National Republican. (Washington City (D.C.)) 1872-1888, 1875-04-27
ADJUSTMENTS.

The National -Ristori-Elizabeth.
The pure lovers Of the stage, students In art,
people Of culture and wealth, combined in
making up 1t the National theatre last night an
audience large and brilliant. 1t is nearly ten
years since last had the pleasure OF seeing the
great Ristori in Washington. Time, as II proud
Of this splendid daughter of genius has been ex-
eeedingly kind. She has grown stouter, but no
older in looks. She has the same majestic,
sion, the same glowing earnestness and the same
commanding temper. The inspiration, tho sub
tlety, the mighty force Of her dramatic power
Is undiminished, and she still throws over her
hearers the same spell which OF yore held them
between heaven and earth. The tragedy Of
Ristori's Interpretation OF the character was re-
ceived with . fresh delight and with . profound
enthusiasm, and when the aWfully realistic death
scene terminated the performance the apprecla-
tiOn Of the audience took on the form Of an ex-
preston of real thanks that good fortune had
he last the The assumption Lett no ground
fOriobjection, unlesss she eommanded art
in the last scene TO step aside from its natural
ism of the scene would be called by some an
artistic fault, but to our mind the manner Of
EliEabeths death, as portrayed by Madame Ris-
many hued, the predominant shades In Elizabeth's
character were selhshness, unforgiVeness, de-
ceitfulDess, penuriousness, revengefulness and
pride and these com Ined with great learning
talent for authority, bOundless ambition and
NEST imperious Will, 20 to make up the impulses
ereigns. The embodiment Of the character by
RistOri was complete. Her strength was not ex-
hsusted at first, but she passed with cumulative
Previous to the disgrace and punishment of Es-
sex, Elizabeth is controlled by feelings strongly
in contrast with those which take possession of
her afterwards and It is in the last two acts that
she finds her grandest opportunities for the dis
play Of tragic force. Conquered by love, she
undergoes the terrible torture attendant upon
the signing of Essex's death warrant and here
for the only time in the drama she appeals to the
sympathies Of her audience. and she does It pow
eTiullY. Then follows her despair and re-
pTOaches to Bacon when she learns that the war
rant has been executed. She sounds here the
lowest depths Of remorse. Whatever there was
Of tenderness IN the character Of Elizabeth as
conceived by Ristori is developed and delneated
at this point. The picture Of the Queen In her
age and disordered mind and death Will never be
forgotten. Her support met the requirements
Of the drama acceptably. Tonight Marie An
tOinette.
Ford's Opera House-Herrmann.
The origin, influence, and greatness Of the devil
are IDEAS very puEZling to most people, but very
intimate friend Of his, by the name of Hermann,
performing this week at Ford's opera house. is
clearing up good deal Of the mystery. 1t Is an
old saying that 1.-THE wickest Christian is more
powerful than the strongest Demon" so no one
need to be afraid in going to see what Hermann
looks like. Pictures Of the MeDhistopheles of
RetZch, the perfectly ridiculous fiends of Cruik-
Shank and Landseer, the complex devil OF the
Cingalese, With cobra di capellas twisted around
its neck and seated on horse, are all familiar
enough. English, French and German artists
and we believe the Hindoo, all draw the devil
with an aquiline nose, huge moustache and a
goatee. He also has coal black eyes, black hair,
and q cunning forehead. Nature has done a SIM
liar piece Of drawing for Hermann, prince sub
lime in the realm OF the black art. Surrounded
by an aura, mysterious as the influence Of an
Eleusinian cave, he glides about the stage with
the sinuosity of a serpent and the quickness of a
cat, and whatever he tells the inanimate things
ances are quite beyond ordinary comprehension
and the more you try to find out about them, the