But as dark a cloud of doubt rested upon its relations to the theatre as
still eclipses the popular faith in dramatic criticism. "How can you
expect," our author asks, "a frank and unbiassed criticism upon the
performance of George Frederick Cooke Snooks . . . when the editor or
reporter who is to write it has just been supping on beefsteak and stewed
potatoes at Windust's, and regaling himself on brandy-and-water cold,
without, at the expense of the aforesaid George Frederick Cooke Snooks?"
The severest censor of the press, however, would hardly declare now that
"as to such a thing as impartial and independent criticism upon theatres
in the present state of the relations between editors, reporters,
managers, actors--and actresses--the thing is palpably out of the
question," and if matters were really at the pass hinted, the press has
certainly improved in fifty years, if one may judge from its present
frank condemnations of plays and players. The theatre apparently has
not, for we read that at that period "a very great majority of the
standard plays and farces on the stage depend mostly for their piquancy
and their power of interesting an audience upon intrigues with married
women, elopements, seductions, bribery, cheating, and fraud of every
description . . . . Stage costume, too, wherever there is half a
chance, is usually made as lascivious and immodest as possible; and a
freedom and impropriety prevails among the characters of the piece which
would be kicked out of private society the instant it would have the
audacity to make its appearance there.
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