THE SUOTAX OBEGONIAN, PORTLAND, DECEMBER 2, 1900.
In Ithaca, the seat of Cornell, a like live
ly Interest has been shown In Mrs. Fiske's
appearance, and the young men of these
Institutions have been as persistent In
their efforts to set posters of Mrs. FIske
as. souvenirs as were the young women In
tho other towns. Mrs. Fiske's encase
ment In Rochester Is notable for several
reasons. There she was booked In a vau
deville theater, the prices of which for
her encasement were raised to correspond
with those of a first-class house. On the
first day of the sale for the engagement.
In rritc of a snow storm, a crowd of
people awaited the opening of the box
office, and the first day's "take" amounted
to over ?2000.
Tnlla MnrloTre Is Stubborn.
Variety was given to the last -week of
tho rehearsals of "When Knighthood "Was
In Flower," by a difference of opinion
"which arose between Miss Marlowe and
the author of the novel, as to how realist
ic should be the reading of the lines of the
heroine, Mary Tudor. In knighthood's
flowerlnsr time. It is recorded, oaths -were
heard as often from the lips of -women as
men. So Mr. Major did not go amiss
"When he allowed the heroine to consign
her enemies to the realms of perdition
Paul Kester, the dramatist. Imitated the
author, and the curse -was written with
pointed brevity. Miss Marlowe refused to
speak the line, and thereupon Mr. Major
read his contract to her. It called for the
speaking of the lines as -written. As Miss
Marlowe Is not an actress on salary, but
a star, she could not refuse to play tho
part after the example set by Miss Eve
lyn Millard. But she -was stubborn.
In rehearsals she has mumbled over the
line, but has gone through the pretense
of speaking it. If she does not swear In
publio Mr. Major has the recourse of the
law. If he cares for that diversion. Paul
Kester thought the matter would bo
Bmoothed over.
That Unlnclcr Sir-ore Thrust.
Unless E. H. Sothern unexpectedly Im
proves In health there Is small chance of
his opening his Chicago engagement New
Tear's week, as he is scheduled to do.
Ugly rumors to the effect that the leg
Itself in threatened were about last -week,
and It Is admitted that a small bone was
taken from the foot a few days ago.
The injury, it will be recalled, was due
to a swerd thrust In the duel scene be
tween Hamlet and Laertes In one of tho
early New York performances of "Ham
let." Blood poisoning set In two -weeks
later, after the actor had begun his tour
outside of New York.
It would seem as if Washington Is Mr.
Eothern's hoodoo town. At least, thero
is some fatal influence In the place for
him, for it was there he closed his sea
son last year, as well as this, on account
of illness, and strangely enough it was
there that John McCullough, many years
ago, when Eddie Sothern was doing a
spear part, notified the young aspirant
for thesplc honors of the death of his
famous father.
Oljcn Xethersole's Bnd Luck.
Olga Nethersole's summer residence, at
East Cliff, near Elgin. Scotland, was al
most made a total wreck two weeks ago
through a storm, which did a great deal
of damage In that part. Miss Nethersole's
library, which is stocked with valuable
books and manuscripts, was unfortunately
the most damaged, many of tho volumes
being completely destroyed.
More Than ? 2000 n. Night.
To equal her recent profits in Paris
Mme. Bernhardt must have tremendous
business in American cities. The receipts
of tho 234 performances of "L'Aiglon" in
France amounted to $495,425, an average
of more than $2000 every performance.
Rostand has always received In royalties
more than 559,000 for "IAlglon" aline.
Beat Sew York Record.
"Arizona" will reach Its 100th perform
ance at the Herald Square Theater, New
York, on December 4. It is the only play
of the season in New York thus far that
achieves that record so early in the year.
Miss Annie Russell, In "The Royal Fam
ily," is a close second.
Booked Five Years Ahead.
Tho commmerclal value of a successful
rural play, once thoroughly established in
popular favor, is evident from the fact
that "Way Down East" is already booked
for the season of 1S01-1S02, and In some
of the principal cities fixed time is re
served for it five years ahead.
"WELSH RABBIT" IS RIGHT
Bnt Improper Use of "Rarebit" Is
Almost Universal.
It is high time that all lovers of English
ehould unite in common protest acainst
that barbarous collection of words,
"Welsh rarebit," says a writer in the
New York Herald. Every now and then
In the past some good man has raised
his voice in a plea for the right phrase,
"Welsh rabbit," and has then disappeared.
