Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1881-05-27
For the Free Press and Til
The Greek Play at Cambridge.

the Greek drama must have often tried to
imagine now it was produced upon the
Atnenian stage, and must have always found
their imagination completely bafHed at many
points. 1t is always hazardous to bring
what Is antique and obsolete into modern
light ; what was once accounted sublime
may now appear ridiculous. Those who
produced the Greek play at Cambridge must
have had to overcome many misgivings
Certainly tho-o brsJ qualified to judge must
nave carried many misgivings to the specta-
Gle. But of the merits of the performance
there can be but one opinion that it was in
the highest degree beautiful and admirable,
rejecting honor upon the scholarship of
Harvard and upon the accomplishments of
those who took part in it.
For Presentation TO a modern audience,
the tragedy of Edipus Tyrannus offers some
special difficulties. 1t has almost nothing in
common with tho human life of to-day but
little OF the romantic sentiment which gives
charm TO the Antigone none of that gentle
human pathos which makes us feel akin
with the sufferers in the Gdipus at Colonus.
But in some respects it is the most represen-
tative, the most thoroughly Grecian, of all
the tragedies of Sophocles, who was the
most thoroughly Grecian of all the TRACE
dians. The central idea of Greek tragedy,
the conflict of the human will with Destiny,
and the inevitable woe which results from
that conflict, is here wrought out with ter
rife power nowhere else equalleI 1t must
have taken magnificent courage to decide
upon this play. Nothing could have justi-
fed the choice but success but success with
this play was the highest possible success.
The problem being how TO put Greek
tragedy upon modern stage, there were
two possible solutions One was to attempt
a strict and literal imitation of the actual
Greek method so far as it could be ascer-
ialned by the best learning But any stu
dent of the Greek drama would at once de
eide this tQ be out of the question. The
open-air theatre, with its stone seats, the sac
rifce to Dionysus, the Hydrologic machin-
cry, and other accessories Of the spectacle
could not without some degree of absurdity
be imported into the modern representation.
The other plan was to reproduce the essen
tial parts of the ancient method and to care
for details only so far as to have them in
general keeping with the whole The latter
plan was wisely adopted in this case. We
have then, presented to us,a Greek play true
to itself in all its essential conditions, with
not line left out, not a word changed,
with the ancient spirit breathing through
every part, and even the ancient form re-
tanned in most Of its prominent features.
The dialogue was recited in the usual
iambic rhythm familiar 10 the recitation
room. The c@sural pause was carefully OBJ
served, except where the line required un-
usual precipitancy. The actors, all, but
notably Mr.. Riddle in the part of Gdlpus,
recited the Greek with extreme Evolutionary
beauty and finish. The pronunciation adopt
ed was a compromise between the old and
the new modes. The Oh was uttered as q
cultural, J.. as dz as in French. eta as
long a, OF as 90, az and OF as in the old
method; in eu and eli both vocals were
sounded separately where a consonant is
doubled, both were articulated. The gene
raj effect was highly agreeable to the ear.
The acting showed careful training, and
somewhat wonderful appreciation at times,
of the deeper meanings of the poets thought.
There was, however, an incongruitv, nee
essary one, probably, between the ease, the
lightness. the general airiness of the whole,
and the heavy and sombre atmosphere of
the scenes out of which this dark tale of
evil and misery is drawn. The Greek drama,
as Schlegcl has said, was essentially
statuesque. Great personages posed, so TO
speak, amid great events. The movement
is slow and heavy. The situations are i'm
pressve by reason of the gravity of the crises
and the solcmniiy of the issues. 1t is I'M
possible 10 understand the Greek drama if We
look upon it as mere entertainment. 1t had
religious meaning; it was pulpit and lee
ture-room as well Us spectacle. Heaven for
bid that these happy hearted young men at
Cambridge should have been able TO enter
fully into the tragic poets profound estimate
Of evil and suffering. But be that as it may,
whether uuconsciously or by design, the
acting of the play was modernized. 1t was
bright, picturesque, done, So to speak, in
colors, not in outline merely. How could
an actor, With any modern instinct in him,
Lope to keep the interest of modern audi
ence through a series of speeches sixty lines
long, without putting; into lis acting GER
tain variety and warmth Of expression in
voice, face and gesture which would doubt
less have seemed TO the Greeks 10 be over
acting Mr Riddell probably knew that
he must choose between criticism for
monotony, If he followed the traditionary
style of recitation, or for ''exCess of senti-
mcnt," if he borrowed some of its liveliness
from the modern histrionic art. He chose
the latter and nj least succeeded i'll keeping
his audience ficm being weari,d, in his
longest passages. Yet here the Greek spirit
prevailed. All was chastc, subducd, free
from extravaganza and violence.
The difficult questions connected with
the chorus were very happily disposed
of,-some by n satisfactory solution, others
by an equally satisfactory dismissal The
dancing element was wholly left out,
change of position with the turn and return
r. a., H.. L.;
Neither was there any apparent regard TO
the construction of the choric stanZa. The
choric passages were sung by the chorus
with orchestral accompaniment, as in ORA
torio. The chorus proper consisted of tif-
teen persons in character arranged about the
Hymels the full chorus" had the addition of
thirty or forty singers seated below and sup
posed 10 be unseen. The chorus sang in
unison and the full chorus in two parts only.
The music, both vocal AMI orchestral, un
doubleday was made more prominent, and the
thought of the lyrical passages less so, than
by the Greeks themselves In their minds,
the chorus was the very flower of the play
into ii went the poets finest genius and most
elaborate art its exquisite words were not
drowned in the tumult of voice and iustru-
ment, as in our modern choruscs In this
respect there was some disappointment The
Greek theatre was made to borrow too much
from the Italian opera
In itself the music was worthy oi the
highest praise and should give its author,
Mr. Paine, n high rank among American
composers. What Greek music was we
have no sufficient data for concciving. That
any music ever heard in Athens was as rich,
full and expressive as that composed by Mr.
Paine for the choruses of the Edipus, is
quite improbable
The stage accessories were very simple,
but sufficient, and in admirable keeping. The