BOTH SIDES OF THE CURTAIN.

JUPITER PLUVIUS and politics had disastrous effect on the theatres last week. On Monday everybody was running after Roosevelt, Hewitt or George, and on Tuesday everybody was running away from the rainstorm. Somehow there seems to be a peculiar connection between politics and the drama. Actors are scarcely ever politicians, but politicians are almost invariably play-goers. The latter have had their hands full all week, and managers are praying for a new constitution, by means of which all elective offices shall be for life. I was talking with a prominent "statesman" a few days ago, and when he told that the registration of this city out of a population of a million and a half was only 80,000, I asked him how political excitement could affect the theatres, the answer was crisp and concise. "All the voters are theatre-goers, and when you take 80,000 people away from the auditoriums of the play-houses, managers must suffer.

ITALIAN OPERA at the Academy of Music has been the greatest sufferer from the political excitement. Perhaps that is due to the fact that it stands just between Tammany and Irving Hall. Last Monday night, for instance, the ticket speculators who had declined to invest in opera seats, groaned about 7.30 P. M., when they saw the crowds around the Academy of Music. They were like that fabulous Israelite, who wept at sea when a "sail" was sighted, because he had no catalogue. Their groans, however, were changed into smiles of satisfaction when they discovered that the crowds were pouring into Tammany and Irving Halls, and that the Academy was likely to again resemble the Catacombs, to which it was compared years ago by Richard Grant White. The little "boom" with which Italian Opera started seems to have "petered out" in the most comprehensive fashion. The quidnuncs ascribe this to the evident determination of Signor Angelo to revive the decayed operatic repertoire. Un Ballo in Maschero,” and “ Il Pollinto," they declare to be the remnants of a prehistoric age; and they say that an impresario has as much chance of making out of them as Darwin would of substituting the labors of a primordial protoplasm for the efforts of a nineteenth century Hercules. In this country youth not only has its fling, but its ascendancy. When that brilliant actor, Lester Wallack, visited Chicago a few years ago, profane critics admired his art, but declared that Chicago "took no stock" in ruined abbeys or ancient castles, but wanted everything as young and fresh as possible. Mr. Wallack was naturally disgusted, but Chicago still insists upon youth even though it be accompanied by freshness.

TALKING of Chicago I am reminded that Miss Rosina Vokes and her company made something like a sensation there last week. They appeared in Mr. Pinero's "Schoolmistress," and captured the hearts of what an English low comedian described as "Chicago Hill." Last season Miss Vokes brought over one English beauty in the person of Miss Leslie Chester, and now she is credited with importing six lovely English syrens. They will all be here for three months in the winter, and we will be able to satisfy ourselves about the claims of the playgoers of Chicago to judge about youth and beauty.

A FEW months ago it was announced that Miss Victoria, the most versatile and beautiful of the Vokes family, was to accompany her sister here. She has not done so and I hear that matrimonial affairs keep her at home. The beautiful Victoria is about to become a bride. For years she has been a determined spinster and has probably refused more eligible offers than any actress in England. The breaking up of the family consequent on the death of the oldest sister, Jessie, and the vagaries of Mr. Frederick, seem to have shaken her determination. She marries outside of the stage, and her husband will have for a wife one of the most accomplished women of the day. Miss Victoria Vokes is not only one of the best artists of her day, but her accomplishments are marvelous. She is a pianist of wonderful skill, a linguist of distinction, a student of depth, and withal a woman of the purest and brightest character imaginable. I have not been told the name of the happy man, but whoever he is I congratulate him.

THE young managers of New York have just begun what they somewhat slangily call a new "racket." They have an experienced newspaper man or some other person familar with public characters, place him at the box office window and instruct him to take down the name of every "notoriety" who visits the theatre. About nine o'clock the manager forwards a couple of choice seats to the managing editor of each newspaper, and in a sort of " by the way" style intimates that the Honorable Flummery Flammery, Gen. Bombastics Furioso, Judge Coke Blackstone, Senator Fevarts and Mrs. Brown Spotter are among the audience of that evening. It takes every time. The managing editor appreciates the compliment of the "seats" and publishes a paragraph, the distinguished persons are pleased to see themselves in print, and go to the theatre again in hopes of repeating the pleasure, and the public make up their minds that where the 'swells" are found they should be found also. FATE seems to be against Miss Violet Cameron and her really admirable company. While

