New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-02-19
THE DRAMA.
REVIVAL OF MEASURE FOR MEASURE.
MoDJEsKA AS ISABELLA

In the Fifth Avenue Theatre. last night NJ,
Modjeska produced Shakespeare grim and pa,,'
full but pteous and eloquent comedy Of "Mea.n,.
for Measure" and therein en- bodied the charac,.
of Tsabella-one OF the noblest ideals OF wonanhon,
that ever have been portrayed. Measure for Ma,
ure' Is seldom acted. and. for rea.oh i,s recu
upon the stage is never entirely welcome ~.
the reason. namely. that IL compels reflection uno,
one OF the most rcousive ingredients OF hum.
nature. For the writing Of the comedy. which !.
magnificent literature there Is ample Justification
found In the poets superb handling q da,t
subject. in the marvellous poetry OF his languas.
and In the stern yet lofty and mercifu wisdom
with which he has depicted human nhrnalty ana
enforced the moral necessity Of It's subjugatlo,
For the acting Of the comedy, although that may
to extent. be INDICATED the deferce Is les,
conclusive. Many things may rghtfuy lie written
which may no, judiciously be shown. reader IN
the library, possesses the liberty OF choice: Spec
tator. in thu theatre. has no such liberty b.,
must take the thing that Is offered. whether h.
likes It or not.-and therefore. as TO the stag. II
seems TO be sound doctrine that with oil. due and
reasonable qualification. dramatic art should pre-.
sent the ennobling beauty to be emulated, and no,
the loathsone horror 70 he Stunned.
There is depravity in human nature ard Their. a
foulness in human life. and no doubt those ,ac.,
como within the proper scope Of philosophical Oh.
servation; but 1t never has been desirable and It's
not desirable now tn; mans possible bcs;ial,y
should through the medium OF dramatic Der.
Torrance. or through any other medium. be made 4
topic Of familiar discussion In family circles in The
newspapers. and in the coloquial intercourse o.
everyday life. Dgnihe1 reticencc has always been
considered one OF the finest qualities OF character
in the individual and there is no good reason WIZ
II should not be equally valued as An attribute 10
the character of civilized society. Much sophlscs,
prattle Is youchsafcd this subject, an! pNpp
are frequently instructed that artistic progress ard
development are only possible through he e.
posture and public discussion Of those pr.yacs
which even the beasts OF the field are heedtl to
maintain Writers who make odous exhibition,
Of themselves called Original and powerful"
and compositions which are merely NASTY are eI.
uI,on,lv proclaimed as Strong" u seems 10 h
no, quite sufficiently remembered that the poecs,
possesses n means OF acquiring original fIstnc.
ton whenever he pleases 10 use II. and that Tiers
is "s.rength" OF a distinctive and unmlstakat.
kind I'm a barrel Of onions Let US said d.
Johnson free our minds from cant''-the cant q
vice equally with that Of virtue, the cant OF
nality. equally with tina: of squeam.sh and mssk.
ish sentiment The notion that literature, art. and
society are to fnd freedom vigor and greatness In
n more abundant and exuliant life OF the animal
has been spasmodically declaring Itself ever since
the DAYS Of ''Ciuy Livingston which was aoou, the
first OF the modern English Berseker ebulluons bu,
Il comes 10 nothing. Readers who would realize
descend. If the animal doctrine were permitted to
nrevail. have only to look back 10 the English
court of James the First and 10 the worst plays ~
such authors rs Middleton and Decker. True
progress is II the spirstill inexorably destined
Move upward. working out tho beast
And let the ape and tiger Ole.
Measure for Measure" is not. however one os
those futile and disreputable plays which palter
with hateful subject for the sake merely. Of lis
foulness and Of the gross theatrical situations"
which may be deduclbe from Its exposition Tbs
scenes that impcate Overdone and Pompey are Vui'
gar: the righteous deception practisod by the Duke
on Angelo Is indellcate and the portrayal OF An.
gelo's base and cruel sensuality is unspeaHaov
h,deous: but the play deals solemny with solemn
things: II is a spendld fabric OF character and &C.
ton; It is richly fraught with valuable meaning
and while upon the whole. its stage presence coula
well be spared. its presentment is measuraoy de-
fansibe on the ground that IL makes vice revolt
ing. administers an overwhelming rebukc 70 n.y.
pocrIsy nculcates charity Of judgment. difuses an
influence OF beautiful poetry, and. in Its drawing o.
The character OF Isabella. exalts, refreshes and
delights the mind with most lovely ideal OF
woman This latter consideration incomes espe
cislly persuasive when Isabella is played py such
an actress as Nine. Modjeska In every moment
of the disclosure OF that character its bIended
nu-,v sweetness nobility Of mind. tenderness OF
heart magnanlmity OF feeling. ardor Of humanity
and complete loneliness of condition allure the o.
server with an Irresistible charm II Is no "ohae'
that Angelo loved her. Who could look on he'
and love her not?" The only wonder Is mat love
IN such presence. should no, have been as hoV
"a It's object Isabella cannot be successfully eh'
messed by mere stimulation. The character Is one
which IN a peculiar and special sense, exacts me
authoritative and final force of intrinsic nooiiny'
The soul cannot be put on Win the garments
Nre Nodieska assumes the personality and makes
Il living truth. not simply by her feicl'ous al"
III
poetic beauty Of her spirit The consp!cuousy eA'
rassive messages for Isabella are the suppication
, "a Angelo-written as only Shakespeare coua
wr,,e-the subsequent defiance OF him. ana the ~
teryew with Claudio. in the prison Each OF mem
was interpreted with consummate art ana 'i'a''Iea
with deep emotion: but the unity OF Inc perio'u'
ance as an absolute impersonation is Its greatness
The Shakespearan ideal is matched by the inh'u
and soul OF the actor. and the essential holiness
~ womanhood stands revealed. Nine AoaJes~'
harmonizes with Isabella in every way'-'n "a
auiste daintiness OF person. In naturai s'"e a.,
OF demeanor in sad beauty or coun'ehan, =,
svmpathetc tenderness OF voice, but aoo'e a."
the tremulous senslblity and passionate a'uY II
spontaneous goodness.-and her acting re"ee''
that is affecting in the play. In execution Il aN".
youth and the strength OF youth. and II so'he''",
lacks clarity o, enunciation; but In idea1-a" -
ouisite ideal OF sanctity OF ecstatic ue'0,
: OF uncon scious feminine aHureneh'-'' 10 Pe
The comedy has been ruthiessV cuN-"'f -
with the purpose OF modifying It's 'a,0o'S =,
~. - b. raason Of copous excis.on ana also
y, tams acting in most OF the parts ana OF eNecia
HE stage MANAGEMENT It became $40" mea.'
OF confused and confusing pictures, except 70 %.
servers familiar with IT, Mr. Haworth pleased u,
audience with Claudios derious speech IN dread ..
death. and Mr. Malone pleased with me DuNe
priestly speech in It's praise MT "i'anh wv"
- oornanv was conspicuous for an excellent
| o-ror,o,.s y, the blatant and garru.ous rogue
Pompey whom he invested with unctuous drone'y
and TO whom he impaired demeanor OF eomiea.
c,ndor Measure for Measure" will be repeater
tsls afternoon. and Nine. Modieska VIII close ns'
engagement tonight with Macbeth W. W.