Anti-slavery bugle. [volume] (New-Lisbon, Ohio) 1845-1861, 1855-09-22
TIE ANTI-SLAVERY BUGLE.

must, we fancy, be ~dispelled on seeing the he
witohing fascination with which she enters into Ito
spirit Of this rolo. Now York has at last caught
her smile, and we fancy it will agree sho never
looked more beautiful than when her Intensely
intellectual face was last night lit up with n ra.
dianco of arch mirth or s~prightly humor. But the
plot thiCkons and choerfulncss for Adrionnc ia
soou over. Tho Joy which gavo to Rachel's eye
such a dazzling look on discovering that her lover
is the great hero OF Saxony il soon broken | y tho
discovery that she has n rival and tho sudden pal
lor which soisos on her face ON receiving this stroke
appeals moro powerfully to tho mind Of the audi.
euce than the most vehement expression OF ohagrin
could do. Then u most wondrous piece of picture
is the scene in which she aids the Princess to ca
cape. How truthful to nature is her action, as she
tuols her way with that STANCE stillness Of move
mont which always belongs to persons stealing
through the dark. 1t is by setting in her mastery
dclinoations of tho main spirit Of the character
such gems of perfect art that admiration mounts
into enthusiasm.
But even this, perfect as it is ms a pure and un-
exaggerated picture, cannot compare in effect with
the two great scenes of tho reading Mt the Hotel
of the Princess and the mind wandering and death.
Few will forget the noble dignity she assumes in
the boudoir scene with the Princess, and the rich
woman's revenge she has in the application OF
tho passage from Phadra. For q moment Phndra
starts up before us again, with all her monster
passions around hers Rachel's bosom begins TO
heave, her mouth to foam, her being to vibrate
with tho anguish which devOurs her, until she
reaches tho climax, and pointing her finger fixes
the Princess with an eye Of fire as the unblushine
adultress. But what could surpass in terrible
truth the death scene. First we 500 her in sorrow
when she fnnoics tho floral omblems of love she
offered to her lover wcro sighted and sent back
And what n piercing, touching sorrow is hers, rs
she sits aud tears up half droamily flower on How
er--so like the ohild-liko Adricr,e, feeling that
life had become unbcarablc when that which gave
it beauty was gone. Again the wild rebound Of
rapture when Maurice tolls his love. The auroole
of Joy which at that moment lights up >hor face
casts its lustrc over tho whole stage. But mark
the change which the overweight pressure Of cost
oy works. The smile or happiness is suddenly
shaken from her lips and Dyes as if by some rude
~galvanic shock. She paipitatos aud tremblcs.-
Darkness aud bewildorment gather around her.
She catches at tho mir and tries to escape from the
cloud which is covering her. Her hands travel
rover her breast rs il to clutch out Of tho heart the
poison of death which has cropt in. But it is too
lato. Hero and there II glimpse of consciousness
comes, and she filings herself into tho arms Of her
lover. She is so young, life so beautiful, she will
not die. Who heard those words como out last
evening with crucifying sadness from her dying
heart and did not feel his own moved with spmpa-
thy. But what is this to the degrees Of agony
which prcccdc death and death itself? In what
sculptor's studio has this woman gathered her per
fiction? In what painters atllier has she studied
the law of color? From what hospital bed has
she carried AWAY the agonies of death? Truly is
her genius such az has never lived upon the stage.
- Tribune.