INTERNATIONAL WEEKLY MISCELLANY
Of Literature, Art, and Science.

THE THEATER IN RUSSIA AND POLAND.

The following interesting sketch of the Drama in the empire of the Czar is translated for the International from the Leipzig Grenzboten. The facts it states are not only new to most readers, but throw incidentally a good deal of light on the condition of that vast empire, and the state of its population in respect of literature and art in general:

The dramatic taste of a people, the strength of its productive faculty, the gradual development of its most popular sphere of art, the theater, contain the key to phases of its character which cannot always be recognized with the same exactness from other parts of its history. The tendencies and disposition of the mass come out very plainly in their relations to dramatic art, and from the audience of an evening at a theater some inference may be drawn as to the whole political scope of the nation. In truth, however, this requires penetration as well as cautious judgment.

In the middle of the last century there were in the kingdom of Poland, beside the royal art institutions at Warsaw, four strong dramatic companies, of genuine Polish stamp, which gave performances in the most fashionable cities. Two of them were so excellent that they often had the honor to play before the court. The peculiarity of these companies was that they never performed foreign works, but literally only their own. The managers were either themselves poets, or had poets associated with them in business. Each was guided by his poet, as Wallenstein by his astrologer. The establishment depended on its dramatic ability, while its performances were limited almost exclusively to the productions of its poet. The better companies, however, were in the habit of making contracts with each other, by which they exchanged the plays of their dramatists. This limitation to native productions perhaps grew partly out of the want of familiarity with foreign literature, partly from national feeling, and partly from the fact that the Polish taste was as yet little affected by that of the Germans, French, or English. In these circumstances there sprung up a poetic creative faculty, which gave promise of a good and really national drama. And even now, after wars, revolutions, and the schemes of foreign rulers have alternately destroyed and degraded the stage, and after the Poles have become poetically as well as politically mere satellites of French ideas and culture, there still exist, as respectable remains of the good old time, a few companies of players, which, like their ancient predecessors, have their own poets, and perform only his pieces, or at least others of Polish origin that he has arranged and adapted. Such a company, whose principal personage is called Richlawski, is now in Little Poland, in the cities Radom, Kielce, Opatow, Sandomir, &c. A second, which generally remains in the Government of Kalisch, is under the direction of a certain Felinski, and through his excellent dramatic compositions has gained a reputation equal to that of the band of Strauss in music. Yet these companies are only relics. The Polish drama in general has now a character and destiny which was not to be expected a hundred years since.

The origin of the Russian theater is altogether more recent. It is true that Peter the Great meddled a good deal with the theater as well as with other things, but it was not till the Empress Catharine that dramatic literature was really emancipated by the court. Under Alexander and Nicholas the most magnificent arrangements have been made in every one of the cities that from time to time is honored by the residence of the Emperor, so that Russia boasts of possessing five theaters, two of which excel everything in Europe in respect to size and splendor, but yet possesses no sort of taste for dramatic art. The stage, in the empire of the Muscovites, is like a rose-bush grafted on a wild forest tree. It has not grown up naturally from a poetic want in the people, and finds in the country little or nothing in the way of a poetic basis. Accordingly, the theater in Russia is in every respect a foreign institution. Not national in its origin, it has not struck its roots into the heart of the people. Only here and there a feeble germ of theatrical literature has made its way through the obstinate barbarism of the Russian nature. The mass have no feeling for dramatic poetry, while the cultivated classes exhibit a most striking want of taste.

But in Russia everything is inverted. What in other nations is the final result of a long life, is there the beginning. A natural development of the people appears to its rulers too circuitous, and in fact would in many things require centuries of preparation. Accordingly, they seek to raise their subjects to the level of other races by forcing them outwardly to imitate their usages. Peter the Great says in his testament: "Let there be no intermission in teaching the Russian people European forms and customs." The theater in Russia is one of these forms, and from this it is easy to understand the condition it is in.

It is true there are in the country a few independent companies of players, but they are not Russian, or at least were formed as a speculation by some foreigner. For example, Odessa has often two such, and sometimes three. The Italian company is said to be good. The Russian, which has now become permanent, has hitherto been under the management of a German, and has been very poor. The company in Kiew consists mostly of Poles, from the old Polish provinces incorporated with Russia, and has a high reputation. In Poland it would be possible in every little nest of a city to get together a tolerable company for dramatic performance. In Russia it would be much easier to raise an army. The ultimate reason of this striking contrast is the immense dissimilarity in the character of the two nations. The Pole is remarkably sanguine, fiery, enthusiastic, full of ideality and inspiration; the Russian is through and through material, a lover of coarse physical pleasures, full of ability to fight and cut capers, but not endowed with a capacity quickly to receive impressions and mentally elaborate them.

In this respect, the mass and the aristocracy, the serfs and their masters, are as alike as twins. The noble is quite as coarse as the peasant. In Poland this is quite otherwise. The peasant may be called a rough creature, but the noble is almost always a man of refinement, lacking indeed almost always in scientific information, but never in the culture of a man of the world. The reason of this is, that his active, impetuous soul finds constant occasion for maintaining familiarity with the world around him, and really needs to keep up a good understanding with it. The Russians know no such want.

Even in St. Petersburg the German was long much more successful than the native theater, though the number of Russians there is seventeen times larger than that of the Germans. The Russians who there visit the theater are the richest and most prominent members of the aristocracy. They however consider the drama as simply a thing of fashion. Hence results the curious fact that it is thought a matter of good taste to be present at the beginning but not to wait for the end of a piece. It has happened that long before the performance was over the house was perfectly empty, everyone following the fashion, in order not to seem deficient in public manners. If there is ever a great attraction at the theater, it is not the play, but some splendid show. The Russian