New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-12-24

discovery and revenge bioHd'ini' a.
next act visits drug seller to procure NV
notion to give to Francesca, and there' hluuoN
hcbind the arras he watches Paolo buying
POISON hears him practically confess MS gum
but refrans from action in the belief that the
suicide will make all things right lie goes o'
+, 6ght at Pesaro In his absence Paolo again ~
tempted palters with fate, puts of his dea'h
and indeed in FranCesca's chamber almost
forgets the grave. The fourth act witnesses
Giovannfs return. another meeting between
paoie 0nd Francesca. the discovery-Which hu-
crezia. Attn bclated sympathy, tries to avert
and the Sragc nd.
This o7tline will show what the dramatic
fabric is ike. 2ausibly and firmly built Inc
movement is enforced and continuous thou8h
It might | . swftar. on this point however lne
test Of fctual performance is essential Inc
most tha1 can be said in this place Is that
reader ia a certain confidence in the colS'ruc
tor. IN 81 far as he can see the play in his
minds SIC, unfoldcd on the stage with all us
accessories Of Old italian life, its subordinate
epi.ud.- among The minor pcrsonages. It's "ust'e
Of court ratainers and soldiers, he feels that no
,i,I.nro is done to the traditions Of the the
etra. Thu words may very possibly be effective
Is translated into action. At least they are
welded into "a compact whole, they are clear
The drama is cohercnuy set forth. Is 1t beau
Ufulv POLITICALLY. written? Here we are on
frmer ground
Tho poet who writes for the stage is implored
10 DEE dramatic. but it is insisted also that he
shall Doc poetic Not only must his work be OF q
sort that can be well acted; it must bring 10 the
reader special satisfaction. This Mr.. Phlhps
does not bring. and as we make the necessary
ANALYSIS Of details we find that it Is not only
matter Of style, hut goes to the foundations OF
his art II that art were creatiYe-the Only
kind Of art that will produce great poetic drama
each character in the play would be indlyidu-
allied with speech expressive Of particular
traits Giovanni. the war SCARED veteran. is not
III interpreted. The soldier comes 10 the surface
I'm the bridegroom On the very brink OF his
marriage he pauses to say to those about him:
Friends. YOU will go with US to church; till then
Walk where you please-yet one word mcre-be
sure
That. though sheathe the sword. am not
tanned.
What have SHARED, in that set my teeth
And lose with agony; when hath the prey
Writhcd from our mastn fanBs?
That passage is in character. and. we fancy,
will seem even more so when delivered on the
stage, when the personality Of the speaker and
the byr'ay suggested by the context are visible
70 the spectator But even Giovanni is marred
70 the imagination Of a reader, 10y the authors
inability TO keep him from falling as all the
other characters fall-iuto ways Of speech eo-
qutut not Of Kimini and its types, but II a nine
teerth century poet. putting things In his own
artistic way. When the haIloss tyrant at last
faces the prospect Of finding that Paolo. the
beloved, IS the traitor on his hearth. he swoons
with horror. on coming to his senses, he tells
how he is accustoInng himself to the truth, in
those words: