New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-12-09


oCLEs AT THE LELAND STANFORD UNI
RERsITN. April Il and 10. 1902 BY II: W.
elough. l2mo, PIP. TO- San Francisco Paul
The statement in the short Introductory note
on the performance of the Antigone at Stanford
in April of last year may perhaps explain the
character Of the other two contributions TO this
volume. Mr. Roife tells us that THE aim in
preparing the play had been from the outset. to
strengthen the cause of Greek studies on the
Pacific Coast" 1t was with this design that the
performances were repeated in Los Angeles,
Pasadena. Santa Barbara. and finally at Berke-
ley. If the book before us were intended to
drive home the impression left upon those who
witnessed the performances, and give them
permanent memorandum for further study. II
serves its purpose htly. II is not, however. what
those interested I'm Greek studies elsewhere
might welcome and expect, and not what its
title page sets forth-an account Of the presenta-
tion Of the Antigone at Stanford University in
April 1902.
The brief Introductory note gives the bare
facts Of the project the details of preparation
and presentation. and the general effect observed
in the audiences Professor A. T. Murray's
paper. '.Antigone: A Dramatic Study" is de-
scriptive scenario with some interesting COM
Jnent, as in the Interpretation of the character
OF CreOn. the part Mr.. Murray himself assumed
IN the production. The paper might serve as
introduction 70 a new edition Of the play. 1t
has no relation whatever TO the particular per
Torrance at Stanford. In Professor H. Rush
ton Fairclough's discussion, The Choral Side of
AntiSone' the performance receives two Incl
dental mentions. Mr.. Fairclough, who played
the ooryphseus. and adapted TO the Greek text
Mendelssohns music composed al the instance
Of Frederick william " Of Prussia in 1S41 for
hon er-S ran lat
composer evidently had the Greek text before
him also. as ''one very seldom finds that the
Greek metrical feet and the musical phrasing do
not closely correspond. The metrcal ac-
cent almost invariably comedies with the main
beat Of the musical measure and il not infre-
qucntly happens that the music is better suited
10 the Greek than TO the translation For the
rest the dramatic and lyric functions of the
chorus throughout the play are set forth. to-
gether with the mUs.cal elements in the deliv-
cry by others than the chorus and the probable
quality Of Greek music. The other reference TO
the Stanford performance is the statement that
the chorus Of Theban elders retained in the
cast because the Greeks themselves regarded
the chorus as a drtnatis persona This will
hardly be disputed. But il relates itself TO the
writer's closing paragraph, in which he steps
aside to glance al Mounet-Sully's "Qdipe Roi,
and exhibits the scholarly dye that masters the
critics hand. This French adaptation of the
masterpiece of Sophocles is not Greek, and the
suppression Of the chorus may result badly.
But such an attempt TO pour old drama into new
stage traditions is TO be judged with regard 10
SITS intent, and not TO be ranked with the com
mendable and highly important. but quite diff
ferent, approach of recent scholarly reviVals.
The number Of ancient and classic plays
staged from time TO time at our universities is
as good an omen for the theatre as the study
The movement was marked in September by the
performance Of the Birds of Aristophanes at
the University Of California in an open air the
atre copied after that at Epidaurus; and the
coming commencement week at Smith will af-
ford. in an English version, the unusual sight OF
the Hindoo play 'Sakuntala." Because salts
factory records of such revivals are so much to
be desired. il is disappointing TO md a book like
the one before us neglecting its proper purpose
for the noiseless tenor Of the commentator
preface The programme and the photographs
reproduced came near to being the sum of the
record: and all too few of the pictures are more
than full length portraits, or show the surround
ings the position on the stage or the chorus
None carry captions.