The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1867-09-29
RISToRI-ALFIeaI's MYRRHA.

On Monday night Madame Ristor will essay one OF the
most arduous rolls to be found in the Italian drama
She has deservedly high reputation In other great
characters. but AAsri's Myrrhs ordeal throug b
which none but consummate artist and one glowing
with the fire OF genius pass unscathcd. Tho
author and the subject both ungrateful to the
artistic and present little TO win an audience
Alfers works remarkable for o vgor and intensity
of expression worthy of tho pamiest days the Greek
drama, and their classic subjects and stern out
line, however opposed TO the romantic school,
havo yet q grand and solemn charm. Their
form is severe, but their spirit often sublime
1t Is not so much imagination will that
they embody. The tragic poet deals with passions IN
their naked simplicity, and is through the few strong
lines and not tho light and shade, the color aud comb
nation that no mprcsses the mind with grace or pahos
moral energy deep Intentions. Energy and precision
the characteristics Of his style many passages arc
deeply impressive from their force and concentration
few from their fluent grace or natural ease The mind
Is kept on the strain Of heroism anguish not by
elaborate pictures but through intensely dramatic
utterance. Alneri may be compared to Eschylus In
this rugged sublimity OF creation and execution On
him the spirit OF the old Greek dramass the immortal
three schyus Eurpides aAd sophoces seemed TO have
descended ana the title OF the Shakespeare Of Italy
correct ono eAcept regards his Versatility There
Is nothing OF the element his plays The SUBJ
ject Of Myrrha Is first sight would appear an
utterly Objectionable and disgusting to be presented
before q modern audience. The King aud Queen Of
Cyprus having offended the goddess Venus TO whom
the island consecrated, by Boosting more stran
gers thher TO pay their addresses the princess
than to give homage to the Paphian divinity the gods
consent 10 the punishment OF tho royal parents Cnyras
and Cecra They permit the Fures take possession
Of Myrrha and to ncte In her breast an incestuous
passion punishment to the parents. Myrrha Id.
nres Persus prince Of Eprus aud desires to be we'd
ded to hm-indeed, insists upon IL; but her struggles
conceal the affection that the gods have placed upon
her 10 vain. Pereus, in Despair finally kills himself
and Myrrha, at the close OF tho play, bstrays her
love OF Cnyras finally sezing his dagger With
which she terminates her life Such arc the ungraefu
matsriss selected by Al1eri for his immortal tragedy
The handspring OF action the leading motive, tho ab
sorbng passion IN the play the ncssuous passion OF
the heroine. How does the tragic poet treat 1t He
makes passion inspired by the gods, a fury or
Nemesis placed within the soul, Through the entire
play he shows the real natural feeling OF the possessed
pir and her this terrible feeling that has
laken full sway over her soul. She to US to
sisnd tho brink OF precpce and To struggle in vain
against the rssess hand Of fate that pushes her on 70
her doom. Tho modern sensational drama brings
heroes and hsroines In the most pcrilous
situations and rescuss them In the most
lnheard-of manner. All tho perilous situations Of
Ayrha mental but fearfuy distinct and when she
plungss the dagger into her brcasths lookeron feels
v n IN oppressive load removed from his breast
Her suicide ID not Sensational effect but the 6ttns
male TO her wrctched life There 10 one wonderful /
csture Tn this chef dovvre Of the italian poet Unlike
no CREATION Of Promethsus, he places . window in
fyrrhas breast, through which he audience can
'pon another sssge-that Of the human soul Every
hsss Of human passion appears on this stage like en-
oded characters and 10 faithfully represented. n
sntori passes this ordeal triumphsnuy. then her
rows should be placed the laurel crown 70 place her
he highest pedestal Of fame.