Such staccato protests have proved un
availing. The word rarebit has now In
sinuated itself upon SO per cent of all the
menus in New York. The smaller hotels
caught the habit from the greater ones.
The French and German hostleries imi
tated their American contemporaries. Nor
Is this the worst. Owners of chophouses
and restaurants flaunt the offensive word
on their gilded signboards in the very
faces of the public at large.
Now, why Is this? Hot a dictionary of
today sanctions the use of "rarebit."
though in a temporary aberration of judg
ment Worcester and Webster once did.
Perhaps hotel men are too busy to con
sult dictionaries. Then let them hearken
to the indirect reproof they are continu
ously receiving from their customers.
I have been in many, many places where
tho menus announce "rarebits." I have
never heard any one order anything else
than a rabbit. Nay, the very waiter who
repeats the order to the cook says "Welsh
rabbit."
This Is, Indeed, one of the most curious
of all philological feats that by which
some amateur etymologist of the past
forced the wrongful substitution of "rare
bit" for "rabbit" upon tne world. It has
ever been a common habit with the ety
mologist of this breed when the meaning
of a word does not seem obvious to him
to remedy the difficulty by a slight change
that makes it seem superficially reason
able. Coming across the term "Welsh rabbit"
he gazed through solemn spectacles at
this mare's nest, and decided that a bit
of toasted cheese could not by any stretch
of the imagination be considered a game
animal, though it might well be a "rare
bit," so he jumped at the conclusion that
time and the corruptions which time ef
fects must have done their evil work
upon this word. Hence he decided to re
store It to Its original beauty and signifi
cance. Hence "Welsh rarebit."
Now this Is all wrong. "Welsh rabbit"
Is a genuine bit of slang, belonging to a
large class of similar terms, describing
In mock heroic language the favorite dish
or special product of a particular district.
Here are a few examples that are abso
lutely analogous:
In London a sheep's head stewed with
onions is called a "Field Lane duck."
Potatoes are "Irish apricots," and "Mun
ster plums." A herring Is called in dif
ferent localities of England a "DIgby
chicken," a "Norfolk capon." a "Dunbar
wether," or a "Gourock ham." In France
it Is humorous to call a herring a "pou
let de careme" (Lenten fowl).
In our own country. In New England,
codfish is frequently known as "Cape Cod
turkey."
Similar examples abound in the language
of every country. Yet, In the face of all
these analogies, the amateur etymologist
refuses to accept the common-sense ex
planation that the name "Welsh rabbit"
Is simply a humorous recognition of Taf
fy's fondness for toasted cheeae.
Musicl
The Soul's Expression.
"With starnm'rlng lips and Insufficient Bound
I strive and struggle to deliver right
That music of my nature day and night.
With dream and thought and feeling unwound,
And Inly answering all the senses round
With octaves of a mystic depth and height.
Which step out cr&ndly to the infinite
From the dark edges of the sensual ground.
This song of soul I struggle to outbear
Thro' portals of the sense, sublime and whole;
And utter all myself Into the air.
But If I did It as the thunder roll
Breaks Its own cloud, my flesh would perish
there
Before that dread apocalypse of soul.
Ellr&beth Barrett Browning.
A SENSATIONAL FAILURE
St. Iouls ioaes Prestige Because of
Its Recent Fiasco, the Blc
Musical Festival.
Gossip and criticism are rife concern
ing the sensational failure of the am
bitious St. Louis musical festival, planned
for two weeks, which closed prematurely
at the third concert with the orchestra
unpaid. Two days before, worthless
checks for over 52000 were issued by the
managers of the festival, who had no
funds in the bank, says Homer Moore, of
St. Louis, In the Musical Courier. The
men who gave tho festival claimed to
have a guarantee of 51S.O0O, which, how
ever, was never investigated. It Is just
one of those slipshod things that crop up
frequently in music. Nordica sensible
business -woman that she is who had left
the Grau forces long enough to make a
flying trip to St Louis for the opening
concerts, foresaw the crash that was com
ing, and refused to sing until the 51900
due her was paid. Charlotte Maconda,
who had scored a great hit at the second
concert, followed her example. This pre
cipitated matters, and on the third night
tho orchestra declined to play; the small
audience waited nearly an hour, and then
was sent home.
No one is surprised that the men who
started the project In St. Louis were suc
cessful In securing engagements without
preliminary deposits or guarantees, for
this is no unusual way of doing business
In the music world, where reform is sadly
needed. These men were wholly un
known, unfamiliar with music, and with
the public, yet they could put forth the
scheme of a festival, and secure artists
without any substantial business basis.
