New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-10-08
THE DRAMA.
THE PLAY OF THE HOUR.
"CYRANO DE RFRGERAc."

names. But he is always the same person. no al
ways appeals TO tho same emotions. and he always
elicits the same twofold recognition.-on the one
hand, sentimental homage. and on the other hand
playful ridicule: the former from those who have
preserved their Illusions the latter from those who
have lost them. In the case Of Cyrano, he seems
at first sight. to be species OF lover for he ID
compounded OF many simplcs."- the bully and
the poet the reveller and the soldier the swash-
buckler and the gentleman, the lunatic and the
fool Pistol and Romeo. an Admirable Crichton
and Don Cesar de Baxsn.-and contrary TO usage
he is ugly: since. while his mind Is miraculous
and his soul seraphic he possesses a Dubious nose.
Neither complex attributes. however, nor an I'M
couth proboscis. can obscure his identity. lie Is
the same old hero OF romance.-only he Is oddly
fashioned and equipped and ingeniously involved
and managed and he bears novel name. Mr.
Richard Mansfield At the Garden Theatre, IL act
Ing him with versatility vigor. and dash. and tho
performance has been recognized and will he re-
membered OF the most striking achieve
ments Of n busy. fertile, and picturesque career.
II lacks pathos. tragic power. sympathetic sweet
ness OF voice. and clarity OF elocuton. but II Is
remarkable for originality. variety, brillancy and
force. and It seems to be very generally admired
and approved.
Savinien Cyrano de Bergerac, readers are
aware. actual person. His dates are
l62o-'55 His period "a that OF the 'French King
Louis XIII. He wrote stories. plays. anu poems
He Is recorded a notorious duellist-in the epoch
OF Cardinal Rlchelieu's edict against duellng. He
lived and died In Paris The scene OF Mr. Ros-
lands drama is chiefly laid In that city, in 1870 but
II shifts once 10 Arras In the Netherlands. then
embattled and besieged In 1910 Cyrano was only
twenty years old. In the play he must be an older
man. to Justify his character and his conduct. IT
does not appear that the drama is built. 20 any
considerable extent. upon a foundation or fact.
Cvrano's forcible interruption OF dramatic per-
farm 10 rttfpa pis hut lnuhf II
representative.--for ruffanism OF that kind was
common. equally In the theatres Of England.
France. and America, down to a much later time
than the period Of this piece In the conduct OF the
plot there Is considerable dexterty and also there
is some reminiscence-notably of scenes in Shake
speare and In Goethe familiar TO need specica-
ton The device by which the horoine's wedding Is
precipitatcd suggests Sir Giles Overreach's famous
injunction. Marry my daughter TO this gentle
man." In "A New Way to Pay Old Debts" II was
a good device to make the unfortunate Cyrano, In
a masquerade by starlight WOO and win the lady,
for the handsome youth whom she has preferred.
but II suits better with the stage than with nature.
the incident OF the kiss in particular, being pre-
posterous. II good device, also. 20 bring the
heroine to the starving camp at ArraS, and to pro-
vide the essentially tragic situation which ensues.
when her husband Is slain In the battle and when
Cyrano. still guarding his secret. strives 10 COM
fort the dying man. at a. sacrifice Of truth.
The hazardous circumstances under which Cyrano
DISCOUNTS the obnoxious Guiche adrotly con-
trved. and the first interview. and also the last
one. between Cyrano and Christian. contain I'M
commonly fine dramatic opportunities
The original Is written mostly In verso. and some
Of the Is felici,ous. One Of the most signih-
cant passages. finely delivered by Mr. Mansfield. Is
speech In which Cyrano enumerates the various
insolent sarcasms. with reference TO his nose
which might be uttered by any impudent satrist
clever enough to think OF them. Like many French
plays however. the piece is somewhat loquacous
and prolix. Some of It's parts mere feeders and
make-weights The moudy satire OF authors re-
appears in it,-that they are impecunious and
hungry vagabonds. that they haunt cookshops. and
that printed copies OF their poems are we'll en-
poyed when used wrappers for cakes and pies
Feeble stuff Of that kind common In Pope's
time. and again IN Byron's: THE perusal Of which
as I told you at MaAstri owe In great part 20 my
passion for pastry" The piece is varegated In
texture. but as whole 1t is melodrama. aiming
almost exclusively az situation. and making every
element of character and nature particularly in
the heroine Roxane. who is nondescript and well.
nigh impossible tributary 70 that design IT is
artificial, and, 10 extent II IL insincere but
It abounds with pictures. Incidents. and the tn.
mutt OF physical life. 1t Is animated with move
ment and saturated with color. It portrays an In
genous fable. It strikes popular chord. and. ex-
cept for a sombre and dreary conclusion, which
only an actor Of the most sympathetic genius could
vi.alize. It IS airy and brisk 1t belongs to the
family Of The Three Guardsmen." BEL Demono."
and The Dukes Motto" and probably Its sudden
vogue on both sides Of the ocean. betokens fresh
prosperity for dramas OF romantic adventure
Much has been made consequent on the huge
Nose. That Is tho prominent feature-but IT Is
not a pleasant one. and no art OF an actor can
ever redeem II. high shoulder would have been
astly more agreeable than big conk. and. posi-
bly, II Francesca's Lanciotto had not been hump
backed Cyrano would have had bunch. Defects
Of personal appearance.-as anybody can see. who
will gaze upon the married world around him.
have little or nothing do with the affairs OF love-
Handsome men have heard the clear and mellliuous
No and homely men have been transported by the
Yes. John Wilkes. the Agitator. who
was a phenomenon Of ugliness said that, In WOO
Ing. he only required fifteen minutes start OF the
ha ndsomest man In England; and John Wilkes was
a prime tavorite with women. While. however. per-
sonal appearance In its bearing upon amatory ann
tiles seems TO make no difference In nature, II
makes an essential difference In art-which should
not be a copy Of nature. but TRANSPORTATION OF 1t.
The hero OF romantic love story must not be
physically ioathsomc. Cyrano might have been
made TO worship. to languish. and to sufer-to
succumh to love- without being able to inspire IT,
lust as we'll with shapeiy nose as with an ugly
one: and he would have been much more attract
I've and authoritative part, equally for the actor
and the audience But. and ALL he IS the fad
Of the moment and the lavish and copious pictorial
accessories and blare and din OF his theatrical
transit may. perhaps, make him the comet OF the
there is even chance that his
Nose which was his in llfe will equally
prove his ruin the stage. It s a hard case-but
Nature can be very cruel and so can Fortune.
Mr. Rostand's play has been overrated by the
sonorous p-oclamations which preceded its advent
hereallke as 10 It's literary style, and as TO its
essential dramatic talent: by which Is meant not
the capacity for fitting actor with q part. but
the capacity for grouping and developing many
characters and for displaying. in action and in re-
action the evervaryins posture Of contrasted lives
vet the play possesses a limited conception OF self
sacrifice that could be nobly embodied. and there
with 1t intertwnes the positive merits Of move
ment ingenuity. picture. color. incident. variety.