Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1882-12-17
SOPHOGLES'S AJAX
Revived at Cambridge University, En-
gIaud, After an Interval of Two
Thousand Years,
And Put Upon the Stage in a Way
that WOuld Have Challenged the
Authors Admiration.

original language. Ii is quarter OF CEN
tnry since we had a contested election, and
seldom, if ever, has one been contested with
more spirit. Political excitement has
hardly subsidized when our atfMfion is
called in another direction. The pro-
posal to act Greek play was mooted
more than ak months ago, 30 that
abe excitement connected with ii has
mot been OF that feYerish nAlere which has
characterized our political efforts. But, if
quieter, il has not been less real; if less ex-
tended, it has not been less intense. Consid-
seriug that the Ajaz has not been performed,
at least in public, 90 far as we are aware, for
a trihe over 1000 years, it is no wonder that
the revival of such a masterpiece has
aroused great interest. The records OF the
university do not appear to show that a
Greek play WAS ever performed here before.
Latin plays were nothing unusual, and
Queen Elizabeth, when she visited Cam
bridge, rather more than three centuries ago,
wac graciousiy pleased 10 sit through the per
formance of drama of PlauIus in the chapel
OF Kings College. Learned as her majesty
was, she would hardly have found her
knowledge of Greek equal TO the enjoyment
of a play of Sophecles, even if the students
of Kings College had been gracious enough
10 recite it before her. The Amateur ORA
matic Club, strong as is the dramatic talent
of its members, has wisely declined to ven
1ure on any language but the vernaculsr.
Thus we may probably look in vain for a
precedent in this university for the perform
auce which has taken place tonight. We
cannot, indeed, claim 10 be entirely original.
Oxford began VITA the Agamemnon
of Eschylus two years ago, Harvard
followed suit with play OF Sophocles last
year. In this the public will doubtless be
glad 10 see confirmation of its fixed idea
zhat Cambridge il generally behind the rest
of the world; but if we are last in the field
1t will probably be allowed that ia some re-
spects the representation of the Ajdz is more
perfect than any that have preceded it.
The play itself is not one that appeals to
modern audience SO strongly as the grim
tragedy OF the Agdnenln0a. Those who act
ed the first Greek play had the great advan-
tage of being able 10 choose the drama
which, OF all those that are left TO us, is be-
yond doubt the one best suited for the mod
iern stage. 1ts catastrophe and the passions
that bring 1t about are such arouse the
svmpathies of all races and all times.
The same can hardly be said of the
-Ajd1. The direct aud constant interference
OF the Deity in the latter play is less impos
ing TO our minds than the vague and awful
fate which hangs over "Agsmemnon" and
lures him TO his doom. The rawlings of
"Cassandra" possess element of pathos
which Is lacking in the madness of "Ajax."
There is something grotesque and almost
1udicrous in the description OF the punish
1nent inflicted on the hocks Lastly, how
ever fully we may sympathize with "Ajax2
in his woes, however inevitable is his self
sought death, we cannot take the same vivid
interest in his burial Wren "Ajax" died
the play should, according to modern ideas,
come TO an end, and the last 400 lines are, in
certain sense, an anti-climax.
Bot if the Death and Burial OF djaz. as
Prof. Jebb rightly styles the play, is TO mod
era tastes inferior TO the Agdmemnon, il is
sill one which affords scope for all excel
1encies Of acting, and it was placed upon
the stage in way that left nothing to be
desired. 1t would be invidious TO compare
abe merits of the actors this and the
former occasion, and it would be hard in
deed to excel the "CIytemnestra" OF Mr.
Benson or the "Cassandra" Of Mr.. Lawrence,
but in other respects the performance of the
>Ajar may fairly be regarded as bearing the
palm. When we cav that the music, vocal
and instrumental, of the choruses was
written by Prof Macfarren and conducted
by MIR. Stanford; that the scenery was
painted by Mr.. john OConnor from
original authorities, and that the cos
tunes and other properties had the
benefit of Mr.. Waldstein's archaeological
knowledge, we may be sure there was litlleto
find fault with in these respects. The two
scenes were, indeed, beautiful works of art
The 6rst represents portion OF the Greek
camp before Troy. Ga the lett is the portal
of the hut of "Aiaxp closed by curtain;
on the right are the prows of the Greek ships
anchored in Archaic fashion to largs stones.
