The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1866-10-13
RIs T o RI.


AoPTe8cntathOh
Ristori appeared last night in Racne's tragedy OF
Phsdra Much expected from the great trAgedienne
in this difficult part the expectation not disap
pointed. A more splendid piece OF acting has rarely
been witnessed upon the American stage. Promising
that the subject OF the tragedy has nothing to
attract but everything TO suppress. any sym-
patty which the audience may feel with the leading
character the superb acting OF Ristori overcomes In
great measure the responsiveness which unnatural
passion must necessarily inspire Il is dncuh to con-
ccye anything moro horrible than the story OF
Phsdra's unholy love for the SON Of her husband
terrible than the jealous hate which prompts
her denounce him to his father, and cause his
Punishment. and DEATH But as the ancient poets
have created this monstrous fiction, and the
great French dramatst Racine has given il to us in
new form which demands the genius OF a Ris,ori or
Rachel to interpret il in the intensity that can alone
make the picture faithful overlook the horror
OF the conception in the perfection OF its rendition The
impersonaton Of Phadra by Ristori suggests a
parison with that Of Rachel 1t was the great part
OF the latter artist. the upon which, perhaps,
her dramatic reputation was chiefly based The
Phadra Of Rachel was terrible that Of Ristor
Is sublime Rachel's Ph9dra sought to influence the
man upon whom her love fixed, as il were by the
magnetism of her nature She did not condescend to
any of the persuasive powers with which women
Ristori is like the woman, which nature and not
art has In the where she her love
for Hppoyus she not only appeals to him passionate
language, but lays her hand aaectionately
upon his shoulder with fond and delicate
caress that almost changes his cold repulse
into warmer sentiment, which is instantly
repressed when he remembers that the beautiful and
mpassioned is his fathers wife, and the love that
she lays at his feet ncestuous and abhorcnt This is
one OF the finest passages In the play, drawing out
Rstors greatest power and equaled only by the
in the rst act where Phdra Involuntary declares her
love for Hppoytus 20 Misunderstanding to declare the
Of the object of her pussonthe Remuneration OF
her conadante in the fourth act when remorse over
wheims her. and the grand finale in which her comics.
SION TO Theseus of her false charges against his pre-
codes ner death.
From this brief ausion the thread of the story,
which IS not unfamiliar readers it may be
how little sympathy there il with the character of
Phdra yet Rstor invests II with absorbing interest,
which the responsiveness naturally attached to
character in itself unnatural and abhorrent In Medea
we have many serupes In the way of sympathy with
the character to In Elizabeth find vanties
to excuse vndictveness palliae hypocrisy and
city attribute to hereditary fangs In Mary Stu
art the suerngs of the martyr overshadow the snsof the
errng In Judith the sublime self-sacrincs Of
the patriot the Of the murderess but in
Phadra there nothing to redeem her from the stain Of
the degrading passions and the bascs subterfuge
to which cowardly and evil nature resort. And
yet with all this, Ristori wins the sympathy Of her
audience for the heroine OF the story and commands the
tribute Of applause again and again each terrible
IL enacted
Although there two three parts which might be
claimed as leading in this tragedy, Ris.ori. Of
course absorbs the greater portion Of the interest," but
would not be just did not give credit signora
Cotn's rendition Of Enone, upon which good deal Of
the best points Of Rstos acting In the principal
depends. II was in every respect equal to the
son and worthy Of unqualified praise. From the re-
ception which Phdra met with last night It's repet-
tion OF course become necessary Those who have
have in the enjoyment OF Of Rstors
grandest efforts