From an artistic standpoint, to be sure,
the concerts were highly enjoyable. Both
the large chorus and the orchestra did
strong work. Nordica and Maconda
aroused great enthusiasm, and the festival
band was pronounced the best St. Louis
has had in years.
The financial failure of the festival Is
likely to have a disastrous effect on the
future of music in that city.
Undoubtedly, says the Concert-Goer, the
civic pride of a number of citizens wa
flattered by the project of a festival of
such scope as has rarely been under
taken. But the result must have been
apparent from the outset to those who
looked at the matter without prejudice
and with full knowledge of the facts.
Disaster Invited.
Disaster was Invited by the very char
acter of the project no less than by the
lack of management evident in its carry
ing out. There must be rare .attraction
indeed in a musical banquet to draw peo
ple out night after night steadily for
nearly two weeks. Indeed, it Is safe to
say that music alone cannot accomplish
this. The aid is reaulred of some ex
traneous interest, or, failing this, there
must be a public large enough to insure
practically a new audience for nearly
every performance. But every one knows
how small is the public, in a city like St.
Louis, which is attracted by concerts of
the character of these. The total num
ber of people who can be reckoned on for
such occasions is not many times greater
than the number which must have attend
ed each concert to Insure success.
Tho first Impulse of musicians who
were engaged for appearances and went
there only to meet the crash will be to
say hard things of the St. Louis public.
But the people are not without defense.
Such an offering of continuous music for
two weeks partakes more of the nature
of a debauch than of a feast. Few peo
ple can listen to and assimilate so much
In so short time. A festival of three or
four days duration, with two concerts
a day, is quite enough to try any listen
er's power of endurance. Indeed, the
whole idea of the music festival Is a
vicious one; it Is at best a makeshift, and
its perpetuation as an institution may not
be to the interest of the healthiest growth
of music.
Nevertheless, the fiasco will be a set
back to the cause of good music In St.
Louis. Managers will probably become
unduly cautious for a time, and musicians
will be chary of risking the loss of a fee
In a town which has such a record. The
amiable and well-meaning men who in
stituted this festival have by their care
lessness or their ignorance, struck a blow
at the musical interests of the city, from
which It may not entirely recover for
years. The responsibility of managers to
the public Is too loosely defined. Public
sentiment should demand some sort of
guarantee from those who serve Its mu
sical Interests, and then should hold them
more strictly accountable.
San Francisco Redeems Itself.
Large and appreciative audiences are
now the rule In San Francisco for the
Grau Opera Company. The cycle of "The
Nibelungen Ring," which opened last
Monday night, forming the climax of the
season. Is receiving the unstinted en
thusiasm it merits, since this Is the first
production of the "Ring" In San Fran
cisco. The opera season Is now completely
out of the dolldrums, and unless all signs
fall Maurce Grau will go out of tho city
with well filled sails. Grau wll not have
occasion to lose the faith which broght
him across the continent with 60 out of
the 100 singers of all ranks available
for grand opera.
Of "The Rhlnegold," the introductory
opera of "The Ring," the San Francisco
Chronicle says: Between the singers and
the orchestra "The Rhlnegold" cast a
spell on the house, which never broke,
and will never entirely pass away from
anybody who was there.
Van Dyck's Loge - one of the most
masterly performances we have seen on
the stage. We had heard him In "Tann
hauser 'and "Lohengrin," but no one
would have suspected that the dignified
and stately tenor could be so light and
easy in what Is the only comedy of "The
Rhlnegold." And Blspham as Alberlch
held his audience with an intensity that
has rarely been equaled, acting and sing
ing with such dramatic spirit that he
stood out with Van Dyck from all the
others.
But very graceful, expressive and
charming was Susan Strong's unaffected
performance of Frlcka, while no more at
tractive figure than Miss Marylll made
In Frela, the goddess of love, could be
asked for. She was thoroughly In the
spirit of Wagner's writing of the char
acter, for Frela Is not Venus nor a sim
ply beautiful vision of love; she repre
sents the strong, pure, lasting love that
is not suggestive merely of passion. A
gem of the evening was the warning of
Erda, sung by Mme. Schumann-Hclnk.
It was a weird face In the light, and
that great voice rang oat with mystic
power.
