New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-03-27
Judged himself. and has arrived at the end az

Judged hlm5en, ann mas drTiVcu NJ lne END a
his activity, inwardly dead. He then turns over
into the hands Of one greater then himself the
task which he could not accomplish. and. az his
people welcome Jesus Of Nazareth with cries o.
"Hosannahw Johns life does not seem to him
worth even a mere request that II be spared
such as Salome expected him TO make. As the
critic says in such world important situation
the tragedy Of mere human love such as many
feel that Sudermann should have brought out in
the Baptsts relations with Saome must per-
force remain subordinate. john who takes
part In the development Of humanity and con-
tributes toward II in that he gives it entirely
new foundation cannot be influenced any longer
by mere sensuousness. no matter IN what seiuc-
ing form II may present itself TO him. He be-
longs to the Power working for the salvation
OF the world" and he lives and dies In fighting
for the cause. Here lie the greatness and beauty
Of his tragic fate.
The playing Of the piece has also improved
since it was first given. II has gained consId
erably in quietness and artistic treatment and
recently one of the main parts has been given
to a new actress. Frau Agnes SOrma. who had
the part of Salorne. has gone to New-York. and
Frau Resenhofer an actress whose persona! APP
pearance particularly suits the character. has
taken her place. In the luxurious, flowing ORR
entail robes in which she appears. she makes
truly magnificent sight. She falls 10 bring out
Frau Sorna's sweetness Of tone In the words
81 am a flower Of Sharon and rose In the VAL
ley" but the passion Of Salome. her sensuous
desire she achieves with remarkable natural
ness: and when she is spurned by John dia-
bolical hatred seems to take possession u her.
and in her voice there is a sound Ike the Kissing
| h. dan i.f~ rod
even better than Frau Sorma did.
Josef Kainz who has the part q John vas
unable at first. on account Of sickness. TO give
the part his full attention, but IN the last few
weeks he has approached the subject more sue
cessfully. He no longer appears as a Baptist
who gives considerable attention u his personal
appearance. but emphasizes much more the
wildness and unkemptness such one can
imagine John had after his life in the wider
ness and in prison He has not yet wholly ac-
customed himself to this later conception 4 The
character. and H. often merely indicates things
which another actor would be at greater pains
10 bring out strongly. when Saome for IN
stance. appears before John for the first Tine
yelled. and says to her mother See! Sparks
come from his eyes" Kainz turns his back to
the audience as il he felt that he did not have
sufficient of the masculine and triumphant IN
him to support SaOme's statement. He Is also
| too much excited in his rendering Of some u the
Baptists speeches. In his last great speech for
example in which he announces the early COM
| ing of the Messiah, Kanz hurries too much and
makes his sentences too nervous. In reading
the play one magines this speech as spoken
quietly. and John seems possessed OF most
glorious simplicity and resignation. as one VINO
knows that his life is practically at an end. and
who looks over into eternity. II was hardly 70
be expected. however. that Kainz could entirely
lose himself in the character. He is at his oesf
in the Interpretation Of Wild passion and the
passive heroism Of John is unsuited to his IN
| dvduaty.