The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-08-26

acts, the m0O0 OF Wntcn II S0mOre, tne
tone heavy. the action limited. but the
influence Of which is strangely allur-
ing and fascinating. as the play Is done
ON the Lyceum stage. Though the av-
erage auditor may complain that the
melancholy atmosphere of the drama
is deepened by tedious movement and
extreme length. the play has been most
popular with Sir Henry's great follow
ing. tina patronage filling the theater at
every performance. 1t were difficult
to define the charm OF the play, for
charm there certainly Is. There Is
weird mysticism about II all that COM
ports with the legendary character OF
the story. and In the scenic work the
artists Of the theater have succeeded
marvelOusly well I'm preserving the mys-
terious suggestiveness OF the half-su-
pernatural. Much Is gained. too. from
the costumes and color schemes de-
signed by Burne-Jones, the pre-Ra-
phaelite robes and draperles, the soft
tones and neutral tints. with here and
there a tiorid or vivid emphasis. SEEM
Ing to ut well with that dim. shadowy
epoch of wonder and enchantment IA
miliar to most OF us through Tenny-
sons idyls. though II was not from
these. but the older source. that CO.
myns Carr drew his inspiration.
While every scene Is beautiful, but
one OF the six throws of the religious
dimness of effect which Is one of the
barely comprehended spells put upon
us by the representa- ton. This excep-
tion is the bright. flower-gladdened
vision of the Whitethorn Wood, into
which the not yet errant queen comes
a-Maying. preceded down the winding.
bosky path by the white-robed maidens
who are SO radiant a part of her suite.
Fifty enough in this scene occurs the
only line of comedy In the play, the
one opportunity for pert emotion to re-
lieve itself with laugh. And 1t Is a
simple bit. too. Dagonet. introduced
as the queens fool. and as young
man, runs into the glade from the
right slope. and, trembling In mock
fear. implores the ladies to save him.
for he Is sore pressed. Guinevere asks
what, hath some beast pusued thee 2"
and he, looking over his shoulder as he
crouches. answers, as If still apprehen-
sive: Aye, truth a most sweet beast,
yet fearsome. too" Whereupon one of
the ladies, the dark Clarissant (admir-
ably pictured by Miss Ailsa Craig. Ell
len Terry's daughter) thinks II well that
the knights be called to the protection
OF the ladies'; but Guinevere shames
their fears and demands of DagOnet to
describe what manner of beast it was
affrighted him. What form hath 1t ?"
And Dagonet, with great solemnity, re-
sponded: well, to be plain. yet modest
withal, and not too curious, 1t Is in all
things shaped like woman" following
which there Is laughter and Dagonet
runs on mirthfully to inform the COM
pany that "a maid who had tended a
herd of swine" had flung a garland
about his neck and sworn "a most viii
famous oath that she loved me we'll"
This little episode Is quickly over and
the play returned to its serious mood,
deepening rapidly into pathos and the
gulf of flooding tragedy. 1t need not
be pretended that the author has risen
to that beautiful plane of sentiment
and passion and poetry that has given
imperishable worth to the Idyls of the
King. nor that we do not lose much of
the deep compassionate quality that lies
between the queens sin and that soul
awakening when her thought Is Ar
thurs. nor Launcelot's nor anoth-
er's;' nor that we miss nothing of the
holy grief which should attend the no.
be Passing of Arthur: but the work
has been well done by the et-dramat-
ist, and what he has omitted from his
lines the art Of the theater has sup
piled to Intensity interest in the play.
A reasonable objection, from the
standpoint of poetic adequacy, may be
urged against the final scene in which
Arthur (come as the queens companion
against the tyranny of Mordred, who
sits the throne in the belief of the
kings DEATH is slain in the great hall
Of Camelot by sword thrust in feeble
combat with Mordred. You feel that
the catastrophe is not equal to the CO.
gency or events nor to the sublimity
of that true lord of all" whose soul
should pass from the bruit of horrid
battle. not from the chamber clash of
duelling swords.
Irving Is somewhat far from the
shores of youth to satisfy ones ideal or
Pendragon's son, the goodliest knight
of all the world, and he is scarcely at
pains in his makeup to hide the imprint
of past maturity; but the spiritual and
essential quality of his Interpretation
Is of that rare sweetness and excellence
which made his Charles I. so persua-
sive and charming and potential. He
would greatly enhance his present ef
fectiveness would he wear with ample
locks of blond hair full and flowing
virgin beard, instead of showing
barefaced at Camelot.
MISS Terry has been seldom better
suited to part than she Is to GUM
evere. though the role Is not Justly
speaking. equal either to her artistic or
her dramatic dimensions. But GUM
evere Is distinctly in her vein, notwith-
standing she Is remembered as the
beatrice par excellence and has within
her wit verita'ble sprite of comedy.
The strictly critical may have much to
say In disparagement of king Ar
thur but do not hesitate to commend
1t heartily to lovers of the poetic drama
as one OF the Iost interesting of the
Lyceum productions, all points bein,:
taken into account.