There was never a time when applause
could get In, or there would have been
plenty of It. But the scene at the end
has rarely been witnessed before. The
whole house remained and called out the
artists, and recalled ' them, and finally,
with everybody standing, Damrosch was
brought out In the midst of them, and
received with a great burst of enthusi-'asm.
Alvln Schroeder of the Knelsels.
No violoncellist in recent years has
gained a stronger hold upon the apprecia
tion and esteem of the Boston and New
York public than Alvln Schroeder, of the
Boston Symphony Orchestra and the
Knelsel Quartet. He has also many warm
admirers in Portland, who remember with
loving Interest his work here with the
Knelsels, under the auspices of the Mu
sical Club. These friends will be Inter
ested In learning that on November 26.
in. Boston. Mr. Schroeder celebrated the
25th anniversary of his first public ap
pearance. His celebration took the form
of a concert, in which only 'cello mu
sic was heard. Mr. Schroeder was as
sisted by J. Keller. J. Adamowski and
Carl Barth, and by Wllhelm Gerlcks,
conductor of the Boston Symphony Or
chestra, who played the accompaniments.
The programme Included a suite by
Bach, the first movement of a Rom
berg concerto, some pieces for four vio
loncellos, several short solos and a fan
tasie by Servals.
Mr. Schroeder, when only 20 years old,
took his p!ac as first 'cellist of the Lelp
slc Orchestra, In Berlin. This was In 1S75.
Previous to this however, he had played
viola for six years in a string quartet or
ganized from members of his family,
taking his father's place when 11 years
old. The earliest instrument studied by
the young musician, however, was the
piano. At the age of 7 his father taught
him the piano, while his brother Herman
gave him violin lessons. The 'cello was
a later acquisition.
Sir. Shroeder Is a German, having been
born at Neuhaldeneleben, near Madge
burg, in 1S55. After his Berlin experience
he joined the Gewandhaus Orchestra, at
Lelpslc, and taught there U years. He
has made concert tours with success in
Russia, Holland, Belgium and the chief
European cities. About nine years ago he
joined the Boston Symphony Orchestra
as first 'cellist, becoming at the same
time a member of the Knelsel Quartet.
Sleveklng: in America.
Martinus Sleveklng, the Dutch pianist,
arrived in New York much shaken up by
the rough passage, which left him hors
de combat for two days. He has quite
recovered his wonted health and spirits
now, and is as eager as ever for the hard
work in which he delights. Last week
the pianist played for his manager and
a few chosen friends, and the little com
pany was fairly amazed at the tremen
dous progress he has made since he was
last here, says the Concert-Goer.
Sleveklng spent the Summer at Ischl
with Leschetlzky, continuing the work
on which for the past two years he has
concentrated all his attention. His vol
untary retirement from the concert stage,
and the life of seclusion and hard work
which he has led, reminds one of the
similar eplsodo In Taussig's career. He
has completely revolutionized his style,
and It may be expected that a very
different Sleveklng will greet us this year
from the young, untrained player we
used to know, with the physical and emo
tional strength of a giant.
Sleveklng will Introduce to American
audiences much Important new music Be
sides some arrangements of his own of
Bach, which are sure to excite interest,
he has In his repertory two concertos
which are practically unknown to this
side of the water. One of these is the
Rachmaninoff work In France, and which
he declares is very fine. The other is the
much talked of Stenhamnifer concerto,
which Rummel played here once. It Is
In three parts, and is scored for full or
chestra, including tuba. Sleveklng has
also made an arrangement of "Siegfried's
Death and Funeral March," full of genu
inely orchestral effects, which he will
Introduce in places where the work can
seldom be heard by the orchestra.
Miss "Wood Back at Boston.
Miss Anna Miller Wood, who Is well
known to Portland music-lovers, returned
from California the first week in Novem
ber, and Is already hard at work with
pupils at her apartment, 1C5 Huntington
avenue, Boston, where she will be joined
by her mother later In the year. The
Alameda Argus of recent date had the
following to say about Miss Wood's work
In California:
"Miss Anna Miller Wood left on Thurs
day for Boston. On Saturday Miss Wood
sang five songs very finely at a studio
musicale in Alameda. On Sunday she
sang solos and In concerted num
bers In an elaborate service at
the San Francisco First Unitarian
Church. On Tuesday evening she
gave a concert In Sacramento before a
very large audience. The critic of the
Record-Union was very enthusiastic in
his praise of her singing. Indeed, one
who has heard a great part of the work
Miss Wood has done in the last several
years says that she never sang before
with such feeling and power as at the
Sacramento concert. Miss Wood goes
East followed by loving wishes from a
great circle of friends. Hers Is a nature
which endears Itself, and no favor seems
too great to be granted to her friends.
