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(Drpiijnfnms uf tljt ffinplt, POLITICAL AND SOCIAL. —4W
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INFANT PRODIGIES . I have many objections against Infant Prodigies in general , and the Bateman children in particular ; but I do not share the indigna , tion of critics at the " profanation of Shakspeare , " and the " degradation of the drama , " seen by them in the Bateman performances . As to Shakspeare and " profanation , " really , after seeing what I have seen , hearing what I have heard , ay , and what others have applauded too , this objection seems incomprehensible . " It is absurd to suppose children of eight and six can understand Shakspeare . " It may not be absurd to suppose that " eminent " tragedians understand him ; but it is a fact that they do not . " How can children feel these emotions ? " They cannot : but your *• eminent , also , does not feel them . They do what he doesspeak the verses with traditional emphasis , express the passion in conventional symbols ; everything is taught—tone , look , pause , gesture . The actor who gives all these according to the promptings of his own feelings , is as one man in ten thousand . If , therefore , the Bateman children suggest sarcastic refactions on the art of acting , whose is the fauit ?
As to degradation , that is an old story ; old as Shakspeare , whose managerial jealousy speaks through Bosenkrantz . The Children drew away his audiences ; for audiences were then , as now , and ever will be , gaping crowds , more curious about wonders than about art . Thus he speaks of them : — " But there is , sir , an aiery oi children , little eyases , that cry out on the top of the question , and are most tyranically clapped for ' t : these are now the fashion : and so be-rattle the common stages ( so they call them ) that many , wearing rapiers , are afraid of goose-quills , and dare scarce come thither . " And this was in the
" palmy days ' of the drama ! Later on , we have young Betty eclipsing Mrs . Siddons . The very House of Commons broke up , and adjourned the business of the nation , rather than lo .- > e a performance ! Then came Clara Fisher , whom I dimly remember ; and little Miss Poole , whom I remember very well . Authors , actor-, and critics may deplore this succession of Prodigies ; audiences care little so that they are amused . That is the point . In Pliny ' s
time they ran to see an elephant dancing on a tight rope , much to that philosopher ' s contempt ; but , for my pan , I should like to see an elephant dance on a tight-rope—much more than to see ' ¦ legitimate drama'' by very " native talent , " I could name ! If a work of art is plac < d before me , I believe I can enjoy it ; but I do not overlook the fact , that Art is one thing , another thing Amusement ; and that people do like amusement , and will run after it .
My objection to the Bateman performances lies deeper ; it is a moral , not a theatrical objection . In a society which approves of Factory Children , and all other modes of exploitation by parental need , or greed , one has no right , I suppose , to be very indignant with parents who trade upon the talents and aptitudes of their infants ; but , 1 confess , it docs seem to me to be a wicked and unwarrantable thing to bring children thus before the public . Suppose them to be taught without pain ; suppose them to attain their excellence spontaneously ; and you still have to consider the moral atmosphere in which they are
plunged . If late hours , bad air , excitement , study , do not ruin their physical health , what , is to liecome of their moral health in this excess of stimulus — this flattery , these bravoes , these bouquets ,. tliis unnatural and dele tenons at mosphere of theatrical success ? They never Know what childhood is ! They are forced into unhealthy precocity . Their minds and feelings are not unfolded slowly , sweetly , as the rolling years bring new necessities and new experiences . They are taught to ape the humanity which one day would be theirs ; but now never will be , for their existences are perverted . —They lire early taught to simulate the forms of impassioned existence - thus to make lile itself theatrical ! And these
young plants , thus lostered , prematurely fade : the forcing kills , or . stultifies them . They die worn out ; or they live poor , puny , rieketty things , with no sap of vigorous life to . sustain them under the neglect into which they have fallen now they mo longer amuse ! Hut who cares ? Ik not Infant Labour one of our InstitutionN , will * which it ia tyranny to interfere ?
