In this era of dramatic chaos the question often arises, "How would the actors of the past compare with those of the present?"

It is a motley question, and one that requires careful consideration in the answer. In our youth, we are prone to worship those who occupy a sphere above us. Youth is always demonstrative and always partial. Therefore views formed at that time are apt to influence our opinions in after life. To be honest we must discard early impressions, accept existing conditions as they materialize and allow our judgment full sway only after a thorough retrospect and careful analysis of what we considered great in our youth.

I but mildly assert things, full realizing the status of the modern player, his wealth, position and social standing. I put him in comparison with the actors of other days carefully!

And I am convinced we have retrograded, so far as the serious and tragic are concerned. Also we have materially advanced in comedy and specialty work. The legitimate comedian of to-day I consider far in advance of his elder brother. He is cleaner, more human, of lighter touch and more subtle.

We have advanced more rapidly from even my time than we did from the '30's to the '70's. From the days of William E. Burton and the Owens and Jefferson era the advance has been most pronounced. Dialogue and stage business which were in vogue even as late as 1880 would not be tolerated now. They were not as particular regarding comedy as they were in the serious drama. The licentious portions of Shakespeare's plays were eliminated after (but long after!) the Elizabethan era. No doubt the serious dramatist and actor took their cues from that procedure and the result was clean and dignified performances. But comedy suffered.

I am sure a play like "The Easiest Way" would never have gone beyond the dress rehearsal, as much as they admired the serious drama.

The serious actor always held sway. He was the axle upon which the wheels of the theatre were put in motion. Consequently the goal of acting of the aspiring Alexanders was the realm of tragedy and the market was overrun. The result—a Garrick, a George Frederick Cooke, two Keans, a Macready, a Forrest, three Booths, a Gustavus Brooke, an Edwin Adams, a Davenport, a McCullough, an Irving, a Possart, a Salvini, a Phelps, a Rossi! And the words of William Shakespeare came down the years until comedy, properly portrayed, came gaily alongside the statelier craft and with laughter sank the ship of tears, leaving only one survivor—Robert Mantell!

(And, really, with all the respect that I have for Robert's miraculous art I must give my youth the benefit of the doubt and award the victory to those departed gentlemen who for one hundred and fifty years piloted the works of the immortal bard towards the shores of prosperity!)

If they failed to receive the compensation that is now conferred upon their comic (and comical) brothers they have at least the satisfaction of knowing that they brought their art up to the standard of the greatest.

Now this question arises: Has the comic (and comical) brother kept faith with his dead sponsor while he has leaped over the form of his serious predecessor? Has he maintained the dignity of the drama? He will answer, "Of course! We are living in the era of progression. Comedy is a success! All the world is laughing! Success! Success! We are superior to those who have gone before! We make the world laugh!"

And the judicious grieve!

But Time looks sadly down upon the merry makers and the measured swing of the pendulum of thought and argument questions, "How long will it last?"

I wonder!

Chapter XXII