No one could have done more with her
heaven-sent talent than she has done and
Is doing; and her personal as well as her
artistic Influence is extending day by
day."
Is Kerr York Jealous T
New York seems to be Jealous of San
Francisco, if one may Judge from the fol
lowing paragraph In the Musical Courier,
which hardly seems Justfled in view of
the lavish expenditures Grau has Incurred
for his Western trip: "The Grau Opera.
Company will do a very profitable busi
ness on the Pacific Coast, and may con
tinue similarly financially successful in
the cities of the West. The expenses
are enormous, and high prices must be
charged, but as the performances are
novelties, the people will pay for them
liberally at least on the Coast. It Is not
expected that a traveling company should
give operas with proper scenery and
mis-en-scene and with trained chorus and
orchestra, but here In New York Mr.
Grau should finally give artistic produc
tions. "He should also cease to farm out his
singers to concerts on the 60 per cent
basis. That is good business, but It is
not fair to the singers or to the public."
PetschnllsoS Will Return.
Alexandre Petschnlkoff, the young Rus
sian violinist. Is to return to America
this season under the management of M.
L. PInkham, if present plans are per
fected. Since Petschnlkoff was one of
the most conspicuous figures in the last
concert season of America, our readers
do not need to be reminded of his artistic
status. No violinist since Ysaye made so
many Important appearances In this coun
try as did Petschnlkoff during his first
season with us. His marked popularity
seems to warrant his return this season.
To Abolish the Male Alto.
Still echoes of the Birmingham Festival
come to us from England. It Is now 'said
that one of Its results will be the aboli
tion of the male alto. Although he is one
of God's creatures and not, like the mule
or male soprano, man's Invention, he will
have to go. even In oratorio work, where
ecclesiastical traditions have enabled him
to keep his place. In spite of the superi
ority of the female voice.
Astor Discharges a Lord.
New York Journal.
.London. William Waldorf Astor has
discharged Lord Frederick Hamilton from
the editorship of his Pall Mall magazine,
his place being taken by a professional
literary man.
Lord Frederick may be said to owe the
tMIleillllil(lll(IIIIIIIIIIMIIIlIMltlt(tMIltlllMI(t((l(lll(ltt(llllt(lllllltIIHt
Ciifitisiittitti(ttliititf(iict(i(i(gtitiiiitillt
00
0
0
0
SPECIAL...
TODAY, SUNDAY
Exposition Building
Two Grand Concerts
BY THE
Royal Marine Band
...OF ITALY-.
GIORGIO M1HOLIT1, Director
I
0
0
0
0
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
0
0
0
0
0
0
0
0
00
0
0
00
0
0
00
00
00
0
00
0
0
0
00
0
00
00
0
00
00
00
0
00
00
00
00
00
0
0
0
0
0
00
0
0
0
00
00
00
0
00
0
0
00
0
00
00
00
0
0
0
0
0
0
0
0
0
0
0
0
0
-'
THIS AFTERNOON
AT 2:30
v.
.it,- ..
THIS EVENING
AT 8:13
Sacred Concert
Concert of Popular Airs and Request Concert
All requests for special numbers to be left at the office
of Marquam Grand up to 6 P. M., today.
PRICES Adults, 50c; Children Under 12 Years, 25c
OTNHMr- I MARQUAM GRAND '.gr-
BSjsstjBjstHBMHBaSMBaMHHiiasssssaaaaaaaaasVBiis
What the Public Want -Novelties
PRESENTING THREE GREAT OPERAS
FOUR NIGHTS
Monday, Tuesday,
Wednesday and Thursday
December
3, 4, 5 and 6
Special Matinee Wednesday
YOUNG AND POWERFUL CHORUS
GRAU'S OWN ORCHESTRA
JULES GRAU S
OPERA
COMPANY
REPERTOIRE
Monday and Tuesday
ISLE OF CHAMPAGNE
Wednesday Matinee
LITTLE TYCOON
Wednesday and Thursday
EL CAPITAN
PRICES.
Evening. $1. 75c. 50c and 25c
Matinee, 50c and 25c.
