The Sun.
London, England, 1868-03-24 00:00:00

THE SUN, LONDON, TUESDAY EVENING, INJARCH 24, 1868.

THE MORTON TESTIMONIAL'

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DESTRUCTION OF BARNUM'S MUSEUM B 1

FIRE.

At twelve o'clock on the night of Monday last an alarm
of fire was given on Broadway, and in a few minutes it
was evident that Barnum's Museum was on fire and
doomed to destruction. A stiff gale blew from the north-
west, and rapidly fanned the flames into greater volume
and intensity. The steam-engines were quickly on the
ground, and with the speed of magic opened constant
and powerful streams of water upon the building, but
without avail. The flames had gained resistless headway,
and were only to bo subdued when they had exhausted
their fury on the unlucky Museum. The beautiful Cir-
cassian Zuleima, who was wrapped in slumber and cotton
sheets, was awakened from her rest, aud, blushing a
flaming scarlet to find her boudoir invaded by the hardy
fire laddies, submitted to be tenderly but hastily wrapped
in a blanket and carried out of • the devouring element to
a place of safety. An intrepid police captain wreathed
himself with:agar/and of glory by a gallant attempt to get
away with the Fat Woman, but failing in the effort, she
was rolled down four flights and across Broadway into
an eating-house opposite. She regards the gallant
guardian of the public safety as her preserver. The
Nova-Scotia Giantess, scorning assistance from ordinary
humanity, thoughtfully scooped up a couple of preserved
alligators under one arm and a stuffed elephant under
the other, as a mark of her respect and esteem for her
manager, Barnum, and majestically emerged from the
fiery furnace into the awe-struck crowd, which fell back
tremblingly but admiringly bafore her resistless tread
The conduct of tho Gorilla, when he found himself threat-
ened with a realization of the future of bad men, was said
by Lieutenant Hill to have been singular, but rational, in
the extreme. The mighty monarch of African forests
hastily seized a small penknife within reach, ripped off his
skin, tore off his tail, and taking a key from his pouch un-
locked a padlock fastening the door of his cage, and fled
silently into Mercer-street, saying it was getting too hot for
comfort. The lieutenant interrogated a number of ladies,
who surveyed the blazing splendour of the scene from
the neighbouring convents and soup-houses, to know if
they
had seen
skinned gorilla emerge from-the building,
but the question was greeted with derisive laughter. The
roaring of the beasts would have been terrible in the ex-
treme if they had roared, but they wouldn't roar, although
Lieutenant Hill stood, pencil in hand, ready to record each
roar. At the height of the excitement a splendid sensa-
tion was created by the appearance of a frightfully singed
but living wild boast at one of the main-floor windows.
A cry of horror or delight (we couldn't tell which in
the melee) broke from the surging crowd, and the
poor scorched, suffering brute, burnt out of all resem-
blance to his Royal Bengal tiger self, dropped helplessly
to the street beneath. Here was a chance —tiger hunt-
ing in Broadway. Forty revolvers flashed in the lurid
air. But it was reserved for Policeman Blank to finish
the King of the Jungle. Holding a long fire-ladder be-
tween himself and the dying tiger, he filled him as full
of holes as a cue-rack. The tiger was avenged, how-
ever, by the giraffe, who vindictively kicked Officer Hud-
son in the eye as that devoted boy in blue attempted to
secure the ungrateful beast.

Among the singular episodes of the conflagration was the
miraculous escape of the little terrier who resided with
the Happy Family, and was favourably known to all visi-
tors as " Tan," and a large black boar. " Tan" was found
by a fireman on Tuesday, clinging, unharmed, to a ledge
of wood in one of the burnt rooms. How he escaped is
.not known. The story of the bear is strange and inte-
resting. About five o'clock on Tuesday afternoon the
bear made his appearance at a second-story window, and
loomed to bo hatlitatii3g tho chum Q# tho zooeptioh ho

would meet with from the crowd beneath. A ladder was
hastily raised, and a kind-hearted fireman ran up with a
noose to throw over Bruin's head, but the suspicious beast
dexterously fended the rope off, and turned back into the
smoking ruins. Ho was of course given up as lost ; but
imagine the surprise and astonishment of the police, fire-
men, and citizens who were on the ground on Wednesday
to see the bear come leisurely out of the main entrance
and amble down Broadway. Arriving at Spring-street,
Bruin hesitated, seemed uncertain where to turn, but pre-
sently making up his mind that he belonged properly on
the "East-side," he mad 3 down Spring-street towards the
Bowery. Ho was captured after an exciting chase in a
stable on Marion-street. The good fortune of this sala-
mander bear is only to be explained on the theory that
getting on the platform where the hand played in the
afternoons, the water from the engines drenched him and
then froze over his fur, protecting him by a mail of ice
from the heat of the fire.

