New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-10-30

1. NOT readily comprehended; but when he Is eonpro
bsnded he inspires profound sympathy ana adhrauon
II "a To the puzzng influence OF this complex "cpoA
beautes and defects and the prevalent and preoon
tront singaty OF the actor that divers commentators
ko monotonously and useessy refer In ringing the
changes upon Mr. Irving's mannerisms" some minds
win always reject what they cannot understand ana
consciousness prefers to dwell upon fault rather
Than merit But this is not the road to the truth
Neither like nor dislike neither praise nor eensure, is Of
tho least importance alongside Of the necessity Of inter
nreation The liberal judgment psrces to the meaning
M the emishes and Of the vagueness, while recognz
ing and admitting the beauties and the light Mr. Iry-
tngs nature while capabe-as the deepest and stenest
of tragic often are-of eTrato ana dazzling ex-
erons into the domain of grim, or grotesque or fare
Zeal bumor and while certainly sensitive and tender is
doubtless moro particularly restricted TO the region OF
the melancholy morbid saturnlne, sard0nc and terrible
His art-methOds inevitably, would. under these condi-
tons be touched with mysticism and grim extraSaSance
and they certainly affected by physical mpedments
visible wherever repression substituted for uterance
and the shudderng culver of the Qucksand stands for
Che explosion Of the tempest But-allOwng for every
physical inadequacy, and looking through all spiritual
Sagueness and mystery,-the sensitive and thoughtful
observer cannot fail here to discern glorious instrument
OF dramatic emotion,-sensitive, tremulOus true,-a
sou and mind most rich In the capacity TO feel and to
translate the tragic aspects OF humanity. And surely
this In acting is the main. thing: not simply a
professional skill; not simply felicity Of special
Effort; but the potency Of individual resource
behind that skill and that eort-whch makes the great
actor perennial spring OF refreshinent to the intel
lectua life Of his age.
Mr. Irving like every other human creature, has his
limitations The work that he displayed last night made
evident enough the decacy Of his physical powers, the
intricate character of his artistic means. and the
picking ecoentricies of his style. He is the flute and
,l.,oa Nl..t, 1lNx
thunder of voice. rugged grandeur Of FORM and anent
and torrd sensuay which only just fell short Of tran
scendent and overwhelming genius in Edwin Forrest
than he could ny through the heavens. The flow OF his
spirit could be the great ninth wave that seems to
crush the orag whereOn II dashes He stands forth with
all hsequipments in order and all his fine faculties In the
leash. He Is intellect enthrOned above the passions
He knows that inspiration may come, but he will leave
that take of itself lie works with thousand
subtle touches with many seeming accident OF shadow,
with many a sudden Jet Of light He will sometimes
leave the senses unthrilled. He will sometimes be
fantastic in his ideals. lie will sometimes push singh
larlty Of treatment 10 the verge or excess But he
speaks to the imagination the soul; and I'm every
thing that he says and does and is you feel the naeess
Charm of genius Ample discussion may be anticipated
as to this actors ideals of character to his suitability
TO certain parts the exact nature and limits of
his powers of expression But nobody will doubt that
he Is often splendid artist and always man OF genius;
that his work is guided by intellectual purpose and
vaded by that Undesirable something which is the
secraton OF poetry;
"The light which never
Was on land or sea-"
The original Of Z" The Bells" lie Juf POlonas' is
dramatic study by Erckmann- ChatTan, and, in the
French believe not designed for representation.
Mr. Leopold Lewis made the version of 1t that is used by
Mr. Irving but he has not succeeded In making 1t much
more than ne-part play. This is noted. not OBJ
lection, but merely fact The part play is
times an excellent thingas may be for example In
HOrnes Death of MarlOwe,"-which is not only ono
part but One-act. In construction the chief merit of
GThe Bells is that it deity surrounds terrible and
tragic experience with the sweet cheerfulness OF happy
domestic life Mlthias this agonzlng wretch. is literally
framed in sunshine The cold ustre that Is made TO play
about the mystery is likewise to be noted as subtle
and brilliant effect of art Ever and anon, through hf
teen years of shuddcing dread and steathy, fuTtve
precauton the assassin hears the sleigh bells nke that
were on his victims that terrible winter night
of the nameess and hdeous murder. This aerial voice.
borne on the frosty, gering air, creates emotion of
apprehensveness Eindescrbably weird, solemn and
full The movement of the play, likewise is direct and
rapid and its language appropriate and sincere.
The strength OF Mr.. Iryngs company is not shown in
the cast of The Bells Mr. TerTss played Ohrtstian-
the youth who Is marry the daughter of MatiGSand
he presented fine dashng, earnest young fellow. The
OF the cast suggests comment II Is not surpris
ing in either American English theatre to meet
with an average degree Of talent IN the playing OF utility
parts.
Our public has Just witnessed brilliant remarkable
success achieved by lawrence Barrett, In n poptlcal
tragedy Of American authorship which held the stage
continuously and prosperously for many weeks. The
best OF American comedians and OF the few great
actors of the wOrld-Nlr Jefsrsoa-is acting here TO
crowded houses and with potent and beautiful alliance
Of art, pathos and hunor III neghborng city, within
few days, the leader OF the stage in Americs,-Edwin
Booth-Only recently returned from triumph
ant successes In Europe. makes his rc-entrance
upon that field of dramatic art which,
far as our country concerned him to
ANY other living In the pOpulos and busy West that
Roman hero, John McCllough--that liOnhea which
adversity cOnquer!-is everywhere received with
and acclaim Across the in the capital city
Of England the actress, Mary Anderson has
met with a triumph, unmatched for suddenness and
splendor since the days of Miss ONein In other droo
lions and in other ways stage Is welding exraord
nary power This period in theatrical history may surely
be marked, therefore, impressive and suspicious
These, IN fact, are the palny days.
1t noticeable, though that the stage Of the Is
always degenerate" Persons Who seek the golden
sge" invariably find that it reres backward they ad
vance Meres in "Wits Treasury" which is dated In
1898 when complinentng the poet DrayOn, speaks Of
"tese declining and corrupt times when there is moth
Ing hut rOgucry in vanOus man" No doubt the stage
was comprehended in that Yet that the
time of Shakespeare, Ben JOnson and Burbage Old
Cbber in his age could little merit contem
porary players yet the time Garrfck and
Maria Arne Of Mossop and sprauger Barry. smollctts
Squire Bramble, speaking no doubt the actual
sentiment Of that great deneatOr Of character and
ners, denotes q little later perOd-that OF I77O.-as
"theso times Of dulness and degeneracy." Macklin
when old man. used cry out dlsdanfully, where
are your actors 2" Yet Mackn, who had lived in the
period OF DOggett Mrs. Barry Barton Booth, Mrs. Old
field Mrs. Bethany might he spoke, have seen
both Charles and John Kcnbe Ned Shutter Tom King,
Mrs Dancer and Mrs SiddOns 1911, Mary Godfrey,
one Of the intimate friends Of Tom Moore writing 70 him
the theatre IN London. said that author who
hopes for the fall with popular