000V
000
00
00
00
00
00
00
00
00
00
0
00
0
0
0
00
0
00
0
00
00
00
0
00
00
00
00
00
00
00
00
00
0
0
0
00
0
0
0
00
0
00
00
O
0
00
00
00
00
00
00
0
0
00
00
00
00
t
00
00
00
00
00
00
00
00
00
00
00
00
00
0
0
00
00
00
00
0
00
00
00
90
00
00
00
00
00
00
00
00
00
0
:?
0
EXTRA! FRIDAY AND SATURDAY EVENING, DECEMBER 7 AND 8 EXTRA!
so
HORSES
SO
MATINEE SATURDAY
JACOB LITPS MAGNIFICENT REVIVAL
200
MEN
200
"SHENANDOAH"
DIRECT FROM THE BROADWAY THEATER, NEW YORK CITY ' 7
-. AN AMERICAN PLAY FOR THE AMERICAN PEOPLE!
The Most Realistic Battle Scene Ever Presented on any Stage
Every Detail of the Production Identical With That Used in New York
A Company of Superlative Excellence
CAVALRY, INFANTRY,
ARTILLERY
WORDS OF PRAISE FROM GENERAL MILES
"It Is the best play I have ever seen.'
FROM THE NEW YORK JOURNAL "A riot of
enthusiasm. . . A triumph of stagecraft."
25 Veterans From Cuba
and the Philippines
11
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
POPULAR WITH THE PEOPLE
CORDRAY'S THEATER
JOHN F. CORDRAV, Manager
FOUR NIGHTS, BEGINNING TONIGHT, SUNDAY, DEC. 2
THE
MYRON B. RICE COMEDY COMPANY
PRESENTING
My Friend From India
STRONGEST COMPANY EVER SEEN IN THE PIECE
MAY VOKES AS "TILLY,5 HER ORIGINAL CHARACTER
IN: CONJUNCTION WITH A NUMBER OF M AJ O-
HIGH-CLASS VAUDEVILLE FEATURES ..0.PIO AQVanCe III r HCeS
loss of bis JlO.OOO-a-year editorship to the
action of his sister, the Duchess of Buc
cleugh. In declining to remain any longer
the social sponsor of the ex-American
multl-mllllonalre. Mr. Astor, by his
Idiosyncrasies, and by his arrogance, had
already severely taxed the g6od nature
and the breeding of the Duchess, who Is
one of the great leaders of the English
world, and who, as Grand Mistress of the
Robes to the Queen, Is chief of the femin
ine portion of the royal household.
1
Sir HeHry Irrlagr.
I4verpool Mercury.
The star of Sir Henry Irving Is stlU In
the ascendant. It shines with an efful
gence and a brilliance that characterize
no other In the same sphere. It is as
vividly bright today as It was 20 years
ago. Its vitality is amazing, but easily
understood by the world lightened by Its
steady, purposeful gleam. It means much,
and it has meant much for many years
this steady, constant star of Art. Its
moment of ascendency marked a new
era In the heaven of histrionics; hence
forth the king star shone alone, and the
other creations of the theatrical sky
did homage. Sir Henry Irving has trans
formed the stage, the meaning of the
stage, the scope of the stage, and the
attitude of the English world to it. He,
by the suggestive strength of his doings
in many spheres, by bis belief in the
majesty of his art, and by hi3 austere
conflict with prejudice, narrowness and
the maudlin and hysterical utterances of
those who decry the stage, knowing noth
ingand admittedly knowing nothing of
It, has put the stage onto a plane which
never before held It, and which, It-Is to
be hoped, Is only a foretaste of a future
and even better state than that at pres
ent evident. Sir Henry would probably
be the first to admit that there Is plenty
of room yet for Improvement In many
directions, noticeably In the tone of cer
tain plays which have a passing vogue.
None would be the loser, and many the
gainers, were they "Improved out of ex
istence." However, the literary dramatic
quality, the artistic embellishment, the
lavish accompaniments and the artistic
histrionics rife today, coupled with, per
fectlon of detail.- a wealth of research
prior to the production of historical plays,
are all effects directly traceable to ana
made possible by the force recognizable
in the person of Irving. There must not
be omitted from this pleasant, though
inconclusive, catalogue of Irving's bem
eflts, one of the most meritorious and de
lightful features to wit, the Improved
social status of the actor. The theatrical
profession owes to Sir Henry, and ad
mittedly owe3, a debt impossible of rei
payment and beyond calculation. And
what does the public owe to him? .Au
amount of satisfaction, artistic and. gent
eral, passing; description in this brieS
space.
U