New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1866-09-25

in, death Of Marc o. affected deeply as Of old.
man Of gcnus-o deep heart and towering nlnd-de-
serted by wife whom be dearly loved, because wan
dcrsr along the crowded causcways OF human life,
vrched outcasi rendles end alone amid the multitude.
The man. however does not altogether die within him.
e keeps his sscrot He wraps himself ina cloak Of scOn
Tunrv ragged miserable he is yet brilliant with hard
and biting brancy His tender heart is not altogether
bro: his great brain altogether crazed. fearful
hesoati0n and Tcp-lsve bitterness blended in his
wrecked and his wasted life The reckessness of
his character and first exhibited in his interview
with the Encyclopedias This is the burden Of the inst
act-to portray the ruined and defiant genius
against the lustrous back ground Of the most
sparkling social life Of France. Then
diplomatic intrigue haying unmasked him-he is de-
pioted IN secuson at the house Of QuHauh To her he
tells his story; and here revealed his tender heart and
his great sorrow. The third act Of the play being de-
voted 20 explaining the plot and making preparation Tor
thc CLIMAX does introduce him at all In the fourth
net We are permitted study his nature, as it Is expressed
en- his dreams Of past happiness and IN his efforts at ss'r
cal philosophy. The prospect of doing noble action
for tho relief OF his fellow countryman and the glory OF
Fnncc arouses him from HIS degradation and mournful
leharrv Lastly be is confronted with PomPadour, in
whom he recognizes his lost wife, transport
of affection is succeeded by transport of horror and
he dies ia dciuum-at the feet of the deathstricken
woman who had blasted his existence. This story, We
say with It's tremendous climax affected profoundly
and thai notwithstanding the drama badly put upon
tho stage and ndereny acted in the subordinate parts
Madame Rhode, indeed, dignifed and impressive as
Pompl3our; while Mrs. Steglch as QaHauh, was
Earnest il not very succesu but the rest of the players
who supported M Dawson exhibited more interest
IN the progress Of the than would have been shown
By 30 many statues of dough. MI. Dawison's
Narelsse is a very remarkable personaton; but it
Is more remarkable for than its In point of
method Mr. Dawson a wonderful performer. Law pre-
walls with him, IN every movement and in every Tone lie
trusts nothing 70 impulse. His intellect is always domi-
naui above his heart The result sa consistent, evenly
scupiured embodiment Of character beautifully symmet
rcl but cold as marble. To say that Mr.. Dawson is
sort Of German Macready IS perhaps 70 estimate him
exactly in single phrase. His Nareisse is harmonious
and beautiful but il lacks ardor, and therefore it
does not fill the authors ideal. No single piece
Of stage art that remember equals, in delicacy
Of workmanship and precision Of nish Mr.. Dawisons
portrayal OF the dreaming Naresse in the fourth act of
this play II is the perfection Of art 1t is moreover
fraughi with gentle and winning sentiment kindred
effort in his recital Of his story TO QHnduH These are
the prominent features of excellence in eminenty
classical representation But, whenever fire is requisite,
in this part Mr.. Dawson is literally and Enthusiastically
tame This shofcoming arises either from fundamental
OF conception or ron laSsudo OF temperament
We are not among the advocates for buster and rant No
one realizes profoundly than do the significance
mi flee Of Hques njunction-that sin the very tor
Teat tempest AID whirlwind Of passion you must ac-
uure aad beget temperance that may give it smooth
ness" But OIL the other hand cannot identify tame
with natuanos In the character Of Narese there
Is terrible undctone Of passion scorn, and bitterness,
which now and then breaks through the monotony ofhs
desoatiOn. His death also, is that Of frenZed convu
sion. To this aspect Of the part Mr. Dawson is apparently
blind His Narrsse bends under weight Of misery, but
never fierce never defiant, frenzed. His recog-
milton Of Lis wife the person Of Pompadour ought, in
turc, to produce positively agonizing revulson Of
feeling But does appear to affect him deeply, and
IL docs not affect ANYBODY else al ALL The method,
of course is Gecousy accurate but the soul wanting
The death too which ought to be the elimination of de-
Irum, is almost mechanical in its quetness having
from the first made passion subservent TO melancholy
sentiment Nh Dawson for the sake of consistency, could
not well DO otherwise than make the climax calm. But we
cannot help thinking that be sacrifices the emotions to the
intellect II is easy 10 understand that be belongs
actor 70 what is called the school Unnatural acting the
good aud true school if its principles be not carried to ex
treme they certainly in the persOnaton Of Narce
W. did not see ls Oi0 but infer from current cTti
oisn thar the pcTsonatO mared in the same way.
calm and coloqual Ohe1a Richard he Third or Lear,
would be more amusing than impressive. Let US not
erect Juggenaut Of Gallo yvaeity and supiney become
its dramatic victims.
Mr. Dawson makes his third appearance tonight play
In Franz dc Moor in The Robbers"
The simultaneous arrival here OF two artists so eminent
and so really great as Ristor and Dawson is most
pci0us fact 70. the best interests Of dramatic art We
hope most earnestly that their performances will be wit
messed By all classes Of the community and especially by
tho members o. the dramatic profession. Much may be
seen in ths-nuch may be learned. The Drama, as an
oily the grea Of social education and advance
Incnt is we believe destined 10 attain in this Republic an
cmaence ami an influence surprising all that il gained IN
Greece or Rome and all that it possesses amid the
old civilizations Of Europe. The trumphs Of such artists
a. Ristor and Dawson directly and largely exa the
drama and urge forward good May they continue
therefore and broaden and brighten throughout the land.