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Iont ' s Lettkk on " Patriotism a Charity . "—We have received a letter signed " Mussanicllo , " purporting to be a reply to the article l » y " Ion" entitled " Patriotism a Charity . " The reply diverges from argument into imputation against persons , such us wo in no ease employ and can in no cane allow . The
tribute * ' Massumello pays to the writer he opposes we suppress just as we suppress the questioning of motives , and we only mention that Irs letter is of two kinds to cnuviy the impression that * ' Mass ; inie ' . lo" no doubt intends fairness . " Massanieilo " may rest assured that it was not Loo ' s object to convert public , speaking into a " trade . ' ' which would In as baneful as its being a " charity . " There is a wide dill ' urenee between the concession of a livin"
subsistence for patient thought and arduous work , inl the exaction of a venal price . It it shall come to pass that Patriotism shall have some moderate self-sustaining value put upon ir , it will come : to pass that Patriotism must include sonic worth in its own efforts , which in rather more than is found in the usual article passing under that name on many popular platforms . Public speaking too often alternates between cynicism , adulation , and antagonism . The " Mussauiellos " will make many mistaken before they understand this , and perhaps renew many protests before they allow it ; but , on this subject , time will be its own explainer , and the public necessity will compel n reformation which the public ; good so much requires .
National CiiAiai . it . Ahsoci . viion . —At the usual weekly meeting , the Secretary intimated tliat Mr . Thomas Cooper hud been urging the people of NewcMstle-on-Tyne to join the association , ami htnting that he intended to join it himself on his return t <> town . The repent of Mr . Jones was rend . He . was at Coventry on the 2 /> th , where , the Mayor re / uned him the use of the hall , on the ground Mint -he was a eonviUed criminal . " A large om-u an . neeUiitf was held . The next day lie lectured at Coi ^ Jetoii , find ou Wednesday tind Thinmlay « t S «» ek /» ort . where ho whs festively entertained . A Huecemnu meeting m the Town JIall of llolton , followed on I ' nday ; and two lectures to large audiences at 1 auldharn on Sunday On Monday last ho ayoke at Wigun . Frou \
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Sept . 6 , 1851 . ] & # * 'SLt&tttt . 855
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THE OPERA IN 18 5 1 . The curtain falls ; the music-books are closed ; the instruments are packed in their cases ; and the harp , that once through Costa ' s halls the soul of music twanged , is silent , huddled out of the orchestra , passed into oblivion ! The Opera is over . You who remember my exulting passion at the first chords which smote my ravished ear , may wonder that I should record the fact of cessation with a palled and weary joy . It is quite true , I did welcome the opening of the season with a
gusto that seemed as if satiety were impossible . Like a young bridegroom I went forth with all my senses keen and eager . I now acknowledge that music , that language of the Gods , is capable , like all earthly visitors , of wearing out its welcome . Yet no : I must not confound the Opera with music . Music is like love , imperishable , inexhaustible ; but the Opera is love , in the person of Julia , exquisite—but exhaustible ! After that you may call me volage and inconstant , I cannot help it : truth is great and must prevail !
The truth is , then , that what with vitiated atmosphere , late hours , excitement , increase of labour , et cetera , et cetera , ! felt the Opera play such tricks with my delicate and poetic organization , that I began to long for the close , and now clap my hands with languM satisfaction over the cessation of that Opera the commencement of which I saluted with such jubilant epithets ; A retrospect of the season , at both Houses , will wind up for some months all my duties in that direction , and leave me free to meditate and elaborate that work on the Paralogisms of Cognition which I shall some day set before the lover of light and entertaining literature .
Covent Garden — to begin with the theatre I love best—has not deserved well of the the public in respect of novelty , but it has done more—it has given excellence . Three out of the eight promised Operas—that is queer fulfilment of programme allurements ! Then , too , the orchestra has been diminished , the chorus inferior to former years . In noting these things it should also be added that , compared with her Majesty ' s , the orchestra and chorus are perfection ; they only fall short of their own standard . Costa ' s conducting , though open to criticism occasionally on the score of time , and above all noise—especially where he strengthens the score with instruments never thought of by the composers — makes that orchestra and chorus first rate . There is but one
note of praise sounded through the Press for his exertions . Indeed Costa makes all the difference between your enjoying or not enjoying the Opera . The works that have been most attractive have been Meyerbeer ' s three operas , Norma , Lucrezia Borgia , and ( thanks to Tamhcrlik ) Don Giovanni . The Flauto Ma < rici ) , in spite of the grandeur of its religious music , wearied the public , because it is wearisome . Charming as the airs are , delicate and learned as the overture and accompaniments , the opera never succeeds ; because , except in
Saraslro ' s music , Mozart is never carried away , never seems in earnest . Therefore , although strong in cast and played to perfection , it . did did not attract . S ( ' ]) o signally failed—and deserved to fail , though it revealed unusual talent , in the young composer . Fidelia fell , owing to the incompetence of Madame Castellan . But to my taste , the orchestra , Tamberlik , anil Formes , more than made up for her inefficiency ; and I had no such exquisite enjoyment as on the two evenings 1 sat out Fidelia in that house .
