There is, for instance, our old friend, the stage
Irishman. How often have our hearts been touched by the qualities of
gratitude, devotion to sentiment, faithful friendship, and heroism
of this noble creature. No doubt, there must have been a time when
he was as common in Ireland as he has been in our day in melodrama.
But the Irishman, as he exists in New York, and as he is described
by those who have seen him at home, is strangely unlike the type. He
is a decidedly practical, hard-headed man, with a keen eye to the
main chance, a considerable fondness for fighting, and a disposition
which we should call the reverse of sentimental. Harrigan and Hart
represent the actual Irishman in America capitally at their little
theatre in Broadway, yet the stage Irishman is to multitudes of
Americans a more real creature than the actual Irishman, and we
suppose there is hardly a Democratic statesman from one end of the
country to the other who has not constantly before his mind an image
of him, by the contemplation of which he solves many of the
knottiest problems of contemporary politics.
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