The herald., 1897-04-25

% Frederick Wafue Is peCVihiHS 80 W."
Known as a lecturer and writer upon
shakeepearean subjects as an actor Oh
fhe plays of the great bard. In recently
published study of the character of Shy
lock, Mr.. warde says: ANY accurate
estimate, conception, or impression OF
the characters in Shakespeare's plays
must be taken from the plays them
selves. their action, dialogue and Ian
rusoe and must be bound by such limi-
tations. Any venture into the history
or conditions OF the times in which the
NAV is located will lead us away from
the authors conception and carry us into
realms of supposition and conjecture
possibly at variance with the authors
ideas. 1t must be presumed that he was
thoroughly familiar with all these mat
ters. and evolved his conception from
"a study of these conditions and his char
acters from the fertile field of his own
imagination, governed by that knowi-
edge. Now, in the play, The Merchant
pf Venice cannot regard the character
of Shylock as a type Of the Jewish race
but rather as a creation born OF the
prejudice and injustice of the period and
in its conception and illustration do nor
feel myself justified to go into study
of the conditions of the time, but to ac-
cept the authors intention as Indicated
by the language of the play, and from
the play, as written, l must draw my
conclusions.
"There is no line in the play describing
the appearance of Shylock. That is left
to the Imagination of the student or the
conception of the actor il we see 1t play
ed. We know he is a Jew, merchant
and a money lender. His language is
that of a cautious, shrewd and thor
pughly unsympathetic business man."
Mr.. Warde goes on to discuss the re-
mainder of the play in detail. He judges
Shylock as greedy, calculating man,
type of the degenerate, such as Max
Nordau in our day might analyze.
shakespeare" says Mr.. Warde, has
drawn in his comedy of The Merchant
of Venice under the name of Shylock
by no means a type OF race, but
character evolved from ignorant fanatic
ism and the prejudices of the time"
For many years the character of Shy
lock was represented upon the stage by
the comedian of the theater. in red
wig, an absurdly exaggerated creature
and made complete caricature. 1t was
not till Macklin appeared in the charac-
ter that it was treated seriously. Macklin
dressed the part as prosperous jewish
merchant of the period and made him
I'D as a possible parsonage, acting the
part with earnestnees and sincerity.
Since that time the part has been raw
orite one with manydistinguished TRACE
dians, notably Booth, both the elder and
younger in this country Borgomil-
Davidson and Herr Possart in Germany,
and Irving in England.
MANY attempts have been made to IL
lustrate nobility of character and por-
tray the part as typifying a champion
of the wrongs of the Jewish race, but l
fear with limited success in that respect,
as Shylock is no type of people whose
eminence in the world Of art and sciences
may be equaled but not excelled, and
whose philantrophy is monumental and
proverbial and who have ever been a
powerful factor toward the perfection OF
our modern civilization"
s"The Tempest" by Augustin DAILY in
New York, was a spectacular triumph.
"A leading critic says of it that the stage
pictures were among the most beautiful
ever seen in the metropolis. The color
effect was what first impressed the
spectators, but the cast was very sue
cessful as a whole in reproducing the
spirit of the airy comedy. Nancy Nc
Of two a
n graceful and charming manner and
sang with a very sweet voice. Prospero
was played by George Clark, Antonio
by William Hazeltine, Ferdinand by
Charles Richman, and Ariel by Virginia
Earle. OF Miss Earle it may be said that
she was not particularly sprite-like, but
she nevertheless was pleasing and sang
we'll. The remainder of the cast were
good, the difficult role of Caliban being
played by Tyrone Power. Arne and
Purcelle delightful music to the comedy
was performed with the original music
composed by Tanheit for MaXimillian of
Bavaria. II is impossible to do full JUS
tice to the production in this article, but
1t is true that Mr.. DAILY has never made
greater success. artisticaly, in any
Shakespearean production. There has
nothing so good in its way been seen,
say the critics. since the days of Samuel
Phelps and Charles Kean.
Performances of "The Tempest" have
been rare in New York, as the annals
show. Mr.. Daly'e production is another
proof of his courage. because the plec1
would find its way to the footlights
oftener did it possess in managerial eyes
the merit of box office strength.
"The Tempest" was first given in New
York at the John Street theater, on Aug.
ust s, 1774. Then it remained in retire
ment until April II, 1853, when Burtor
performed it appearing as Caliban) a
his Chambers street theater. AT tn,
Bowery (then known as the New Bow
ery) on September IA, 1863 it was played
with Edward Eddy as Caliban.
What up to that date was the mos
ambitious production of THE Tempest
was made on March 81 1869, at the Crane
Opera house, under Clifton w. Tay
leure's management. In that cast E. L
Davenport figured as Proepero, william
Davidge as Caliban, and Frank Mayt
as Ferdinand. 1t ran eight weeks. Or
February s, 1889. a benefit matinee at tn,
Lyceum brought George Riddle forward
as Caliban In two scenes from the play.
At the Empire theater last week
Charles Frohman gave a trial perform