The collection of animals belonging to Messrs. Barnum
and Van Amburgh was held at a large price, $lOO,OOO
having been refused from the city of Boston. The pair
of tigers, said to be the finest in the country, were valued
at $15,000. The giraffe was valued at $20,000, In addi-
tion, a large expense had been incurred in the getting up
of a costly and laboured spectacular piece, which was
shortly to have been produced. The Gordon Cumming's
collection was entirely destroyed. Mr. Barnum has the
sympathy of the public in his overwhelming misfortune,
but, like India-rubber, the harder P. T. is hit the higher
he bounces, and we expect to shortly see the unquench-
able showman in a grand and gorgeous Museum, which
will take rank among the great institutions on the earth.
The prime cause of the total destruction of the Museum
and its contents was that the hydrants on the street were
frozen. For some time no water could be obtained. When
the streams were got on, no band of beavers could have
worked more industriously than our gallant firemen, but
the Old Curiosity Shop was doomed. Among the animals
saved besides the Fat Lady, the Giantess, and the beauti-
ful Circassian, whom we have mentioned above, ware the
dwarfs General Grant and Sir William Wallace, between
whom a bitter rivalry exists ; one giraffe (since dead), one
zebra (held "sacred " by Barnum, but nobody else), one
baby elephant (very sick yet from excitement and smoke),
three llamas, one four-horned ram, one Hindoitan goat,
two pelicans, one Bengal tiger (who was kindly allowed
an uninterrupted passage by the crowd), one moose, two
camels (who got their backs up because they were hurried
out), two Japanese hogs saved their bacon, one Persian
sheep, three kangaroos, two silver pheasants, three fretful
porcupines, one wambat. Among the animals destroyed
were many of the most rare and costly beasts, including
four lion cubs, four leopards, two hyenas (the " Violators
of the Tomb "), one white boar, two lynx, four porcupines,
two large lions, two black bears, one ibex, one Brazilian
tiger, four kangaroos. The Learned Seal, which was
about the only animal that escaped from the old Museum
fire on the 13th of July, 1865, was boiled this time beyond
recognition by his most intimate friend. Two white
peacocks and all the birds on the upper floor perished.
The beautiful Circassian lost about one thousand dollars in
wardrobe and jewellery. Miss Anna Swan, the giantess,
had her diamonds and money, to the value of three
thousand six hundred dollars, in her hand when she at-
, tempted to rush unaided through the flames; but, being
kindly assisted by the surrounding crowd, she was re-
lieved of all anxiety and her property by their kind atten-
tion. Mrs. G. C. Howard, who was playing Topsy, lost her
wardrobe. The proprietor of the shooting-gallery lost
everything—about two thousand dollars in all ; the glass-
blowers were also bankrupted. The property was held
by the Barnum and Van Amburgh Museum Association,
Mr. Barnum owning forty per cent. of the sock. The
company had just bought the Museum building for the sum
of one hundred and sixty-five thousand dollars. Insured
for sixty-two thousand dollars in city companies.
Mr. Phoenix T. Barnum promptly published the follow-
ing card after the fire, which disaster he bore with his
usual philosophy and good humour :
" Mr. Editor,—The loss of the Barnum and Van Am-
burgh Museum and Menagerie Company is as follows
Contents of Museum cost over $400,000. It was insured
for about one-third of its value. The building was in-
sured for $62,000.
" We shall not build on the present site, but the six lots
on which the Museum stood are for sale-75 on Broadway, ,
and on Mercer 200 feet deep.—Yours, &c.,

-Wilkes's Spirit of the Times.

"P. T. BARNUM."

"11AMLET" AS A FRENCH OPERA.

No nation under the sun more frequently tries to illus-
trate the Latin adage, " Audaces foeuna juvat," than the
French. And what a daring venture, forsooth, to extract
a French opera front our own hamlet; from that "recital
of a moral poisoning," as M. Taine says; from that end-
less analysis through which the human soul is scruti-
nised and searched in its innermost recesses. Albeit,
the audacious feat has been accomplished; Shakspere's
masterpiece has been habited into a French lyrical
drama, and successfully too, for the composers re-
ceived a veritable ovation, on Monday evening, at the
close of the first representation of flandet, Prince de
Danentark opera in five acts, the words by MM. Michel
Cane and Jules Barbier, the music by M. Ambroise
Thomas.

