured into their untutored minds. It was a hard task. There was no press then; there were no newspapers, no telegraph wires flashing thought from world to world in less time than it takes to conceive it. Men were taught by word of mouth. And when we contemplate the magnitude of the work—the education and conversion of an illiterate world—we can only wonder at its success, and see therein the finger of God, guiding and directing his daughter—the one stumbling-block to the march of reason, according to our modern notions.
Then came up those quaint old miracle plays, performed at fairs and festivals, and sometimes even in the cathedrals and churches. They clothed the mysteries of religion in simple language, well adapted for simple minds, and brought home to the crowds assembled great and impressive truths. A relic of them to-day attracts the fashionable world, ennuyé of the opera, the conventional stage, and an existence weary of itself and its emptiness. It takes its opera-glasses and scent-bottles and flirtation to the rude rocks of the Tyrol to behold the Ammergau Passion Play. It is a novelty. We wonder that no enterprising manager has offered fabulous sums to bring the performers out here to us. They would certainly “draw.” To be sure, he could scarcely transport the Tyrol, but then the scene-painter and machinist could manage that. If the butterflies of fashion can find motive enough to brave the terrors of sea-sickness and flit out thither to behold a novelty, can sit it out without a yawn, and be struck by the reverence of the performance and its effect on the grave mountaineers, surely something far less taxing on our conventional notions, but bearing the germ of a great truth within it, might send the thousands who flock nightly to our theatres home with a thought in their heads and a more earnest feeling in their hearts.
The stage grew with the growth of time and the spread of education, till, at the close of the sixteenth century, we find it at its zenith in Spain and in England. The French and Italians never possessed a great stage—a stage, that is, for all time and all nations; the German is of recent growth. At this point the stage was great; was in the broad sense moral, elevating, high. It towered above men, above the times; it educated while it attracted them. In plot, in action, in delineation of character, in thrilling scenes and happy conceptions, the plays of the sixteenth century are unrivalled, while their language makes of them classics. Dr. Arnold of Rugby proposed that the English classics should be made one of the principal studies of boys at school. We wonder what benefit boys would derive from the study of the trash we listen to and applaud in these days—whether it would be better calculated to improve their morals than a close application to the pages of the Newgate Calendar or the columns of the Police News?
From that period the course of the stage has been a downward one passing from bad to worse, till it has been our fortune, with a solitary exception here and there, to light upon the worst; for the plays of the time of Charles II., bad as they are and revolting, are safer from their very outspokenness than the gilded licentiousness that allures us. We rival them in obscenity, as we fall immeasurably below them in wit. The reason of this decline, at a time when the discovery of the art of printing gave a new impetus to the spread of education, is foreign to our present purpose. With a glance at the past, at what the theatre was, and what it might become, we turn to that which immediately concerns us, the present: what the theatre now is, and why—restricting our remarks principally to New York.
Now the dramatic season has just drawn to a close,[203] so it is a fair time to indulge in a retrospect. We believe it has been on the whole what managers might term a fairly good season; that is, people have gone to the theatres, paid their money, and endorsed, by their presence and applause, the various species of entertainments which the managers, in their capacity of public caterers, have provided for them.
Our question is, What have we endorsed? What have been the theatrical “hits” of the season? What are the plays which have brought crowds to the theatre, money to the manager, and delight to the public at large? The answer, looked at soberly and honestly, is startling.
With the exception of the Shakespearian and a few other classical plays at one of the theatres, some transitory pieces got up occasionally for “stars,” and French adaptations, which we shall refer to after, we have not had a single play worthy of the name, worthy of the actors who performed them, worthy, we sincerely hope, of the audiences who witnessed them.
It may be as well to explain that by actors we mean ladies and gentlemen who are equal to the very difficult position they have taken upon themselves; who can speak pure English in a manner we can all understand—a slight qualification seemingly, yet in these days one of the rarest; who can portray emotions with fidelity; who can forget, first of all, themselves; secondly, the audience, in the character they have assumed. We do not mean those with whom vulgarity passes for wit, coarseness for humor, or a liberal display of the person for all that is needed. The name of the latter class is legion; the individuals who compose the former, exclusive of passing stars, might be almost counted on our fingers.
And now for the performances we have endorsed. The great attractions, the “hits” of the season, beyond Humpty Dumpty, which is no play at all, but a display of the antics of the cleverest mime who has appeared on our stage, have been the Black Crook and Lalla Rookh. These two pieces drew the largest crowds for the longest time; one of them is an old favorite, and vies with Humpty Dumpty in duration; the other, but for its untimely end by fire, was as likely to become so, and may yet, for all we know to the contrary. We wish to place this well before the public; the chief theatrical attractions in New York, the commercial capital of our Republic and the New World, during the past year, have been Humpty Dumpty, the Black Crook, and Lalla Rookh!