The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-11-05

IN with flowers for her mother II is a
poignant touch. The chilly Indifference Of
acters,, his complete deta chment, is art Of
d rarehed sort. though not the art that will
endear him to all. "Bedtdi' exclaims the
poor mother, making a futile gesture with
her mutilated arms. You are crying? You
are crying" sobs the child throwing her
sell upon her mothers breast. The flowers
slip TO earth!
trail of Buses is the sitting Of her
tears when her sister visits her. She in
voluntarily lifts her arms, and then, check
ing herself with an indescribable move
ment she ?ests her face upon her sisters
shoulder There the tears fall There she
dries them II is characteristic Duse
Her entir" assumption is on the plane Of
exalted realism. We know that Siirid ha.
a beautiful. strong soul, that she succumbs
TO the awful pressure of tempt alton; and
the lie she tells is henceforh memory
never lifted from her life. In a measure
she accepts with resignation physical tor
tnre and loss Of her husband. D'Annunzio
has not before created such noble woman
Luc'o Is only variant of his typical man:
George Aurispa, Andrew Sperelli and the
rest OF his amateurs in corruption and
artistic hunters Of morbid sensation Sii,id
Is unique. S,lrid Is adorable as D,ee pre-
sents her. Throughout this mos, human
among actresses is in constant meditation;
her silence is pregnant with suggest ion.
She is the exponent Of an art that is battling
IN its coincidence with nature
Her enforced ease in the scenes with
the housefrend and with her sister; her
maternal solicitudes: her noble. unselfsh
love for her husband-that she should have
abandoned him has naught to do with the
psychology of the case-and her dignity in
supreme sorrow are all astounding in their
reality. From nature what secret accents
has this Italian woman not overheard,
secrets that she embodics in her great
effort less art?
There are many beauties in the plav
beauties of style, of construction, though
the dialogue in the early acts is in excess
Of the movement This il quite In con-
sonance with Continental ideas Of play
writing In Europe the art Of e.ucution
Il not a lost one as II j. on the English stage
The Italians and the French often speak
FOR the sheer beauty of their respective
tongues. So the action halts and there are
some amateurlsh strokes betrayed in the
bringing on of his characters by Il Annunzio.
But the burning, resistless rhet oric of the
young poet lends to several scenes-notably
the interview OF painter and sculptor in act
II "a peculiar fascination. His brother
poet, Mr.. Arthur Symons has Englished
d Annunzio's prose and has accomplished
his task with rare distinction
buses supporting company contains
some familiar faces We missed the Cavalier
Flavio Ando. her former leading man: but
Carlo Rosaspina. his successor, IL a finished
Ills notation OF Lucios shallow, shifting,
emotional nature was acute and persuadinH
Ettore Mazzanti-who IL still remembered
here for his Armand pert-played the part
OF an old sculptor and friend of the family;
who IL not, however, garruous kind of
chorus commenting upon the morality of
the piece. Giro Galvani was the painter
whose glowing speech about the glories Of
the desert arouses the Respondent sculptor.
The description Of the Oriental gil bears
.tis tntIs Il I,,,I l..
conte 10y de Maupsssant called "Chau NY
Hindu Love" The role of Giocordu Dianti
is one of extreme difficulty in the execution
She must be beautiful-and Emilia Narini,
her impersonator, Is hardly that and she
must Justify her conduct, This theactress
did
She read her lines with unvarying in
telligence, while her external presentato ion
Of this sinister Gdidted was admirable
Yelled, supple, mysterious, she glides into
the ante-room of Lncio's studio like SER
pent Of old Nile. We may thank dan
nunzio for new version Of the tiresome
adventures. There are no heroics, the
woman argues paSsiOnately her right to
existence in Lucio's life. The entire scene
at the end Of act three is strange and
striking.
Signora Galliana il the stage sister of
Dlse, and La Sirenettd il impersona,ed
by Sgnorina Civani She IL delicious
The entire production is smooth, the stage
settings not very remarkable. But all
that Duse needs is two planks the passion
she evokes in glorious abundance. The
studio scene Is the best OF the four. though
far from realizing D'Annunzo's highly
colored prose descriptions in tho prompt
book. In this matter he has out -Maeter-
lncked Maeterlinck The audience was
large, distinguished. cultured applause Wa
frequent Duse had 10 submit to curtain
oall.w. hich she did in her most gracious
mood
She really seemed Affected by the warmth
OF her reception, reception that New
York always tenders great artists. Not the
leas, of last night = entertainment was the
absence Of theatre orchestra That
discordant element was spared us. To-
night and tomorrow night Duse will APP
pear in La Gioconda. Friday nj ght Il he
Dead City" will be presented.