the critics treated the 'Commodore" with whips, they have visited Kenilworth" with scorpions. Had Miss Cameron revived the old original burlesque of "Kenilworth," which was conjointly written by six of the wittiest and most practical dramatists of London, she might have had a chance of success. But the bright public of this city will not tolerate the sluggish humor and heavy banter of Mr. Farnie. The original" Kenilworth" was introduced to this country nineteen years ago by Lady Don, the widow of a dissipated English baronet who tried to retrieve his fortunes by marrying Emily Saunders, actress and vocalist, and going on the stage himself. Both ventures failed, and Sir William Don died in misery in Australia. "Kenilworth was produced once at Wood's Museum, now Daly's Theatre, and had a great run of eight consecutive weeks. I don't mind telling you that the Queen Elizabeth and the central figure of that performance was "The Man in the Street."

་་

MR. HARRY MINER has determined to take "Zitka" off the road. It has proved too strong except for the provinces. He talks about reviving Buckstone's once famous "Flowers of the Forest," and thereby keeping his present "Zitka" company together.

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present paper is more to give, from presumably direct sources, the facts as determined by chronology, concerning the time of issue of some of the early quarto editions of Shakespeare's plays. The folios, the complete collections, upon which are founded largely our best modern editions, were published as follows:

The first folio, 1623, the second, 1632, third, 1663-64, and the fourth in 1685.

The quartos are particularly interesting, as many of them were printed during the life of the poet, and probably directly from manuscript copies. We note the following:

First Part of King Henry VI.;" though first positively appearing in the first folio, was probably issued in 1592. Second Part of " King Henry VI.," 1594, printed by Valentine Simmes for Thomas Millington.

Third Part of "King Henry VI.," 1505.

"Taming of a Shrew," printed at London, by Peter Short and to be sold by Cuthbert Burbie, 1594.

"Love's Labor Lost," printed by W. W., for Cuthbert Burbie, 1598.

"King Henry IV.," First Part., printed by P. S., for Andrew Wise, 1598.

"King Henry IV.," Second Part, printed by V. S., for Andrew Wise and William Apsley, 1600.

"Midsummer Night's Dream," imprinted for Thomas Fisher, 1600.

"Merchant of Venice," printed by J. R., for Thomas Hays, 1600.

Third Part of "King Henry VI.," 1595.

"Richard III." Printed by Thomas Crede, 1594. "Titus Andronicus Printed 1594..

"Romeo and Juliet "

Printed by John Danter, 1597. "Richard II." - Printed by Valentine Sommers for Andrew Wise, 1597.

King Henry V.". - Printed by Thomas Crede for Thomas Millington and John Busby, 1600.

Merry Wives of Windsor "Printed by T. C. for Arthur Johnson, 1602.

The Man in the Street.

BIBLIOGRAPHICAL WORDS ABOUT

SHAKESPEARE.

THE part that bibliography plays in an effort toward determining the various positive evidences of literary authenticity, cannot be too highly estimated. In looking over and studying a modern standard edition of the plays of Shakespeare, we venture to say that but few readers bother their heads as to the questiontiveness of text, and unless such readers are curious to collate several of the more remarkable editions, there will hardly arise any occasion for special consideration.

It is a striking discovery and a producer of many vague doubts, to find that two texts may give almost opposite significations to well known and oft-quoted lines. Just what a good edition of a book means is a problem to most, depending largely upon clear type and liberal margins. It grows to be a bewildering and seemingly unprofitable speculation, this delving down to the very head source of the plays of our immortal bard. The object in the

-Printed for N. L. and John Trundell, 1603. King Lear". Printed for Nathaniel Butler, and are to be solde at his shope in Paul's Church Yard, at the Signe of the Rede Bull near St. Austin's Gate, 1608.

"Troilus and Cressida" Imprinted by G. Eld for R. Boniari and H. Walley, 1609.

"Pericles" Printed for T. C., 1619.

"Othello" Printed by N. O. for Thomas Walkley, 1622. The following first appeared in the folio of 1623:

First Part of "King Henry VI.," Comedy of Errors," noticed in Meres' list as printed in 1598. and these, now generally acknowledged as spurious: "Sir John Oldcastle," "Thomas Lord Cromwell," "The London Prodigal," "The Puritan," "A Yorkshire Tragedy," "Edward III.," and the "Two Noble Kinsmen," only part Shakespeare's.

In connection with the plays we note the following editions of the poems:

"Venus and Adonis," 1593: Rape of Lucrece," printed by R. Field for J. Harrison, 1594: "Sonnets," printed by G. Eld, for I. T., and are to be sold by William Aspley, 1609.

