New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-11-11
THE DRAMA.
HENRY IRVING as LOUIS XI.
Broadway Theatre.

Henry I-ving's inlpersonation OF Louis NJ. which
vas seen last night by numerous and enthusiastic
audience at the Broadway Theatre has long been
numbered among the great dramatic achievements
of the age Particular description OF it is not now
required and Vet the perfor nance viii ne re-
peated next Saturday night its value and i'm
portanCe 10 the plav-Eoing public may well be
urged There Is n line Of thought 10 be sug
-ested on this subject and comment on a familiar
theme naturally runs in old channel. Henry
Irving adopted Louis into his repertory twenty
I've years ago and he has been playing the part. az
intervals ever since The French play. by Cas-
inner DeIav1-ne was suggested by Sir Walter
S-ot-'s superb novel Of Quentin Durward' and
partly based upon il. and the version used by
Irving was made hv Charles Reade. The potent
spell of the play is romantic atmosphere and the
actors treatment Of II. scenical less than his
Jrio-c. lis such ELECTS al its weird meaning and
rivets the romantic spell Of its brooding horror.
OEens OF evil seem 10 hang about If. A vague
sense OF naueIeSs danger pervades and enshrouds
g. All its environment is infected with the haunt
ing gloon and the grim menace Of a sinister per
sonality. hidden AT its centre; and Henry Irvins's
performance Of King Louis.-renarkable FOR many
subtle traits oS complex character and for rare
felicity Of eXecution-is chiefly excellent as express
stye Of the bsleful power and serpentike fascina-
ton o1 incarnate evil.
When w1Ckedness is weak II Is contemplate but
when Il is strong L is sometimes magnidcent.-ac-
cordng 20 the personality in which il is embodied
Nobody Lespises Mlron's Satan Goethes
AIephistopheles. This King Louis-parricide. muir
derer ryraut steathy in policy. cruel in purpose,
fatal IL nature and elects never weak The
body may be ravaEed and withered with the strife
Cf evil passions and the blight OF superstitious
dread but the heart remains impenitent, the mind
imperial. the monarch mistaken. the man supreme
Worldly wisdom grim cynicisnl. craft, sardonic
hurncr and inveterate and fatal malgnity. in q
shsnblinE. eccentric. diseased old man. are fused
with seni-serile plavfuness and with the passion
ate fe-vo- q blind religious hCotry- and this per
sorality Is Notwithstanding tortures OF
reuorse and torments q physical decay.-even TO
the instant Of an affecting and terrible death The
environment presents inproba bilites, but these
not incompatible with fabric Of romance, and the
absolute sincerity Erslv vitality and lurd brill
fancy OF the central figure veil them with truth
and make them steadily credible and impressive.
IN what way il happens that this human monster
% cruelty and guile is-in the acting Of Henry Irv
i1g.-nade interesting. and sympathetic, It
would be difficult 10 specify: but the fact remains:
and possibly il may be worth while to suggest,
significant truth. that II Is always the intellectual
passion. and never the sensual in an evil nature,
that admits Of a great portrayal OF character and
opens the way 70 a great dramatic effect
The purpose Of King Louis is the consolidation OF
his kingdom the subjugation OF every potent vas
sal the determination Of all insurgent authority;
and his scheme Of private vengeance. luxury
though T. be. Is Incidental 10 the larger design.
The powers of evil impelled by a higher motive
than car1al appetite and bes-ial desire here. at
least invested with dignity and spIendor. Such
acting that Of Henry Irving in the scene OF the
Kings confessional. the scene Of his supphcation
for Ife the scene Of his paroxysm OF naniacal
wrath. and the scene q his august and awful
death opens the depths Of the human heart. lays
bare the possible dep-avtcy q human nature de-
ricts great character IN suca q way 10 ilumine
a remote historic period. and conveys most sol
errn uloniti0r upon the conduct OF life. The death
scene was appalling II its imaginative horror.
without being for one instant defOrmed with the
cornnoauess OF realism King Louis was an i'm
re-ial criminal but he suffered remorse, and by de-
uicting the ronarch's awful misery along with his
hideous guilt. and by doing that with the beauu-
ful facility OF perfect art the actor awakers pity
for his prototype equally with admiration Tor
himself The soul shines through the body;
and indeed individuality is necessary and
desirable part Of an artistic fabric But the ART OF
acting is frnpersoration and that is the point upon
which in all his performances. Henry Irving has
placed the chief emphasis He is happily hmselt
n all that he does: but each one o. MS ernDodl-
80 ,s a siS+i-cr person distinctly manifested ana
maintained His performance OF King Louls'-Inak-
ing 5alefI personality picturesque TO the lnlagl-
nation and almost sympathetic 20 the heaTI'-nay
vel 5e cited as a supreme example OF MS WONDER
emil skin and therefore OF his exceptional eIAlnence'
a.. - ir,nersouator OF character Il Is an astonlsh-
- so1fs,erDent and one TO which the stage has
...--.. ever shown a parallel