New-York tribune., 1898-12-25

duced such as Marlowe's Doctor Faustus" or
Beaumont and Fletcher's comedy. "The Cox
comb" or John Ford's fine tragedy. "The Brok-
en- Heart" or Ben Jonson's "Alchemst," or the
least familiar Of Shakespeares works, such as
The Tempest" and THE Two Gentlemen OF
Verona" When The Merchant Of Venice Is
presented comparison Is challenged between the
idealzed Shakespeare Of q long line OF Illus
trious actors, ending with Sir Henry Irving. and
Shakespeare he was known in his own time.
The effect OF this strong contrast is to convert
The Merchant Of Venice" into new play, with
a resdjustment OF dramatic values and an en-
tire change Of motive and spirit. Shylock ceases
TO be tragic character and the main figure on
the stage. with the power Of commanding sym
pathy when bafHed In his revenge and exciting
pity by the pathos Of his hepessness. Porta,
while noble. tender and true, enters the court
room without the solicitude and sense Of respon-
sibility Of an advocate whose mission 1t is to
determine an issue OF life death. The play
becomes a merry masQue for Elizabethan
audience that enjoyed the sport Of laughing at
a Hebrew moncy-lender. and essentially ro-
mantle comedy for Victorian spectators accus
toned 10 expect tragic touches and the deep
shadows of seriousness underneath the joyous
ness and sparkle of its bright. vvacious move
ment.
Mr. Poe not being able to find any actor suf-
fcienty venturesome 10 attempt comic Shy
lock- donned the red wig himself and played the
part with bold strokes exaggerated byplay and
consistency of purpose as essentially a carca
ture designed to excite ridicule. With mincing
gait, bent figure and grotesque gesture and
facial expression. he carried through the play
definite impression Of the comic spirit; and in
thu hilrly Of the trial POrtia hustled
In and out and seemed to be conscious Of the
masquerade In which she was disporting her
self rather than Of the serious work of thwart
ing the money-lender's cruel vengeance and Of
saving the merchants life. Both characters
took their place in definite and consistent COM
edy scheme. and the play ran on without tragic
climax and with perfect and consistent bal
ance Of all the comic elements in the love-mak-
ing, the choice Of the caskets, the masQue Of the
doctor and his clerk, the byplay OF the rings
and the Jew batting. Every the stage
except Shylock seemed to be laughing all the
way through and when Gratiano's mocking
taunts were taken up by all in the courtroom
as he rushed out in hot rage, the Jews func-
ton In the play disclosed with a subtle
effect He had been caught in his own trap, and
was exposed to general dersion
LOGICAL PERFORMANCE.
This presentation OF the comedy may seem
hard and cold in printed description. but with
the absence OF scenery, with the rapid move
ment Of dialogue and bypay, and with the color
Of old-time costume II was logical and con-
sistent Never before have been so deeply i'm
pressed with the unity and symmetry Of the
play. In It's Eizabethan setting 1t Is a bright
and cheerful comedy from beginning TO end,
without single tragic undertone. and with a
caricature of despised money-lender fitted for
the morals tastes and entertainment Of six
teenth century audience. From this point Of
view the Eizabethan stage society has done
useful work in producing the play In what u
ric Mr.. Frederic Harrison and other critics
have considered its original Shakespearian form
and spirit There could hardly be a more strik-
ing exhibit OF the Elizabethan comic spirit. The
play holiday masque has a movement and
logic Of It's own. deeply interesting TO students
Of Shakespeare. When they compare 1t with
such splendid presentations Of the comedy
have been witnessed at the Lyceum Theatre, or
are In progress In America under Mr. Days
management. they understand more clearly the
extent TO which Shakespeares work has been
idealized. ennobled and enriched by long line
of famous Shyocks and Portas. The Mer
chant of Venice" produced in the greatest
theatres may not be so racy in its original
shakespearian quality but it is nobler. more
subtle and more satisfying to heart and mind
It is in accord with the beauty and genius Of
the lines, If out OF touch with the literal tradi-
tions Of the Elizabethan stage.
The Elizabethan Stage Society employs pro-
fessional actors whenever 1t secure their
services; but it is mainly dependent upon anna
teurs and Shakespearan readers The cast for
THE Merchant Of Venice" was so strong and
we'll balanced that the performance was Of
actor seemed to have caught the inspiration of
Mr.. Poes purpose in producing the play as
holiday masque OF the Elizabethan period: and
the spectators without thinking Of any indi-
vidual part as out Of balance. were impressed
with the symmetry and sense OF proportion of
the performance as whole. There was sound
reading Of the lines. and there was unity Of
dramatic motive and effect; and these were
proofs Of the artistic skill and organizing power
of the manager The ElZabethan Stage Society
does not have the recognition from dramatic
critics which ii deserves. and II Is embarrassed
by lack of financial support from the public. It's
membership is largely recruited with enthusi-
asts and they persevere. in spite OF many dis
couragements, In carrying on useful and schol-
arly work. l. ~ F.
ITS WORK ACCOMPLISHED.
TUT ursr INN PROTECTIVE IEaCI1r DIspANDrD