The morning call., 1893-08-06

agony he purchased poor slave and had him
racked in his presence: Nathanel Parker
Willis poem on this subject Is one of his best
efforts. Describing the scene where Parihasius
orders the slave TO be put TO torture lie makes
the painter say:
Bring me the captive now!
My hand feels skilIfui, and the shadows lit
From my walked spirit airiy and swift:
And could paint the bow
Upon the Bonded heavenS-around me play
ColorS of such divinity to-day.
Ia bind him on his ba k,
Look as Prometheus In my picture here
Quick-or he fatnts stand with the cordial near!
Nuw-bind him to the rack,
Press down the poisoned links in o his flesh!
And tear agape that healing wound afresh!
so-let him writhe, How long
VIII he i've thus 9uicA my good pencil now
Ha! gray-haired, and strong
How fearfuily he stiles that short moan!
Gods! could but paint dying groani
Under this torture the slave dies. He proves
to be the father or Parrhastus' wife, Lydia, of
whom the painter is very fond. Tie shock of
her fathers awful death Kills Lydia, and Par
rhasius' consuming ambition makes wreck of
his life. The love interest peryadng the play
is deIicately woven. Parrhasius and his wife
are devoted 10 each other, While his chosen
friend and pupil, DemetriuS, loves Ciytie, his
masters sweet sister.
The scenes are painted by Voghf of New
York, with the exception of The exterior of a
Greek palace by the celebrated Reed. To Da-
Zlan are due the costumes.
"a Lesson IN Acting" will pTecede 'Parrha-
sius"
After "Parrhasius." which will be played for
three nights, Mr.. Manteh will consume the re.
mainder OF the week with Hamlet" 1.-The
Corsican Brothers," and "Monbars."
MANTELL'S cTHELLO.
Robert Mantell is physically fitted to give a
Satisfactory idea OF this oh-colored soldier OF
fortune in the employ of the republic of Venice
slight scarcely 10 leave ground for Braban-
ti0's objection to his SOn-ln-laW on the color
line proposition. He is tall, well nodded as to
figure and flexible III all his movements. Be-
fore he poison OF Jealousy is instilled into bis
mind by that utter villain 1aeo, the Moor is
amiable, brave. generous and firm. Such were
the qualities Mantel conveyed in regard to
him when Bfabantlo assaied the duSky soldier
in the street, when he defended himself before
the Doge and the Senate, and In his dealing
with the Cassie trouble In the Isle of Cyprus.
lie gives one the feeling that he IS man with
certain savagery of nature under strong con-
troll, afeard lest his blood his safer guides may
rule, and passion having his best judgment
collied assay to lead the way" This dreaded
condition OF things exists when Iago has
done his work on the natural say
agery OF the, man and he murders
jealousy. In fact, Mantell gave good presen-
Iation Of the NJ oOr. both mentally and physically.
There are grounds for objection, however. TO
his management of the death scene. He made
1t too melodramatic; more so than the author
OF the tragedy intended ii 10 be. for Shake.
speare Is always careful not TO have shaA.
DlcS Ou Tie stage. lie SCcuc vi lUe uedID OF
DeSdemOna i'll the original of Giraldi Cinl ho
from which he took the hint of this great work,
is so revolving that the poet discarded IL al
once. The mlsjudged Desdemona in Cinthi0's
sketch Is beaten TO death by the ensign (or
ancienD with stocking filled with sand, the
Moor counienancing this savage murder by his
presence. Nearly all OF Mantell's predecessors
in this character Suffocate the victim behind
the closed curtains of The bed on which her hus-
band finds her reposing, and out OF sight OF the
audience. He murders ID full view, taking hi.
wife In his arms as she rises in terror from
the couch, muff1ing her In mantle, and throw
ing the hapless woman half strangled back
again. Then he finishes her. as he supposes
Presently she means, upon which, in a very
melodramatc way, he draws pOniaTd from hi.
belt and stabs her to the heart. He fOrgetS in
doing this that just a few minutes before, look
ing upon his sleeping wife, he said:
yet Phi not shed her blood, scar that
whittier Skin OF hers than snow and smooth as
monumental alabaster."
The actor goes beyond his text il this scene
and d. tracts somewhat from the good impress
sion made previously.
For others of the cast on Friday evening Miss
Charlotte BehreDs acquitted herself very we'll
as Desdemona, and Mr.. Fl. Clay Clement played
1ago in such way and with so lille art mat
the wonder was Othello, dull witted as he is,
could have been deceived by such transparent