New-York tribune., 1903-05-01
IRVING As DANTE.
Il Striking Impersonation at the
Druru Lane Theatre.
Especial to The New-York Tribune by French Caoie9
Copyright: 1903: BY The Tribune AssOciatioTA)

Especial TO TIE Ne.-York Tribune by French Caole'
fCouvrtxht; 1908: By The Tribune AssOciation)
London. May 1. a. ma great asseInolase
at Drurv Lane last night was swayed by many
emotions There was intense curiosity among
TIE literary class over the expedients of Saroou
and Emile Aforeau in creating drama out OF
the sonlbre career of Dante. with the chickering's
Of the ;uelphs and Ghibellines and the poets
alteration Of the dead Beatrice. There was con
troversal interest in the substitution OF Carolnal
Colonra for Pope Clement V. There were Inoui-
fra rions in the music and alterations IN the
tableaus at the last moment There was also
sr eager desire among Sir Henry Irving's host
of admirers to welcome him once more to the
London stage and prove by a prolonged out
burst of applause when he was first seen that MS
hold upon popular affection had not been weak
ened The literary problem was quickly solved
when the drama was fairly opened. The few
roeagre episodes in Dantes life were pieced out
from passages of the 'Divina Comnedia" re
specting Pia di Tolomei, Francesca di Rirnini
and Irgolini and in place Of the historical drama
dealing with complex political intrigues ana the
sublime tribute paid by the poet 10 Beatrice as
related in the Vita Nuova" there were blends
Of legend alegory and poetry. with a champion
Of Justice liberty and religion towering in epical
dignity above the magnificent spectacular nle4o-
drama. Dante proved TO be more consistent
and interesting than "Robespierre, and the
scenes illustrating the Inferno were more Viv1d
and weird than the revels of Walpurg1s N1sht
or the Brocken as witnessed in the Lyceum
when Faust was produced, with the sardonlc
diablerie of Mephistopheles.
That the dramatists had provided Sir Henry
Irving with a congenial part was evident from
The outset. It was an intellectual impersona-
ton, with subtIety in the bypiay and supreme
moments Of righteous indignation and emotion
al pover One Of these moments was in a terri
BE rnalediction scene early in the play, ana ne
fore the series Of pictures from the Inferno came
another. when Dante rescued mis- daughter from
the hands of the Condottieri at the convent OF
Santa Clara. There still another when he
obtained a pardon for her by threatening Car
dinal Coionna with the fires Of hell Sir Henry
IrvinE.s voice was full and strong, and could be
heard more distinctly In Drury Lane than in
the Ivceun His irnpersonation Of Dante was
one of the most impressive of his long series Of
great parts. Pathos Of the patriotic exiles fate,
tetestation OF tyrannical cruelty. dreamy rer1i-
niscences of Beatrice ecstato outbursts Of sentl-
rnent and devotion TO those whom he cherished
on earth and the poetic imagination Of the IN
spred seer Of an undiscovered country were the
features Of this highly artistic and successful
impersonation.
An immense and most brilliant audience was
thrilled with enthusiasm and delight irving
was well supported by Lena Ashwen, who en-
acted the double part of Pia di Tolomei and her
daughter Ge-nma with emotional power and
high intelligence The stage was crowded with
figures, and the scenery was wonderfully ef-
fective. especially the springtide fete at Flor
ence the Tower of Hunger at Pisa, the PapaI
palace at Avignon, and seven pictures iuustPat-
ing Dante's passage from Campo Santo, Flor
ence through the Inferno TO the Valley OF AS
utodels. The drama ended with prolonged
outburst OF hearty appreciation for Londous
favorite actor. l. N r,