New-York tribune., 1885-10-23
TUE DRAMA-MUSIC.
EMERSON AS GALATEA AND CLAIR oE.

-.xA
presen'eu on acted in them, as 6dfa'eo
MIS- c,orice Her portrayal OF the FORMER part
anu - saan here before now. III was hrs' gwen :"
has V ~ January T. 1882, at Booths IneaTe' her
New Of Clarioe is a novelty. In Dotn eharac.ors
por''', was beautiful and 1t was full OF thoughtiu
her - -h0 Her GaIatea furnishes shinlng and re-
Ssnn Ss..nIe example OF what may Dc accompnSiou'
maIkaoe ,neaum of the dramatic art when charac-
throus lender receives the investure OF noble
sef norsonality. AS she stands In the teXt ol
anu ~, rJoy Galatea is little more than sweet anu
o o,. image OF simple girlhood but ood'e"' as Gun
P',S nv Miss Anderson, is a superb type eqnaiS VI
pole deal grandeur and womans human loyeiiness
that the actress diffuses through the charac-
l , ,hat Of angelic innocence pervading pure anu
te' -, human and passionate love, and expressing
s"'v ,,,ass words and ways which sometimes Drihg
''uo N the lips and sometimes smlte the heart WIZ"
ado, sense Of grief and desolatlon' but 'no
Inc with which she has freighteo tho
os of Galaiea is productive for the character o'
eAp which transcends its charm. Within
Irtesuments OF scene and language as the
su0D ...t has furnished she shows the soul OF
ufsw ouan-a woman far greater than TINS
giea' hos conceived or drawn-lnade gOrtout with an
,ro convused by a crushing experience OF blight
wv re, and finally sancthed by self-abnegauon ana
.b Her 6alatea is the dream OF poet, turned from
a. into flesh and blood Her passion for Pygmdtioh
- ,ure as heaven, yet tender as woman's Deart but
ha has come into a world OF seInShhess anu siu' "
".,a in which lower creatures abide and prevaii
I'D in which everything is pre-empted, aud IN whlch
". can have no part The actual Is her enemy ana IL
s,o,es her presence The nature upon which she
| t her heart though lured to her for little whe,
,.roxs its innate law OF sehshness ana Iaiis away
- her In her EXTREMIST need. She has no lie except
a, her love 1t fails her, and she must perish Inc
a has dashed itself against the actual In wOriu OF
..umon natures and it is shattered. aThe one mute
with wi
makes this lonely and forlorn creature turn back once
- and for the last time toward the man she loves
-, uhole life of experience in ita world OF meaning
md IN itself it is OF the most beautiful touches oil
smste art and one Of the most eloquent and pathetic
Sano,ements of human feeling that ever have been
SEEN noor
,achn,eally. one Of Miss Anderson's best works. 1t
presented at the outset but few and trivial
hI,usbes and these have disappeared:
an that If 1t be viewed simply as
dramatic execution and without reference to Its Deep
inteor meaning is delight to the faculty OF taste
aud 10Y TO the sense Of sweet and gentle hum0r while
10 the love Of beauty 1t is supreme conentmeht Inc
perect Greek dress the white oveness or the statue
the eager radiant face the subtle suggestion OF pain as
well as rapture u the process OF awakening from tue
marble the grace OF movement, the consummae repose
.he modulated action the honest eyes, the softly
musical vOice-these attributes and graces' ana ma!
