New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-06-06
LONDON DRAMA.
Il Greek Masterpiece-ReUiual OF
French Society Plays.
London, May q

Charter House. proved Unexpectedly TO have
considerable commercial value. The faded first
nighter is tempted to speculate on the chances
of similar success for Greek tragedies. Ger
tainly there a large and exceptionally
thoughtful audience for the production OF Hip
polytus'' at the Lyric Theatre: and while only
four performances have been planned the on
timists of the New Century Theatre ought TO be
encouraged by the profound impression made bv
this masterpiece of Euripides. 1t seemed to IN
terest not only scholars with "reminiscences OF
academic "grinds'' at Oxford or Cambridge hn+
ordinary playsoers well. for while there was
an English text-Mr. Gilbert A1urray's scholarly
translation IN verse-there was the Greek spirit
pervading the performance. Hundreds of the
spectators had worked their toilsome wav
through the original text in the retirement o,
their libraries or in preparation for examina-
lions in classical studies. yet few had really
understood the functions OF the chorus until
they heard the rhythmical movement Of the re-
frain led by Miss Florence Farr nor begun N
measure the reserves Of dramatic power IN
Greek tragedy until they listened while Mr.
Alfred Brydone Numbered in wrath as Theseus
or Mr.. Granville Barker. as the Messenger. de-
ivered with fine variety and splendid eIocution-
airy effect the long recital of woe decreed by tba
jealous gods and the memorable Fates. Miss
Edyth Olive. as the lovesick Queen enamoured
OF her stepson. was not Nine. Bernhardt In Ra-
cine's classic but she was the living grievino
rebelI1ouS victim OF the caprices of resentr,I
goddesses. Mr.. Ben Webster was more English
than Greek in representing the fiery energy ana
passionate contempt OF HippOlytus; but tbera
were classic goddesses in Miss Adelfne Rour,a
and Mrs. Gwendolen Bishop. and Mrs Tapping
as the Nurse knew how to pose restfully and 10
use her arms in beautiful gesture, as we'll "a ~
recite her lines with nelodious cadence No
pOVId
formance without receiving deeper impression
of the dignity and simplicity OF Greek tragadv
with its elemental passions
1here was no censor Of plays when Eurfpfdes
wrote his hundred dramas and satyr plays. which
philosophers felt they could not miss seeing. but
there was critical and vigilant public opinion
His first version OF Hippolytus was too strong
meat for the mOralists OF Athens. who rebelled
against him when his Phsedra made love to a re-
luctant stepson, and falsely accused him to his
father, Theseus. bringing about thereby his
death. They were not appeased when he forced
his love-tortured Queen to confess her guilt and
TO offer atonenent by killing herself They COM
planned that he had exceeded the bounds Of
propriety, or, as critics would now say. he was
'unconvincing." in presenting to an audience so
revolving subject The classic playwright
probably considered that he was spelling his
work when he rewrote the tragedy and con-
verted the human characters into puppets Of a
supernatural Olympian drama OF jealousy and
resentment. He left It. however, the most char
acteristic OF Greek plays. for in the ceud be-
tween Aphrodits and Arternfs the last vestfge
OF human responsibility for moral conduct dis
appeared. and mortals were hopeiessly en-
meshed in the DEGREES Of Fate and the caprices
OF gods. The helplessness Of the human figures
in this supernatural puppet play filed the drama
with pathOs when II was enacted in its English
form. and the rhythmical coupIets OF the chorus
with sympathy. Phsedra became the wild bird
OF Theseus's solemn invocation. and the heart
broken father and dying son, reconciled too late
when the dilatory Artemis had spoken were
victims not OF the Queens weakness and treach-
cry. but OF memorable Fate. The motives OF
ordinary tragedy seemed feeble when these
scenes between father and son were enacted
with dignity and passion; and the spectators
retired GREATNESS and saddened. with a huuili-
ating sense OF the inanity OF the modern drama.
Nevertheless. there are pedants who contend
that classic masterpieces are unsutted to mod
ern audiences and must be handed
cIusively 10 schoolboys condemned to plod their
way laboriously through them and 'to under
stand. not feel. the lyric flow"
Possibly the old Greek masterpiece would have
produced less profound impression II IT had
not been preceded by another revival OF drama
II ''Hippolytus'' embodied primitive simplicity
Lady Flirt" represented modern artinciaHty
and the contrast was sharp. There was nothing
new in the French society play. which had been
adapted by an unknown hand. The title had
been changed, but there the old stock OF
characters and devices, There was the stupid
husband, blind TO the romantic indiscretlons Of
his wife. and he was sitter and heavier than
usual. because the distinction OF being connected
with the British Embassy was confeGred upon
him-certainly the only semblance of dignity he
possessed. There was the silly wife. playing
with fire. and surprised when her fingers were
burned. and she went about the stage distracted
and unhappy, talking IN low monotone and
bursting into tears at every turn There was
the meddlesome. good natured widow. bent upon
saving her weak friend at any cost, and not
hesitating to compromise her own reputation
and TO degrade herself IN the sight OF the man
she secretly loved There was the wide awake,
experienced traveller. who could not be deceived
by a wOman's denunciatiOn OF herself. but reso-
lutely perseyered in believing IN her innocencs
and In strengthening everything out with his
own clear Judgment and homely good sense To
these familiar figures were added the profess
sional love-maker and dandy: the silly infatu-
ated boy running errands for the fascinating.
dictatorial widow; the gawlIy girl trimming over
with premature sentiment the horid. hand
kissing old rake with a choice assortment Of
compliments to rattle off for the benefit Of
women, young or old. and tea drinkers. foot
men and maids at discretion. As the veteran
playgoer looks back at the vista Of receding
years. how often has he seen all these tiresOme
people on the stage under various names: and
here they are again, without a breath OF real
ia ffrxCr ~. IN