The silver messenger. (Challis, Idaho) 1890-1912, 1903-05-19


whose works were characterized by q
deep sense of taste and sentiment.
To his surprise, Marchand noticed
that from the moment he gave this
promise, Marie began to take an in
terest in his drama. He felt that the
battle was half won.
ITO have the whole world take part
in the funeral of your child" pleaded
Marchand, cannot fail to prove wor-
thy aim of your matured affection.
l see a multitude applaud you in the
climax of the play. All the world
will know that you are the greatest
emotional actress on the modern stage
IL then you determine, after this tri-
umph, to enter private life forever,
you will find me your devoted friend,
as now"
After this last argument Marie Mar
Gel suddenly gave her consent.
u will play" she said, "but it will
perhaps be for the last time"
The news that Marchand had writ
ten great tragedy from real life, and
that Marie Marcel, the idol of the Paris
playgoers, would enact the leading
role, spread like wildfire. The house
was sold out two weeks before the
eventful night. The worst seats in
the auditorium brought unheard-of
prices. The receipts amounted to a
small fortune.
The reappearance on the stage of
Marie Marcel at this premiere was the
signal for an uncomfortable outburst
OF enthusiasm. The blase critics even
forgot to look for flaws. The actress,
as Clytemnestra, appeared TO them
1autless. Never was more realistic
scene presented than that of the moth
er with her daughter, little Iphigenia
on her lap, to whom she sings lullaby
which grows into a whisper as the
baby'seyes begin to close and is hushed
into oppressive silence when sweet
sleep approaches.
In the second act Marie is beauti-
full in her bold skepticism when Kali
cha, the prophecies, comes to tell her
that her daughter is doomed to death.
Her passionate appeal in the third
act, as she throws herself at the feet
OF Agammemnon, showed the actress so |
overwhelmed with heartache, that the
physicians present really began to fear
her mind would give way There was
consultation in the foyer between |
the third and fourth acts at which il !
was considered advisable to stop the |
play, but neither the management nor
the audience would hear of such n
thing.
Marcel has strong character"
they said. "She only acts with more
fervor than usual. She will emerge
from the ordeal bravely"
The agony of the mother at the
deathbed of the little daughter beg
CARED description. Maternal grief was
never reproduced on any stage with
such intense feeling Here the actress
experienced again all the bitterness Of
those terrible hours of her own life.
until the spectators trembled with fear
and anxiety. One woman tainted and
was carried from the theater. The
actually feared a panic.
After that the audience asked what
could be presented in the fifth act?
What was the climax in store for them9
The critics agreed that the author had
made an objectionable error in not hav-
ng concluded his plot in the fourth
let.
Then the great tragedienne was
Teen entering pagan temple with tot
ering steps, her face ashy pale, and
by her faithful maid, carry
ng the urn which contained the ashes
II Iphigenia.
only one sentence was uttered in
hat act. Slowly the mother olsen
ragged herself from the support Of her
maid. AS she approached the statue
II Diana her graceful body was erect.
The lifted her right arm aloft and,
bowing the passion of vengeance in
very lineament of her countenance,
he hurled the urn at the monument. :
"On thy head, OH cruel goddess, be :
he ashes of my child"
Her voice rang through the .ouse
n shrek that stirred men to trem-
ling.
Then she fell unconscious before the
ootlights, her deathlike face turned
0 the audience.
From the shattered urn rolled onto
ne stage the little golden caslSet con-
aiming the heart of the actress child.
Then the audience recovered from
IS awe vociferously. But the ira
edienne did not move. The curtain
'as lowered, physician called. He
evived her
Marie Marcels eyes opened to meet
ne gaze of her devoted lover.
Il am yours, Marchand, yours for
yer. Lead me from this hell, save me
rom this world Of empty mockery!"
ne cried, starting up.
Marchand pressed the actress to his
'east. He promised her that hence
nth he would never ask her to play
gain.
Then, JOY surging through his bos-
n, he held her from him to seek APP
rotation in her eyes. But he found
lly strange, empty stare. He was
orror-stricken.
The tragedienne had become hope
ssly insane.
Mathematical Facility.
II. ..fx1 4. - |