New-York tribune., 1903-03-23

not unltnd not sntagonistic. Eis very walk sug-
Win equal rate to cottage docr and palace gate "
To ali the entreaties of Evsrynan; to his offers Of
Gisniaed sase ns so6e, i nsi inteEsie {ste 0Ol
piece Of artistic acting Instead Of being coEcsved
az purely alleeuric Il was rightly conceived as
Sas sR Ss pasoh s IL .SSes efad mt
Simplicity and thus given epic dignity thonEa n3t H
rHre 's On the modem stage Death Is truly ana pr
marty aeforc He has no persons,TIyZ:. +ion nue Of
the human soul II ''Everymsn' is aleEoTie. It may
without Intensity not Without fervor and passion
loss Of grandeur on the one hand or intensity OF
The same was true of Riches. He is ccnceixsd
rightly being on q low material plane; His HIS
rIeadnGs Of Ereryman was especially hne. His
speech had the true alIegorc ring s,.tr.,,, main
full. In these there positive lack Of any & ap-
G5 1h Into The sEsva he IS
60 alone: KnowIedge and Good DEEDS: Sho sn,e, es-
on he one H hand nd am and Of his fe on the other
These two are sisters but the voices Of both we're
net 1rS s t. @ of the RTs
1os sos or he Sy Ise strensth ana i've
wyttes Gthe senses were as bad Or worse, There There
can distinguish between objeetivity and suo5ec-
There were two very serious weaknesses in the
which ere possibly yrt the @ Tesa Toca
preston The nrst Of these was the artihcializtng
Of the rhythm The rhyme and accentuation OF
not 1es to forbid F meody dsS F6Sthm and melody
perfectly. harmonious. in that they can De CO.
There was failure also to distinguish between
prolonged the tones. and the same was true of all
the other characters except peatn 40
the old cathedral service. endeavor to make IT
eai expe6ient Proof Of this is in the fine mite
tion which was given Of the service OF the eont-
The imta tive methods OF the play were always
good Good Deeds accentuated physical TesknesS 1hsn
presented realization OF moral sLt Teaansss which
The he accentuation Of the rhythm was greatly to to
be commended. though there were some breaks in IN
mere voVels was artiicaL Tnechanical. and greatly
deEacted from the dignity Of tas the sb9enee Of the
realization OF any modulation Of the texture OF the
into the grave there was no hint Of the transition
from cold and literal objectivity to suoject1ylty'
GfbIe ' It sounded like some one giving notice to
the e1sp1 p1rsschr an Rbo had no control
over his emotion; CT as If some one who CID NOT
tive Of the Psalte7 TO present the voice Of God
upon the stage think too gTeat sh9ck @ 70 "a q
shock IL it had been done vel There was no
sense even Of the subjective much less spiritual
purely human plane IT dd not TlSe 70 one 1e This
inclined to be sassg2nstie end T2 to Ess sp.ane
outside. There no suggestion OF the diTine or
spiritual There not only need OF Inoouid
and union Of rhythm and melody in this case; out I
Of the spiritual texture and great sympatneuc
noduIations Of tone color. A.,
where the suggestion in this play or tne
ferent degrees from simple subjective elements M OF
the human mind down TO the ordinary oranduc
or plane of everyday life and experience? Ihese
planes can all be suggested
more elevated art: These people nearly all sung
their lines Speech is higher. grander ana a
EoTOgss art r than rns9 s9ns &o2ds 2d than any
The success of this performance and Its impress
stveness suggests the question. Why is the stage
given over to comic opera, 10 vaudeville pef1or-.
names 70 sentimental and emotional scenes OF
artificial society: Why We not realize tns
every plane of human experience, every grace
nd form of human poetry,-not only the lyric ano
the dramatic. but the slleEoric and the epic me
whole range OF the human soul every pane OF
reg liza fton-can artfSticaily and truthfuliy sug
EAsted II men only have the training ard control
OF the vocal instrument?