690 Theatrical Matters. " [JUNE, 



an atmosphere of applause on the strength of his past reputation. Faw- 

 cett concluded the business-part of the night by a speech, sensible and 

 sulky, as usual, and which, abating the grimness, ought to furnish a 

 model to every charitable institution. 



For, after all, the orators on these occasions make speeches prodi- 

 giously alike ; all agreeing in steering widely of the mark ; and having 

 but the one merit, like that of the new opera-hats, of fitting every occa- 

 sion equally, and of being equally unfit to have any connexion with the 

 skull of a man who values the opinion of society as to the soundness of 

 his understanding. Fawcett's detail of the actual objects, prospects, and 

 state of the institution, ought to supersede the whole brood of the orations. 

 The collection was immense ; nearly 1300/. Drury Lane followed, and 

 tried, with nearly equal success, its powers of melting noble hearts into 

 sovereigns and shillings. 



The unequivocal decline of dramatic writing in England has at length 

 attracted the notice of individuals who are likely to offer the only hope of 

 its restoration. Though genius is not to be created by human expedients, 

 it is perfectly true, that genius may be thwarted by human obstacles to 

 such a degree that it throws up the struggle, and retires in contempt 

 or despair. 



It is impossible to believe that England is destitute of dramatic genius, 

 or that it is more destitute than it was during the last half century ; or 

 that, with its various and active vigour of mind, it cannot supply the ge- 

 neral demands of any species of literature. 



The cause of our failure in the drama must be looked for in the cir- 

 cumstances of theatres themselves. In the first place, fifty years ago our 

 winter theatres w T ere comparatively small buildings, in which the chief 

 attraction must be the finished style of the acting, or the dramatic in- 

 terest of the play. Within the last fifty years, this system was changed, 

 the small theatre was distended into an enormous building, and the di- 

 rect results of the change were, theatrical debts for the building, increased 

 expenses for the nightly performance, and the necessity of pageants to 

 attract the audience to houses where, from the size, the pleasures of the 

 ear must be replaced by those of the eye. This change has been charged 

 on the late John Kemble. But he must be relieved from the charge ; for 

 Drury Lane Theatre had been built by Holland before Kemble had the 

 remodelling of Covent Garden after the fire, and Holland's theatre was 

 more colossal than Kemble's. 



In England debt is always the first element of ruin. The formidable 

 expenses of the theatre soon compelled every species of temporary con- 

 trivance, to escape utter bankruptcy. To fill the enormous house for the 

 moment, the most extravagant anticipations of the future revenue were 

 made, and popular actors were engaged for short periods at inordinate 

 salaries ; spectacle and pageantry became the managerial resource ; and 

 upon a few leading favourites, and a pantomine or melodrame, was lavished 

 the revenue which once had under wiser management been spread over 

 the season. 



As the immediate consequence of the whole system, authorship was 

 neglected. The manager's demand was for spectacle, which cost little 

 in the authorship, and required scarcely an effort of the pen ; but which 

 cost a vast deal in painting and processions, and amply engrossed the 

 carpenters and dancers, and other mere supernumeraries of the drama. 



Dramatic writing is singularly difficult, and comparatively the work 