In front is the sea, ripping and blue in the
morning light, and in the distance is the bro
ken coast beyond the Hellespont. In the
second we are transported to desolate spot
on another part OF the coast, firinged with
frs and hidden from the gaze of
men. The sea and the distant coast
are darkened with the shades of COM
ing night, and the smiling heavens have
been obscured by the lurid clouds of sunset
The stage itself is constructed with strict re-
gard to archaeological propriety. The thymele
in the center of the ochestra is taken from
the extant one in the theater OF Dionysius at
Athens. The proscenium represents the
front of the stage OF Greek thealer. 1t is
of polychrome architecture, and the pedi-
ment above the opening Is supported by
Ionic columns. In the midst Of the pedi-
ment lie a group of figures taken from ancient
statues given in bas-relief. Similar bas-
relieis decorate the spaces above the
bronze doors through which the chorus
enter the orchestra, a few steps lower
than the sage. The effect of the whole
is extremely beautiful. OF much of the
acting it is hard TO speak in terms of too
high praise. Ajax" was played by Mr.. J.
K. Stephen, of Kings College, son OF Mr..
0leDHcus Win us DTOdQ e4OulQGIB
and massive, but finely-cut, features be looks
the part to perfection. His articulation is
clear and his information very varied. At
his first appearance in gait, features and
voice he is clearly the hero. Subject to
divinely-sent frenzy, there is madness in his
distorted face and rolling eyes. When he
comes to himself nothing can be more pa
thetic than the lamentations that issue from
his tent. The great speech, which begins
with the allusion to his name, gives scope for
great variety of action, and Mr. Stephen
Is possessed of a voice of considerable
compass, the lower tones of which are par
ticularly impressive. He brings out with
great force not only his indignation at the
treatment he has received from the "Atreide,"
but his grief at the thought of the woe his
death will cause to the parents he has left
behind in sea-girt Sxlamis, the relentless
logic by which he condemns himself 10 death,
and the tenderness of the father toward his
son find equally powerful expression. Most
OF all is, perhaps, his last speech,
in which he calls on the fuTies to ayenge his
death and says his last farewell to Seaman
der, the scene of his prowess, and to his own
island home.
With the death of "Ajax" the interest of
the drama is for as moderns nearly over,
and the rect of the play would drag but for
the excellent acting of Mr.. Macklin, of Ca:us
College, who performs the part of "Tecmes-
sa." This part again, like that of "Ajax,"
is one of very wide scope and Mr.. Mack
lin is equal to it. On every side OF the char |
acter of "Tecmessa," in her feminine tender |
ness, devotion and despair, is wonderful |
contrast TO that of Ajax" The most strik- |
ing portion of the play is, perhaps, the scene |
in which "Tecmessa," aided by the chrous, en- |
deavors to turn "Ajax" from his resolution. |
The persuasiveness of her love, the |
earnestness of her pleading, the pict- |
ure abe draws OF her future If |
deserted by him, seem only TO con- |
firm the hero in his dread resolve, and |
"Ajax," true Greek, all love for his son, is |
brutal to his wife alone. 10 the narrative of |
what had happened during "Aisx's" night |
of madness, Mr.. Macklin shows remarkable |
descriptive faculty; but it is in his power of |
expressing grief that, to our mind, bis chief |
force lies. This was especially remarkable |
all through the latter part Of the drama, /
where "Tecmesss," sitting in silent despair |
by the corpse of "Ajax," too much overcome |
BY grief to listen to the wraDgling chiefs, can |
only show her sgony by gesture and by play. |
OF the other parte, the most important are |
those of "Odysseuso and s'Te1cer." Mr.. I
White Thomson, as "Odysseus.D hardly, per-
haps looks the part, but he repre-
sents the caution and cunning, the /
selfish forethought and interested piety |
OF the willy son of "Laertes" with great skill. |
Mr.. Henry Gust makes an excellent "Teucer,"
devoted to his brother and ready TO brave /
all A the threats of the "Atreide" in or |
der TO give his body rest. "Agamemnon,"
in all his naughty insolence and pride of /
power, was we'll represented by Mr.. II. J. |
Ford vhosa hfOht m ado him look a vary