Let us see how the librettists and the maestro have in-
terpreted.
" Th' applause, delight, the wonder of our stage."

MM. Carr 6 and Barbier have borrowed from Hamlet its
most pathetic situations and best pages, and arranged them
in five acts. In the first we have the exposition of the love
of the young Prince for Ophelia, who returns it most ten-
derly, and the apparition of the Ghost of Hamlet's father
on the platform before the castle at Elsinore ; in the se-
cond, there is the play of " the murder of Gonzago ;" the
moving scene between the mother and the son, and Ham-
let rebuking Opholia and advising her to become a nun,
make the third act; the fourth is filled up by the affecting
madness of Ophelia; in the fifth there is a scene with the
gravediggers, the burial of Ophelia, and the revenge of
Hamlet, who kills the usurper.

You perceive that Hamlet has been unmercifully cur-
tailed to fit the operatic exigencies, to argue with do and la
on the immortality of the soul, to pierce with a full band
the mysteries of eternity. But if such a curtailment may
be explained to a certain extent, not so the travestying of
a main part of the plot. For instance, the librettists have
made a traitor of Polonius, who is but a buffoon. Pos-
sibly to 14;itimate Hamlet's vengeance, would you say ?
No ; if Polonius is killed by the sword of the Prince, it is
behind the scenes, and it is entirely unknown to the pub-
lic. Moreover, what becomes of the cause of Ophelia's
madness? Pauvre grand William va !" exclaimed the
king of French critics, Jules Janin.

Now to the score. Its author, M. Ambroiso Thomas, has
already won many lyrical palms—Le Caid, Le Songe d'une
Nuit d'Eti, and Mignon, have placed hint foremost among
the French composers. It was known that he had spent a
long time at his elegiac lyrical tragedy of Hamlet, curiosity
was raised to a pitch, bets wore freely made on the issue of
the first night, and all the dilletantes in Paris hastened to
the Opera to witness the maestro's triumph or fiasco. He
went most successfully through the ordeal, and Hamlet,
besides proving to be the great musical hit of the
season, will certainly be the most precious gem of Thomas's
artistic crown.

The overture, or rather the introduction, is short. It
begins with mystery, it ends with power. It sots in deep
relief the excellence of the composer in the working of
orchestration. The chorus of officers, which heralds the
first act, "Nargue de l' ivresse," is remarkably ample. Hamlet
makes his entry to the song of the violoncellos, and mur-
murs, " 0 femme, to t'appelles inconstance et fragilite ;" then
comes the duo with Ophelia —" Doute de la lumiere,"
deli-
ciously sweet, though greatly contrasting with the bravura
of most operas. Well, that subdued style is in unison with
the part of Hamlet. His northern love could not inspire
such a duo as in the Africaine. Withal, what is one to
expect from a hero who is about to declare that "his soul
is of marble." The Pygmalion aro to be found but in
mythology. The cavatina of Laertes on his departure for
abroad--" Pour mon pays en serviteur fidele"—has been en-
cored with enthusiasm. However, this Dane chevalier
has too much of the Beau Dunois, Partant pour la Syrie.
The finale of the picture is a joyous chorus of courtiers,
shamelessly sitting at the coronation banquet. The merry
burden is dramatically stopped by the announcement of
the perambulations of the Ghost. A fantastical symphony
precedes the apparition of the spectra on the platform. As
to the scene between Hamlet and his father's Ghost, it is
interpreted with great skill, though the recitative has too
much its own way at the expense of melody, though the
ghost (basso David) blew as through the trumpet of the
Last Judgment.

Ophelia begins the second act with a fabliau, ravishingly
sung and rapturously applauded. The arioso of the Queen
does not produce the same effect; but the chorus of the
players—" Princes sans apanages"—is full of humour, origi-
nality, and entrain. The Bacchic song of Hamlet, who tries
to shako off his bad thoughts, " 0 rin, dissipe la tristesse," is
full of rhythm. There is a change of. scenery, and the
action now goes on in a magnificent palace, where the
"minder of Gonzago" is acted, and Hamlet breaks out
in his terrible reproaches in a recitative singularly
harmonising with the m3lody of the orchestra; singer
and instruments completely blend. The finale ending
that act is magnificently animated, and those s iperb
vahernences disclose a maestro's hand always sure of itself.
Hamlet begins the third act with the flue monologue—
" Etre ou nepai etre . . . o mystere." Here was a difficult
problem to solve, and that solution was surrounded with
reefs. Critics thought and said that it was as well to put
in music a problem of Spinosa. To sing "To be, or not
to be," seemed simply aboard, yet the consummate isyrh-

