Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1882-01-20
ADJUSTMENTS.


Which will be presented IN Memphis to-
night by Mr.. Booth, Tor the first time, is one
of the best works of the English dramatist
and poet, Tom Taylor. 1t was first acted in
1859, at Sadler's Wells theater, in London.
Charles Phelps-a tragedian much admired
en- the English stage, equally as a scholar
and an artist-represented "Bsrtuccio." In
April, 1864 Edwin Booth brought out this
tragedy at Niblo's theater, New York, then
under the management OF VIM Wheatley.
The Fools RersR9e, is as Mr.. William
Winter tells us, Ito be considered as almost
exclusively the work of the Imagination.
History enters but slightly into its texture.
The depravity and the gaily profigate man
ners of the corrupt, luxurious little Italian
courts OF the fifteenth century are, however,
shadowed forth in its incidents ard text
Bentiyoglio is an historic name. John Ben
tivoglio was lord of Bologna, from about
1889 to 1903. Cesar Borgia, to whom there
is an allusion in the text, died in 1907. The
action of this piece is assigned to 1888. Ven
ice had then passed the meridian of her
greatness, and all Italy was broken into petty
States, and had become the prey of plotting
priests and turbulent mobiles. The Middle
Ages were coming to an end. LOUIS XII had
just finished his sanguinary reign in France
Henry VII-Richard having fallen at Bos-
worth feld-was on the throne of
England. The crowns of Aragon and
CASTLE had been united, and Spain, under
Ferdinand and Isabella, had become a great
power. Thought upon these and other act
ual surroundings of the time which it is
sought to illustrate will, of course, help to
make this cid historic period more reality
to the Imagination of the student. "Ber-
tuccio, an impossibility now, does not seem
out OF place in that age of cruelty, splendor,
romance: passion, change and general up
heayal and strife. The character is in some
of its aspects, repulsive; but it is redeemed
from the category of utterly abhorrent dra-
matte creations by its vein of tenderness, and
by the pathos of the experience which is felt
to have distorted its virtue and turned its |
gentleness to insane fury
Booths "Richelieu.-'
Mr.. Edwin Booth began his engagement |
at the old Memphis Theater last night in |
Bulwer's Richelieu- The company had made |
a rough journey and had TO charter a special |
car TO reach the city in time for the perform |
ance. They were in consequence somewhat !
fatigued, but it was hardly perceptible in |
the acting. The audience greeting the dis |
tiDgnished actor was one of which he might |
Justly have been proud. 1t was large and |
intelligent, and though cold at first, |
warmed up as the play progressed. |
1t is comparatively easy thing for an actor
to make good "Richelieu;" it is dispropor-
tionally hard for him TO make great one
The play is OF delft contrivance; the situa-
tions follow each other with such wise pre-
meditation that the auditor is gently led |
along the path of interest until he is absorbed
in the plot Of the play. The inception is
almost uninteresting, bat ii is not long ere a
mans wandering thoughts become focused |
and chained to the drama. As for the part 1
of the old cardinal, who trusts unwayer-
ingly to his stars to bring him through,
it is one Of the accredited master