The honours of the season are due to ( Jrisi and Tamberlik . ( irisi has not once been ill , and has been the support of the hou » e . Old stagers have been " taken aback" by her ; she seemed suddenly to have grown younger , more vigorous , more enchanting than ever . A rival Norma was act up , only , it seemed , to prove that ( irisi had no rival Tamberlik has fairly won his spurs . JNo one now pretends lhat lie is not the greatest , dramatic tenor in Kurope . If Mario remains unapproachable in his peculiar line , Tamberlik has I he p .-tlni in other parts-, and , moreover , Tnmbcrlik has
taken from Mario one of his greatest parts , and surpassed him in it Ottavio , in Don Giovanni , the grand air of which Tamberlik sings ' as no one in my recollection ever Hang it . One point in 'I amberlik ' H favour is his excellence as a musician . This in shown in his recitatives . It is shown also in tin- flexibility with which he passes from French to ( ierinan and Italian music . This season hehasHung Auber , Bellini , Hosini , Mozart , Meyerbeer , Weber , Gounod , and Beethoven . In Weber and Beethoven he may be mini to have revealed the wondrous bcuulics of the music
which no other singer had brought out . Mario has been ill all the season . Ronconi has played too seldom , but what he has done has been very great . Viardot has been Fides , and little more . Formes has made an immense stride ; he has splendid qualities , and , when he refines ' his style , will occupy a distinguished position . His acting is uniformly first-rate . Her Majesty ' s Theatre has been an unsuccessful speculation ; but Mr . Lumley has been prodigal of novelty . To say nothing of revivals—such as Masaniello and Gustavus , both lavishly set forthhe has produced four new operas and Fidelio Only Fidelio was a success . Le Tre Nozze , in
spite of columns of enthusiastic praise , was withdrawn after the third night ; Florinda ditto ; It Prodigo was played oftener , because the spectacle attracted ; but Zerlina was a fiasco . Mr . Lumley has been unfortunate , therefore , though generous . Then , as to his company , he had a constellation of stars , but no working troupe . Sontag , Alboni , Ugalde , Barbieri Nini , Cruvelli , Duprez , Fiorentini—seven prime donne ! and Gardoni , Calzolari , Reeves , Pardirii , Poultier—five tenors ! Yet although to ( hem were added Lablache , and Coletti , and Giuliani , not a single opera could he cast effectively . The orchestra was much stronger this year ; but what with incessant rehearsals the chorus was seldom endurable after
Easter . Balfe ' s conducting was once or twice excellent ; but generally detestable . The great feature of the season was the Cruvelli battle . That Sophie Cruvelli has a magnificent voice , intense nervous energy , and a dashing sfyle , nobody denies . Her Fidelio is really a fine performance . But that she is a Malibnm any where out of the Times and Musical World , I most emphatically doubt . There is no charm about her . There is no beaut 3 . Vehement , startling , in some senses powerful , she nevertheless always gave me the impression of coarseness and hardness . In fact , I would rathernotsee her than see her—which is not
a complimentary state of mind . With her gifts . she may ripen into something great , if the measureless eulogy of her great admirer—all the more dangerous because he is so excellent a critic when his p ejudices are not in play—do not confirm her in her present crudity . And so farewell , " A plague on loth your houses , " I am heartily sick of you and your attractions ! Vivian .
(Drpiijnfnms Uf Tljt Ffinplt, Political And Social. —4w
( Drpiijnfnms uf tljt ffinplt , POLITICAL AND SOCIAL . —4 W
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Leader (1850-1860), Sept. 6, 1851, page 855, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct1899/page/19/
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