214 The Pramaiic Monopoly. [FEB. 



Those, however, who are by far the most deeply and permanently 

 concerned, as individuals, in procuring a just settlement of this cause, 

 are the dramatic authors. Indeed, they have much to claim from the 

 equitable consideration of the legislature. A law of acting copyright, 

 over which their own supineness has so long nodded, is absolutely 

 necessary to secure to them the moderate reward of their labours ; and 

 it may be urged in reply to any seeming indifference upon the present 

 question, that they have been too inactive even to apply for a protec- 

 tion, which they would probably gain without opposition, and which 

 would have the speedy effect of doubling the incomes of many of their 

 body, without inflicting the slightest injustice upon any one. To be 

 sure, it is impossible to live out of the world and in it at the same time ; 

 and those who are accustomed to the dreamy repose of their own 

 thoughts, find it painful to be awakened to the necessities of their in- 

 terests. When aroused, however, they can be efficient in no common 

 degree, and we do not fear that it will be impossible to excite them 

 now. Let them gain one or two points, and they may safely sleep for 

 the remainder of their lives and this is holding out no slight boon to 

 these lovers of idleness. 



Some illustrious exceptions, however, to the general inactivity, have 

 had the good sense to perceive, and the honest energy to declare, their 

 interests in the debate. If the competition, which is necessary to secure 

 a fair price for talent, be an argument with actors, it is much more so 

 with authors. Their art is one only to be learnt by personal experience 

 of effects one whose probation cannot, like that of actors, be passed in 

 provincial towns, but which must from the beginning have its growth 

 and encouragement, where only authorship is paid in the metropolis. 

 If the size of the monopolizing theatres be an objection to the exercise 

 of the art of acting, how much more fatally does it affect that of writ- 

 ing. The necessity of removing the interest from the ear to the eye, 

 must reduce plays from being the vehicles of thought, passion, wit, 

 sentiment, and wisdom, to mere pantomimic pageants. Here is the real 

 secret of the deterioration of the drama ; the art itself is changed: it is 

 no longer a combination of metaphysic plot, of character, and language ; 

 but must, from the size of the houses where it is represented, become 

 a series of practical jokes, or physical situations. Nor does this bane- 

 ful influence confine itself to these larger houses. The people once 

 led to believe that they may enjoy the drama through the readier 

 medium of the eye, consider the listening to poetry as a severe employ- 

 ment, instead of a delightful relaxation. Indeed, we have sometimes 

 been tempted to go so far on this point, as to consider the tripartite 

 stage of Shakspeare, and the simple dress of his times, as apter vehicles 

 for the realities of his dramas than the gorgeous scenery and careful 

 costume of the present era ; but this, perhaps, is a whim. The cer- 

 tainty is, that audiences do not now go to listen ; that authors are, in 

 consequence, released from the necessity of writing what should be 

 listened to, or but little encouraged if they complete this condition ; 

 that a play dependent principally on character and dialogue, must be 

 a short play to be tolerated, even though the plot be pleasant, and the 

 execution adequate. We are quoting sentiments, avowed by such of 

 the monopolists as have the power of thinking upon the subject ; and 

 let him who doubts, ask the "readers" for the two larger theatres. 



And is it possible that the conceptions of authors should suffer no 



