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THE HESPERIAN . 7
prove useful. If you want to bo perfectly It was ray misfortune to sit near some
safe, go to the iiles of some newspaper and University students at a play last week. It
got your article from some old number. But wns my misfortune to heftr them long to 8eG
Clara Morris in one of Shakepearo's plays
because Camillo had no "art" in it. Yet
those same students sat and wept quarts
every act. If a play can interest you, movo
you, hold you spell-bound, what more art
does it need? All the art under heaven can-
Shakespeare or Browning or Thackary
why need you bo niggardly ? If you crib,
crib something great, crib in a masterly, ar
tistic way, crib like a scholar and a gentle
man. There is no need of your taking
anything poor, you have centuries of great
literature before you, you have all the genius
of n.11 tli o sums to Hfilftfit from. It does not
. ,, ,,-r) .5 ..m ,. )) not save a play if it has not a vital interest,
pay to cull from "Pansies" or "Tulips" or , . '
;,, ,, , . , iii and if it has, no lack of art can spoil it. The
"Blossoms" when you can just as well have ' '
gUIIUUlIlUIl BUUJI1UU LU UUIlh. Ullll UIU pi"J
should contain fifteen or sixteen minor char-
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acrers wnose Dusmess snouia do to "pre
There is one person about the University pare" us for the stars. That Arinand should
who needs to bo suppressed, and that person bo introduced by his friends, that Camille
is the twenty hour student. Ho goes about should como in attended by her mother and
with hollow eyes and pensive brow, carrying nurse, that the 1st and 2nd and 3rd gen
a largo pile of books which he never relin- tlernan of Paris should come in and talk,
quishes for a moment. He delights in run- that in the country the gardeners should como
ning you up into some corner and freezing in and talk, that Camille's doctor should
your blood by the most awful stories of come in and talk, that Camille's undertaker
studying all night with his head tied up in should come in and talk. Now that sort of
cold water, of retiring at three and rising at thing may have been good art in the six
five. Not that he has to carry twenty hours, teenth century when people went to the
0 no ! But it shows such studious inclina- theatre to spend the night, but we have not
tions, such devotion to culture. It is non- time enough for it. If art can't give us a
sense for anyone to carry twenty hours, it piny in two hours and a half, why something
would spoil the best digestion in the world, else must. It is indeed sad if a student
The twenty-hour student has no business to can't see a play without suffering over its
exist; but ho does exist, and everybody "situations" and "effects." Speaking of
knows of his existence. Ho does not believe "situations" and "effects," though, it is
in hiding twenty hours under a bushel, he strange they did not find any. There is,
takes care that thoy shall bo both seen and for instance, the close of the fourth act,
heard of mon. If ho is asked to attend
society, ho gravely refuses, ho has twenty
hours; if he is asked to play foot ball, ho
has twenty hours; if ho is asked to do any
thing for anybody, he has twenty hours. Ho
expects to succeed in the world and get into
where Arinand pelts Camillo with bank notes
which almost deserves to be called a "situa
tion." As to "effects," I do not see how
the fourth act could well contain many more
of them, unless, of course, the 1st and
2nd and 3rd gentlemen of Paris were
heaven on twenty hours. My friend, you brought in. I do not remember having Been
are altogether wrong. Ninety-six hours any greater "effects" than Gustave's watch-
can't make ono popular or celebrated or be- ing by Camille's bedside, or than that idea
loved. If you can do nothing more for of bringing the brido with her veil and
yourself and your fellow-man than carry flowers, in where the woman of the world lay
twenty hours, even if you carry them well, dying, and at the time I wondered if I had
you will go back to the dust from whence over soon so great an "effect" as when the
you sprung in the usual Byronic manner. dying woman staggered to the window and
k
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