New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-12-22
MUSIC AND DRAMA.
MoDJEsKA AS CAMILLE.

Tn HOntl'S lneatfe, ldsl HpiuN' A""'JN~'
ave her aforementioned and extraordinary Immersion
49, :, coaie This ia an old subject and it is not sug
.,,ve OF fresh comment As often as the tragic orua
=, .camile" ia witnessed, thoughtful observers OF
usf reflect that 1t exempli6es both misuse Vi INC ~
,ratic art and disappointment In moral sSloho0'
,o,suses dramatic art because II makes the stage p'Vo
sor dIsanstion upon the reaotionary eiiect Oh Voo
cha huma an souls and It dsappouts In moral soonoo 10
carse having constructed an image OF 'uo l.
anguish resultant upon vice. 1t suggests no reHei anu
.erts no principle Dramatic art should not DC lauo
idatic; bnt. IL 1t is made ddactic IL sno"'u 0e "
as.ert some sort OF a moral conclusion
4 This play depicts the a2onizing anu i''
oble consequences OF sexual sin' ino'o -.
r,.msv pretence In II that the victim Sunei'
n.canss OF the persecution OF society )
,rbereas IN fact the victim suffers because sne n"s
ahmed against herself Sin records itself In the SOU"
puushment begins there, coincident Win IT, In" -
universal memorable law and no creature eau
escape from it's operation Iftne author OF
had caused his heroine to repulse old Daro IN inc
ana 20 hecome b,s sou's wife, no would at least nave
..ssrtea a tangible conviction prnc'pe-ss "iiAie
Co,I,ns has done in The New Magdalen." But 'na'
,~op,a have ended the play-by quencmhg '"oee -.
which the play written to procure sa az,
sny touches a subject that never should oe ~ a
ccpt for the purpose OF teaching uior" ,, a., inn
teaches nothing all, but consists ana enu' so,o
r,.,~,, ,,,sarv The utmost you can learn from
a. That A. Is wise never to love, and that II 20" wv
Won are mad and foolish to yield 10 your p"'
trae with them. Bnt, II You are sehs'i'o ~ a.
Won can a5ct yourself with this play ana weep o.o' "
T., oo,ious abundance It's third and fourth acts arc
contrived for dramatic effect and 1t Is IN
r,nsbls that they deal with actual experience 1ne'e
deepiy fraugh with passion pathos suspense
,remulous sensibity, dramatic atmosphere an" oo''
and feyerish action. But the end OF all ID nereN pam
Nine Modieska's impersonation OF Odnh'e cas"' en-.
q. rank among the great theatrical achievements Oh .s
.e;,xh hon def
"a beautiful in construction. She presents 'n's aHo
so,ay 70 as woman who is by nature essentially goou'
bn whom waywardness impulse ana eVl aociuen' na.e
hetrayec into siu and who is tossing amiessly oh ~"
waves OF remorse, till at length pure ana hoy o'
enters into her heart and prompts her 10 Try ior eo"
and salvation. Employing this idea, the actress cap'u
unlimited sympathy and as her artlsuc eNpre'
.o, Of this ideal is gentle, refined PASSIONATE
.,d lovelv abe also commands intellectual acnhrauoh
As TO particular attributes OF the aching we nave oo
.pokeu here when reviewing this performances anu o"h
mt reecho what we have said before In executing ne
ideal Of Ca,aiAe-whioh last night was marAe" WIN
osueut emotion and splendid and sustained nervous
power-Mme Nodjeska has set forth an embodiment Vi
sucb beWilderng beauty natural emotion aud exquisite
eraee that for tn first time the subject OF TINS piece 10
almost made to seem that ought to be treaeu anu
tbe piece itself ia half redeemed No logic could accom-
nsh this result force of genius and the nnehess
Of consnmmaie art power to make the theme one
of feeling rather than reason Mod1eskas Odne onoe
SEEN will no be spared IRON our stage nor
suffered TO fade from remembrance, than hsto1
Theresa or seebach's Marguerite As we thlhK upon II
there rises fancy 1.-the. willowy hgure' whose raj
ment IA the perfection Of Opulent simplicity-lust
touched with a kind Of strange hectic rchness-ahd
whose eve ~ movement is perfect grace the lace Is
pad with sorrow the large, dark, liquid eyes are lui
of mournfu light the voc"-in it's low tones as sweet
as childhood. and always suggestive OF Innocence anu
happiness pierces the heart in its louder notes o.
.nnnlieatiop and vibrates with "A nAmeless thrill OF de
spsiring agony. This figure obeys, In every motion
the feeling possesses it, The tumut ofsereproach
the bitterness OF doubt the ecstasy OF contented ant
confding love, the mingled tor nent and sublmity
enforced ssacrce tae devotion to virtuOus purpose
and the conflict betwixt earthly hope and heavenly
resignation all expressed by IL with the eoquen ce OF
absolute sincerity and in form responsive 10 th'
nicst touch OF guiding thought wnch controls ev cry
particle OF the work. -, -. -, -
The cast OF parts with which "Csule " has been re
viz ad "a os