The Rutland daily globe. [volume] (Rutland, Vt.) 1873-1877, 1876-08-29
A LESSON.

must be endured before the discovered
Union can be restored to more than or
ignal strength. Thus, also the patriot
cause of rs must arise like the phoenix
from the desolation of horror such as
America never had previously beheld. Ill
success then, az now, is no proof that
cause is wrong-anl had Washington new
or triumphed his patriotism would have
Oetn just as sacred. IL Is curious fact
that there is no record of WashiDgton's
ever revisiting that battle fsld. For two
and half years he lived here as pie.iient,
and from his house on Cherry street he
could behold the outlines Of that scene of
defeat, but he never cared to traverse the
ground that had been stained with the blood
of Americas chivalry. To a sensitive
mind, such as his really was, the memory
would have been overwhelming. But
though a scene of bloody defeat it was not
a field of shame, and this consideration re-
lieves the horrors of the day.
BYRON IMPROVED.
The present resurrection of Byron as
Sardanapalus, is much in contrast with the
Mrs. stowe revelations concerning the poet
which few years ago so digusted the pub
lie. 1t is to be promised concerning this
play as well as the other dramatic produc-
tons of the same author that they were
not written for the stage. For this reason
he protested against their representation at
the London theatres. In order to make
such play effective, "Sardanapalus' is
altered so that the author would hardly rec
ognize it. These liberties are common in
stage experience. One of the most striking
transformations Of the kind was accom-
plished at the Adelphi theatre in London
soon after the publication of Coopers
novel, 1.-The Pilot" a naval story intended
to illustrate the bravery of the American
navy. The London play moDger SO dram
| atised this work that all the odium was
transferred to the Yankees, and all the
glory to the British thus reversing the
character of the story. This 60 irritated
the Americans in London that row was
feared, and large numbers Of sailors were
brought in to defend the piece. In "Sar-
danapalus' the damage done TO the authors
| intentions is not so serious, but, after all,
it is but another aspect of the ''Black
Crook" theatrical. This is the only way
to make such play attractive.
REMARKABLE CHANGE.
1t is a very striking feature in Byrons
history that he became in the last years of
his life play writer. This maintained
fresh interest in his works. The falling
off in his productions, however, was very
manifest, for none of his dramas have more
than secondary rank. He seems TO have
been fully conscious of this, because he
earnestly, opposed their performance. 1t
is evident, however, that once he had an
idea that he might attain success in this
iuc, for he began Werner in London the
year of his marriage, GSl5,) but only wrote
one act One of the last of his literary la
bors was to finish this drama, which was
| done at Genoa in 1923, just before sailing
| for Greece. In these productions there is
| marked attempt at an elevation OF sentl-
ment which in a man like Byron was sur
prising. 1t must be remembered, however,
that he let off his more natural feelings in
| Don Juan, which was written at the same
time. The latter was in progress four years,
and during that period he wrote all his
dramas. These conioined works, there
| fore, represent the genius of Byron in lis
| different phases of Il well assumed virtue
AND natural pollution.
WELL PAID.
Byrons first drama W as 'Malino Fabero.
When it was announced that the author of
"Childe Harold hal published a tragedy
the interest was intense, and the sale was
of corresponding extent. For that infe-
rior play the author received LOGO guineas,
being more than $4,000. 1t is a larger
price than has ever been paid for such
work in the aura ais of the diana. Let the
| rpaHar contrast this pnOrmnug T1li II r
| a second late production with the fact that
| Shake speare never received penny Gas far
as is on record) for his plays, most of which,
indeed, were of poslhumous publication.
| The next of Byrons dramas was "Sardan-
| apalus." This, with "Cain" and the 1.-Two
| Fosl ar," brought him 100 guineas, which
shows that The public interest had not
abated. 1t is a curious fact that the best
pays founded on Italian history should be
the work of Englishmen-S Shake speare,
| Byron and Shelley. The first two need no
further comment, but Shelleys tragedy,
"The Cenci." is much finer drama than
any of Byron's, and, in many points, APP
breaches Shakespeare. And yet Shelley,
comparatively speaking, is but little known.
THE UNpERoURRENT.
1t is evident that Byron felt the power
OF public opinion which had generally con-
demned his violations of domestic life. He
had portrayed himself in Childe Harold in
the most favorable colors, and his tragedies
are permeated by the same idea. The cruel.
ty and tyranny of his mother is illustrated
in the Deformed Transformed. Having
been n. first reprcached by her for his de-
formity, he replies, in the words of the
play, II was born so, mother" Werner
is another appeal. The author having been
condemned by public opinion for crimes
which are sanctioned BY high example,
makes Uric exclaim:
"Who proclaimed TO me
That there were crimes made yenial by the &C.
caSon?
That passion was our nature? It is strange
That should act what you could htnk?'
In these words Byron arIagns society as
responsible for The errors charged on him.
self. Coming before the world AT an early
age and under the worst influences, he had
been taught by example (even that of the
| prince regent himselD that society is ready
| to apologize in behalf Of some for the very
| sins winch are condemned in others--or, in
| other words, that there Dele crimes made
| oenia, by tue occasion. We have the same
general idea ia Sardanapalus. Salamenes
| Is Inc lmpersonalion d puullC cchsufe'
| Then, too, comes in the Injured wife as
| Zarina. Guiccioli, who was with him when
he WROTE il, is the real Myrrha, aud Sar-
danapalus is but another Byron, who can
say of himself
| al am the very slave OF circumstance
| An mpulse-borne away with every BREATH
| Misplaced upon the throne, misplaced In lie,
| l know not what could have been, Dut reel
| l am not what should be-"
| SIMILARITY OF EXPERIENCE.
To prove the correctness of my theory l
will make the following extract from the
poets jouausl written at Ravenna, January
81, 1921 81 am not 10 spirits 10 continue
my play Of Sardanapalus. In ~ minutes
| shall have completed 80 years, and l go
to my bed with heaviness of heart at hav-
ing lived so long and TO so little purpose.
| Ebeu fagaces
Labunter amt!