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phonist safely avoided the fatal rocks, and the style of that
recitative vividly recalled the Don Carlos of Verdi, and the,
Faust of Gounod. Albeit, it threw over the whole act a
chill that was not dissipated by the air of the King, who
prays when Hamlet stabs the " damned Dane." That
scene, so moving in Sha.kspere, is painfully abortive at the
Opera.. The fine trio—" Allez clans an cloitre, allez
Orphelle !" did not even suffice to break the ice. As to

the grand duo between the son and the mother, one misses
in it the great etiorts such a capital situation is susceptible
of —it was merely a scone of tragedy most correctly noted.
However, the plaudits were as eager as numerous. That
the real success b4gan only with the sceno of Ophelia, who
fills up the fourth act. The village fete, which divertises
with so much apropos the dark an I tc rrible colour of the ac-
tion, is a happy idea, and the sp:Ttators never were so much
delighted at eyeing the Cinderella feet of Madam) Pioretti
joyously cadencing a polka-mazurka rhythm of much dis-
tinction. Ophelia suddenly appears, Ophelia already mad,
her head fantastically dressed with wild flowers, and in
that poetical and bizarre attire Paul Delaroche has so gra-
ciously painted. In that act, everything is the theme cf
a song—spring, joy, and the madness of an unfortunate
love —of a gracious and poetical delirium. Ophelia's hand
strews flowers, enchanting not )s spring from her mmth.
Her madness seems to be a subverted spring. She first
sings a most sweet and melancholy anlante, " d yes jeux,
• mes antis, permettez-moi de grace." Thou, surprised, by an
importunate and doleful remembrance, she recites this
ballad, impressed with ineffable melancholy, " Palle
et blonde, dort sons: l'eau." At laet, attracted almost
mechanically by the marks of sympathy of the dancers,
she is led to imitate for a moment their pastimes,
and sing this waltz air, which was hailed by peals of fran-
tic applause. " Partagez mes !fears." Meanwhile, day is
waning, the villagers go away, Ophelia draws near the
bank of the river to gather flowers. She is seen gradually
sinking, and finally disappears under the reeds. A few mi-
nutes after one distinguishes her body floating on the water,
her arms slightly raised up, and flowers still dropping from
her hands, while the chorus of the villagers returning home
is heard in the distance.

The inspiration has not abandoned the maestro during
the fifth act. The song of the gravediggers is highly cha-
racteristic. Then Hamlet sings a romance in the most
moving style. The chorus at Ophelia's burial is full of
melancholy sonorousness and majesty. Lastly, Hamlet sur-
excited by his father's phantom, who again appears, kills
the King, takes the crown, and the curtain falls to be
raised again at the tremendous con-mind of the public,
who acclaim both composer and singers. Who were the
virtuosi?

Faure, whose Mephistopheles is present to the memory
of the English dilletantes, sang the part of Hamlet ; Belval
was Claudius; the tenor Colin, Laertes ; Mdlle. Christine
Nilsson interpreted Ophelia, and Madame Gueymard the
Queen. But the parts of Ophelia and Hamlet ecli,sed the
others, and both wore admirably sung. Mdlle. Nilsson
created quite a furore, and no wonder, for she possesses all
the attributes of a first-rate cantatrice and actress ; her
physiognomy was the very ideal of Ophelia. She possesses
great dramatic intelligence; her voice, tasteful, vigorous,
and pure, fills up without any apparent effort the immense
house of La Rue Lepeltier. The spectators returned with
usury to the Northern Diva the flow rs she was dropping
from her white hands. Methinks that Malibran was
never approached so nigh. In dying as Ophelia
Madlle. Nillson is sure to never parish in the artistic

Faure fulfilled the part of Hamlet with his usual macs-
tria ; and ho also achieved a triumph, and ho sang in such
a way as to render most difficult the task of the baritones
who may aspire to play Hamlet. Never has been so ex-
cellent a tragedian, so incomparable a singer.
Far from diminishing., the success of Ilamlet is going
crescendo at the Opera. No doubt the impressarii of Old
Drury and New Covent-garden will have it on their bills
of fare for the approaching season.