The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-03-03
ADJUSTMENTS.

pliment we could pay the audience we shall not
insist further upon its merits. At the end OF every
act the famous tragedienne was called out
repeatedly, the curtain being raised three
times at the end Of the fourth act.
We saw but one bouquet thrown 10
her, but that was worth scores of those
floral avalanches under which vulgar custom
seeks to hide the smiling actresses OF the period.
1t was only simple bunch of violets, hut 1t was
charming tribute to an artist who is already
crowned with the laurel.
The purpose OF GtacOmetti In the play OF eliza
beth" was to exhibit the inconsistencies Of Eliza
beth. and in the strong contrast OF these he mas
unquestionabv distorted the character. 1t Is
not only untrue TO the historical Queen, but
untrue to nature, for such abrupt and violent
changes OF mood and thought are not often seen
outside OF hospitals for the insane. The descrip.
ton OF the Queen given by Burelgn in the play
may be true enough for the purposes OF drama.
fist, but his realization OF 1t in action Is false.
Elizabeth as shown to us by the author, Is fan.
tastic. eytravagant, dtsjointed. impossible figure,
whose motions resemble those creatures who,
Shakespeare saio, were made by Natures journey.
men, they initiated humanity so aoomnably In
deed, when the character Is compared with
the Shakespearian analyses OF eccentric beings.
such as Hamlet, II seems almost like buresque.
When Elizabeth suggests in open court that Essex
sidered as candidates for her hand, it Is unnatural
When she tells the Spanish ambassador Marquis,
we never lie," It Is coarse. When she dictates
the two letters 1t Is pure farce, suitable
to the "Grand Duchess OF Gerolsten." When
she restraints her anger because her doctor only
allows her the privilege OF passion once in twenty
four hours, 1t Is absurd. unless we arbitrarily
assume that 1t Is ironical. Nor are the other
characters OF higher degree OF dramatic merit.
| nacN sstho vutco hrtoby
Kind" appears as the meanest only, a kind OF
Baradas or Rosencrantz, though, OF course, 1t was
no particular purpose OF the drama to reveal
| Bacon in his full strength. Essex is bet
ter but Burleigh Is like the Polonius OF
which tradition saws he was the original.
All the people OF this brilliant and intellectual
court-in o reign distinguished for Its famous up
holders, giants on whose mighty shoulders rested
an empires burden-seek the favor OF the Queen
| py the grossest nattery, which she believes with
the most unreasonable readiness and without any
discrimination. In tine praise OF Essex, however
coarse, sne might believe Tor she loved him. but
| even vain women Is not blind to the
natery of those to whom they are indifferent.
Giacomettl has evidently made close study OF
the time of Elizabeth and deserves credit for his
knowledge of the subject If not for its treatment.
But his characters are English only in name, and
the play presents us with q picture resembling
some uG'le UuCHy III Tue SlAtecnIH century,
an operate duchy where the passions are mo-
tives for musical duets and tros more than the
court OF Bacon, Raleigh, Drake, Sidney Essex and
Elizabeth.
Yet though the play possesses these historical
faults and has the special weakness OF being with
ont plot. 1t mas sterling merits. Some OF the
principal events OF Elizaoeth's reign are boldly
sketched and warmly colored. The situations
are forcble. the dialogue is effective. and
the more poetical language is lervent and
picturesque. Elizabeth herself-an imagin-
! airy or italian Elizabeth, 1t may be-is
| displayed with much dramatic power, and
the role gives to such an artist as Rstori splendid
opportunity. She lifts that which Is low to the
level OF her own genius, and raises the nigh still
higher. The play seen through the medium Of her
acting is TRANSPORTED into something more beautt-
full than It truly The trivial vanity she makes
charming, she gives nature to that which uu-
natural and hides with her art the imperfectons
| she constantly encounters.
1t Is the same Ristori we knew seven years ago
who returns to us now; the same majestic figure,
sioned voice. THIS was evident in the Garner
acts of the play, when she represented Eliza
eve Ss0 and MOVEMENT all grace and ease. and not
less clear IN the close, when the full resources OF
ATOMS ATOMS The progress OF the queen rom maturity
TO age was s made BY changes c startling in
nSusa It's the
stages Of DEVELOPMENT are contrasted with mar.
vellvus power; The ladies' IN the audience mieh
We're advisable, how women grow old. The pic
lures Of the Queen are varied The first, an ex.
almost sport with her scepere, and make it play
thing to reward dramatist or a weapon TO strike
Queen IN the attitude OF asserting the authority
which she had resolved none should DIS
Tns tas scen eseas her %
hSsex wlsnoas reOuRe disc,osss his love Tor ms
the ring to Essex-a pledge of her pardon ior all
offences that ne might commit-was exquisite in
Of the soq in %c
resolves never to sacrifice the pride Of
to sa oo ~ study
cede and follow the death OF the hated Marie
stuart: The affected g rlsi Of the Queen when
Syn the burst Of real joy with when the
defiance OF Spain, which ends the second act
Contrast the dupllclty OF that remorse Tor .ne
&C. and see how subtle is the skill
simulated anguish an inferior artist might have
been glad TO express as substitute for sim
act that the real greatness of Rstori was fully
disclosed. All before was preparatory, and made
more BY nss art M Than eT
| descriptions we have read OF her early career,
when she dazzIed the b Italian ,. s.age with her
fenced real sorrow becomes element or the
| drama. and the cannon that announces his death
sounds the Knell Tor Elizabeth. The delivery the
final speech OF this act was tremendous in its
tensity and In the wonderful manner In which
| agony was entwined with rage. mad scOrn with
;-ild remorse, passion struggling with passion,
like the human figures and the witherlne snakes
IN the group Of the LAGOON: In the fifth act
sublime, but terrible In their reality. me
spectacle of the lonely Queen In her old age,
crown, unable to shake on the memories
OF love and the presence OF remorse,
and dying with divided allegiance to earth and
heaven, would nave been as painful as 1t was
awful had It not been Tor the supreme art which
; subdued It's horror. It was hike the head OF the
Medusa which was made beautiful by the genius OF
the painter.
rms engagement of Nine. Ristori in New York
viii be her last aud II promises TO be her most
successful. To-ntgnt she will appear as Marie
stuart, In play Wnicn oeais Win the