THE MODERN DRAMA.
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ing to his sphere, a great artist or a poor buffoon, just as a lawyer may become a chancellor of the three kingdoms, or a base pettifogger?
Prejudice on this score, must be the remnant of a barbarism which saw minstrels the pensioned guests at barons’ tables, and murdered Correggio beneath a sack of copper. As man better understands that his positive existence is only effigy of the ideal, and that nothing is useful or honourable which does not advance the reign of Beauty, Art and Artists rank constantly higher, as one with Religion. Let Artists also know their calling, let the Actor live and die a Roman Actor,[1] more than Raphael shall be
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We may be permitted to copy, in this connection, the fine plea of Massinger’s
“Roman Actor.”
Paris. If desire of honor was the base On which the building of the Roman empire Was raised up to this height; if, to inflame The noble youth, with an ambitious heat, To endure the posts of danger, nay, of death, To be thought worthy the triumphal wreath, By glorious undertakings, may deserve Reward, or favor from the commonwealth; Actors may put in for as large a share, As all the sects of the philosophers: They with cold precepts (perhaps seldom read) Deliver what an honorable thing The active virtue is: but does that fire The blood, or swell the veins with emulation, To be both good and great, equal to that Which is presented on our theatres? Let a good actor, in a lofty scene, Show great Alcides, honored in the sweat Of his twelve labors; or a bold Camillus, Forbidding Rome to be redeemed with gold From the insulting Gauls, or Scipio, After his victories, imposing tribute On conquered Carthage; if done to the life,