Poems written by Wil. Shakespeare, Gent: small 8vo., printed by Thos. Cotes, and are to be sold by John Benson, 1640; this has a portrait of Shakespeare by Marshall.

It would be of interest to the collector if we could attach some value to these rare and almost invaluable treasures of the printer's art, but at present we have no sufficient data to afford any very definite approximation; then, again, the matter of value is not at all one of standard but purely a question of personal interest and capricious auctions. To the enthusiast no sum seems too great if he can gain possession of one of these much-sought links of literary evidence. The bibliomaniac has no conscience, knows no limit to his madness but the very bottom of his purse.

J. B. Carrington.

SONNET.

TO MISS EASTLAKE.

LONG Since, the wooing wind coo'd softly through
The trembling leaflets of an aspen tree,
And filled all Nature with his harmony.

The offspring of their passion chaste and true

The very soul of music, sweet and sad,

Whilst all the countless centuries rolled
Their load of wretched misery untold,

Had silently re-echoed, making glad

The hearts of seers, men of God-giv'n power.
But now, at last, has come the fateful hour
When all may hear that wondrous, soothing sound,
For ages seeking through the human race,
This soul has made but thee his resting-place,
And in thy sweet voice is his presence found.

M. C.

M. SEDELMEYER, of Paris, having lately arrived in this city, brings with him Munkacsy's celebrated "Christ Before Pilate," and will exhibit it at the American Art Galleries the first of next week. It will be hung in gallery A. This canvas is one of the masterpieces of the nineteenth century. And the fact that America owns one of the same artist's best-known early works, "Milton Dictating Paradise Lost' to His Daughters," as well as numerous less important compositions, should certainly guarantee this new work the warmest reception. Does it not seem quite like robbery to demand 30 per cent. of the value of the painting from Mr. Sedelmeyer before he can be allowed to pass his property through the Custom House?

*

**

"AMERICAN ART-A Monthly Magazine," is a new periodical just issued in Boston. It is a quarto of some 32 pages, well printed, but the contents are of slight value. The frontispiece is an abominable etching (very badly printed) by A. H. Bicknell, "Scene on the Merrimac River." A commonplace design for a library window, by Alfred Pilgrim, forms a supplement.

There is a good drawing, by H. W. Ranger, of the rear of St. John's Church, New York, accompanied by letterpress by the artist, entitled A Nook of Old New York."

An article by Louis Wertheimber on 'Art and Artists in Japan," is illustrated by some very interesting drawings made with a finely pointed brush, resembling closely pen drawings, by a young Japanese artist, Shirayama Dani, who resides in Boston.

Wm. Howe Downes writes of "An Artists' Club" (Paint and Clay Club of Boston).

Alfred Trumble follows with some "Roundabout Sketches," in which he tells how American art was ignored and neglected by the press until, ten years ago, he arose to champion its cause; how he alone possessed the intrepidity to criticise its failings without mercy as well as praise its successes without fear of what the Mrs. Grundys might say." How at first people laughed at him. But

One

time brought the compensation, as it always does. by one the names of men whom I had put in type for the first time became more familiar in other journals than in my own; one by one the obscure toilers whom I had learned to know before the patron came knocking at their doors grew strong in popularity; native art got to be a legitimate topic of discussion and a legitimate subject of inquiry and theorization. It had needed only one hand to set the ball rolling, and mine happened to be that which began the work.

THE Art Age for October contains as usual three supplements in the form of plates from etchings and a painting. "The River Marine,' reproduced from an etching by C. A. Platt, is particularly pleasing.

I clip, without entirely endorsing, the following pungent paragraph from the columns of "Art Gossip in that paper:

Mr. Henry Blackburn, I see from the Academy, proposes to hold this winter, in connection with the American Art Association, a second exhibition-this time in New York-of water-color drawings by living English artists. As the enterprise last winter was a dead failure in Boston and Philadelphia, it might seem odd to the uninitiated that he should repeat the experiment. It does not seem to be generally known that Mr. Blackburn takes little or no risk in the matter. He receives five dollars a head from the artists represented in his collection,' which is brought over here duty free, for the instruction of the American public and on those pictures which he contrives to sell, I do not think I wrong him in saying that he makes a liberal commission. All this may be very well in its way, as a matter of business; but would it not be more straightforward if Mr. Blackburn should come out flat-footed, call himself a dealer, instead of posing as an art lecturer,' and take his chances as a dealer with the rest, who have to pay the heavy import duty on their goods, instead of getting them free?

-E. K.