New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-11-20

leaaer VINO viii not wage war upon the Roman op-
pressor, while Mary-disillusioned remorseful en-
uttered al variance with herself vaguely appre-
hensive and on the eve Of regeneration-is secretly
attracted toward her spiritual redeem and wish
ful 70 behold him. The divergence between Mary
anu 'uuas begins at once, and, directly after Mary
mas seen the Nazarene. and has been saved from
d NloIeht death through the interpositon Of His
memorable command ("He that is without sin
among you let him cast the first stone - it broad
ems 70 a mai separation and in both their lives
INC cIsiS Is preciptated and the inevitable tragedy
accomplished. For Judas there comes an hour of
terrible distress and selfconac+ when IN mingled
aehTlum and desoation, he yields to the lure of
IHe subtle Calaphas and betrays his leader; and
toi Mary Here comes an hour Of still more agoniz-
ing trial when, mindful Of the divine behest she
must shrink from deadly sin, and thereby-as her
tortured mind helieves-sacrifce the life that is
most precious to her. Of all things in the world
1hese scenes of temptation and anguish for Judas
ana Mary are the actual substance of the drama
the operation Of wicked power on the part Of the
WHY ana malevolent Caiaphas being incidental
and the evanescent passion Of FIavius for Mary
being little more than device 70 create dra-
matte situation: and this situation is not new
ohe-for though made in a human spirit and
in different and sweeter way. the proposal of
iaNlus TO Mary for the rescue of the prophet is
much the same proposal that Angelo in Shake
speare, makes 10 Isabella for the rescue Of
Claudio Two scenes of Overwhelming pathos en-
sue. IN one Of which Judas, conscious Of his
-CN-@ u Al4ic llFOheS the terrOTS OF the tempest
10 olast and destroy him; while in the other sub
hmated with grief. the redeemed Magdalen be-
holds with ecstasy the second coming Of the
fT1nce or Peace. These scenes were somewhat
marred by accident to the intricate machinery of
the storm, but Mr. Power. with exemplary self
command and tremendous energy covered all de-
fects and carried the action TO a superb close.
Mrs. Fiske, who has not hitherto acted any part
that contains so much experience feeling, spritu-
atty and mournful beauty as are combined in
1.T- .1fr,,a,
to an impressive altitude of power-the power not
only TO comprehend a terrible conflict in a great
soul and 10 form a lofty ideal Of moral grandeur
triumphant over human passion. but the power 10
em6ody that self-confct and that moral grandeur
In a sumptuous image of beautiful womanhood,
and to express them with intense sympathy, afflu-
ent vigor and pathetic grace. An exquisite sensi-
bity pervades the performance and vitalizes every
fibre OF IT. The language is blank verse. and
therefore the actress has been. constrained TO
modify her customary elocutionary method, almost
discarding the use Of rapid. incisIve. convulsive
speech and of the rising infection and employing
ampler richer. and more deliberate, sonorous
ard musical mode Of utterance. Her delivery Of
the is marked Dy sincerity and simplicity and
her portrayal Of it by complete Identification and
this is sustained through terribly trying ordeal
Of emotional change Transition IS the guiding
principle Of the part. and no artistic deXterity
could exceed the skill with which these several
changes ara made and shown In Mrs. Fishes per
first sight Of the Nazarene-a period wherein she is
dirnly conscious of something omnous and fateful
near at hand.-she remains self-contained. doni-
nant imperial and yet bitter. moody and sUbtly
apprehensive. and the observer sees woman OF
intrinsic nobility parted now from the moorings
Of rectitude sad in her gloomy splendor, but
neither shameless nor hopeless because conscious
OF degradation. haunted with secret dread and
already half redeemed. Mrs. Fiske's denotement
Of this haggard and shuddering loneliness Of the
soul beneath calm exterior that covers without
concealing the torture and the misery, makes the
firm and sure basis OF her whole strong, tender,
and touching representation. The image thus dis
played by her IS that OF woman who has passed
beyond either the weakness or the solace Of human
love and whose soul stands bare before the doom OF
affection which is the inevitable penalty Of sin.
and which no subterfuge Of mortality can evade
escape The discipline OF sorrow has not, indeed,
been completed: the fiery self-wiled. passionate.
reckless spirit flames out yet once more. in de-
FAINT almost derious speech.-uttered by Mrs.
Fiske with irnpetuous vehenence and magnificent
scorn.-against the High Priest Caiaphas, when
that insidious prelate has vanly tried TO make
Mary the vicious instrument OF his wickedness:
but when once she has stood in the Sacred Pres
ence, the conquest Of perversity Is finished. and
thereafter the only struggle that Mary knows is
the struggle 10 escape from external evil,-puttng
away the terrible temptation OF wrongdoing in
order that rIzht may fcIo x,-and thus 10 cling.
with the tenacity OF desperation. TO the one I'm
mortal hope that her soul has Grasped- TIC
cIinacteric scenes; the final interview with Judas,
the grief-stricken forlorn parting with Rachel-in
which Mrs Fiske perfectly expressed the cold
a pa hv and affecting calm Of despair.-and the
repulse of FIavius which is the contamination OF
the tragedy: and in these scenes Mrs. Fiske not
only displaved extraordinary depth OF true emotion
Ia rare thing on the stage. with anybody but an
essential and authoritative tragic force. that her
warmest admirers had supposed her TO pos
sess Her acting in the subsequent scene Of de-
liriurn and anguish when tho storm clouds orlft
awav and the cold star CLEANS in bleak sky
over the hill Of Calvary, while It adds no new
element Of power 10 the Improvisation. deepens
the pathos Of It and makes 1t round, complete. and
Anal as a type OF moral and spiritual victory over
sin and and ali the troubles Of fra mortality
and an evanescent world. The character that Mrs.
Fiske has added to the dramatic pantheon of this
period may not permanently endure the stage,
but II can never be effaced from the memory.
In the delneation Of Judas there is less OF suffer
ing ana more OF action but for him also there is
a deadly struggle. He begins with passionate love
for enchanting woman, which presently Is
checked by idolatry for a great leader. He waivers
bAtv,een faith and love until both lost to him;
he becomes insane with self-conhict; he commits
the horrible crime of the betrayal and. thereafter
IN hopeless agony Of remorse, though with yet the
colossal endurance of unbroken pride and adaman-
tine will he triumphs over his earthly enemies by
q self-jnhicted death. Mr.. Tyrone Power,-with
fine presence splendid vigor Of action. sympathetic
voice and absolute comprehension OF every detail
of the character and every possibility OF the scene
presented the gloomy, austere and terrible hgure
In 2 way 10 thrill the imagination, TO arouse ana
sustain shuddering sympathy, and greatly to
deepen the pathos OF most pitifal experience. In
various poems of insight and feelng,-notably IN
poems by Story and Robert Buchanan'-the trag-
edv Of Judas has been presented in light that
shows him at least object OF compassion
The theme presents difficulties that cannot be OBJ
waited Mr. Heyse has made perfectly consistent