more like these might be named among It's feclieS o
exterior and Of No trace Of sefconsclonsness mars
the fresh bloom Of the Greek girls innocence lru'h
Is in every look and every tone In revere she hS e
sweey grave manner and the winning conhdihg heip-
essness of child Her at sight Of the dead fawh
and her terror at sight Of its destroyer are so ehe
earnest and natural that they create distinct Illusion
and impress az much as they amuse Her artlrs'he's
and her quiet glee In the c0Cc scene Win
old Ohrysos are expressed with delicious variety OF
elocution and made communicate rich glow OF en-
joyment Her action and her passionate vehehehce oi
supplcaton that Cyisca will spare Iy1Hai'o" MAKE
superb tragic picture Her pathos in the closing scene
has the crue reality OF pain and is indeed wonderful
simulaton of msery-not trivial pque and perpleN'
y that flow from wounded pride. but the utter woe OF
o broken heart Every portion OF the texture
o her work is. to these ends, animated by
fine intelligence and finished with delicate
skill
Miss Anderson's performances-because OF her
constant heathful growth In broad culture ana me
exnerience and because OF the high poetic soul. the
exalted gypsy-ike freedom Of spirit WITH which she Is
endowed-are more remarkable now than ever they
were Tor this victorious power and is upon this their
permanent value. that thought will incline chiefly to
lnger as they now pass before the public view In act
ing Galatea she has brought out more than all the
thought that In the play. That irrenediabe wrench
or warp in human which seems forever present
10 the authors mnd-that ncongruity, now grotesquc
and now pitiable which is constantly visible TO him
between goodness and innate deprayty between lowell
ness and the debasing influences OF corrupt worlds
readily manifested. But 1t remained for this actress
with her sweeter perception and deeper and
gentlcr insight to give broader applca-
ton to elemental truths Long ago her
acting OF Galatea gave solemn enforcement 10
the affecting truth that affection. fidelity and sefsacr-
fee are commonly lavished on worthless natures and
that the deadest wound to love Its knowledge whom
cast aside and forsaken that it never was even once u
oersoOd by the object OF its worship The impersoDa-
tion as it stands, while mOurnnliy pathetic with
this comment upon human life, is Impressive with The
loer les son that the ideal Is unattanabe and that
great be sufficient to itself, enduring ali
things even unto death
1t has said OF Miss Anderson that her act
Ing cOd that II IL deficient OF senllnrnt that never
touches the heart that indicates person OK nnl ana
mechanism, but not person OF sensbiiliy. Those
Judges who take this OF the subject doubtless
sincere Their OplDiOn. But II is difficult OtlmpOSsl-
bic how such opinion can prevail IN the pres
enec Of such performance as thls surrey uishlhol
Ieteenco OF selrespect may be maintained IN acting as
In everything ese without the sacriace OF emotion
Art is noble. but there must always re,
main realm OF human feeling 100 sacred
for the footsteps OF art 10 enter bliss AnderS1n
more than any woman upon the stage III our ou,
time, Possesses and exhibits that hne arstocratlcal
BE- any c0ldness In acting tnat coduess is here
She does employ dclirium and convulson. Bnt the
performances OF G0atea and dice that she gave last
highland gave such way 10 thrill great audi
aud )ecule ii OF its tears well as s enthusiastic
OF wOman's heart. Not to perceive TINS
would be dulness and injustice As ttaTic- Miss
Anderson points striking contrast and gives most
pulssant and convincing evidence OF her artistic power
GGdtea Is ideal CtGrec is actual And the situation In
which Cicrtce Is placed impcratiyeiy commands the
Simultaneous portrayal OF terrible struggle in womans
Les and OF the exercise OF nmetc talents by an ac-
cOnPlshed actress. There Is but little in the play
aside from TINS situation. CiGrics Is wife, and herself
and her husband actors She been pursued and
persecuted with grcatinsOoncr b. the oil France
Her husband has challenged this royal rnifan. but the
Challenge has been declined with contempt prince
cannot tight with an actor. In their de sperate resent
ment these wrODged aud infuriated lovers contrive
plot 10 lure the Regent into their power and compel him
10 submit TO the final ordeal OF the sword The plot
succeeds The Two men depart into garden to fight
lnef dnel' III which one Of them must surely die.
C0ice momentarly left alone is soon the csntre OF
brilliant throng OF guests whom she must entertain.
They ask specimen OF her art.-an uiustration OF
eomedy and tragedy Caree listening ali while for
the sounds OF the combat without and Knowing that
perhaps her husband may moment fan NV the ban nd
OF their loahsOme enemy, must the part OF stroll
ing player. This she does and this Is tho situation
Transparency In acting-when yor saying and pre-.
enng thIng, and thinking and being anOther-was
lately used by Miss Anderson, ROsard with an effect
OF winning sweetness She used II Ctarce with an
nf AVER auin ira frie