New-York tribune., 1905-02-14

diverted from itself by cruel injustice and the
bttering stroke of calamity. 1t is easy conceive
this image, but to present It, to make it suthori
tstive and predominant,-so that the spectacle will
irradiate the mind ard touch the heart. and, by
arousing pity and sympathy. win ennoble the spec
tators moral being and thus accomplish the best
result possible in arts to manifest potential in
teIlect. prodgious power OF viii, trenulous SEN
sibility, and emotional resources of great volume
The artistic felicity Of Mr.. Willard's embodiment
of Blenkarn is obvious in the complete and sus-
tanned Identification OF the actor with the part and
this Is enhanced by the consummate skill Win
which he reserves his powers and governs the use
Of them. The climax of the prayer scene.-Whereln
the wronged and desperate father supplicaies Tor
revenge upon those who, apparently, have wrought
MS ruin, and that of his innocent chiioESh'--
grand though it be. is less tremendous than the
climax OF the in the furnace room, wherein
the delirium Of triumph suddenly and terribly en-
sues upon the blight and desolation Of despair
Modern drama has provided few situations so spen-
did as this one is in the essential elements of
action passion. eloauence picture, and erect; ana
Mr.. Wizards treatment of it illustrates feellne AT
high tension and the expression Of feeling III per
fectly governed form. A wonderful thing II MT
WiIlard's acting is this immense volume OF emo
tiou,-natural sustained. and guided with unerrlns
precision while delivered without the least appar-
ent effort. Mr.. Willard has the poise and calm OF
reserve power, and Of tender sensbility perfectly
controlled. His acting is conspicuously marked oy
two of the loveliest attributes of art-smpciy ana
sincerity. He conceals neither the face nor the
heart. His figure is fine and his derAeanor - that
of vigorous mental authority, informed by moral
purity and by the self-respect of manly spirit.
Innate goodness. although a quality seldom taken
the critical estimate, nevertheless has its part
in spiritual constitution and in consequent artistic
effect 1t operates spontaneously in the acting OF
Mr.. Willard. A direct and thorough method OF ex-
preston naturally accompanies this order Of mind
and this quality of temperament. Every movement
that this makes is clear free. open. firm. and
of obvious significance. Every tone of his
r{o lTsAsy,g i7fa dad n
is distinctly heard. There no flaws and
starts He has formed a precise ideal he
knows exactly how 10 embody and utter it, and he
makes the manifestation of it clear. positive and
cogent. His meaning cannot be missed He has
fine sense of proportion and symmetry. The char
acter that no represents is shown, indeed, all at
once. but 1t is not all at developed,-the man
Hesitation of it being made gradually to proceed.
under the stress Of experience and emotion. The
actor rises with the occasion. HIS feeiingS are
deep. and he is possessed Of extra ordinary power
for the utterance of them,nOt simply vocal power.
although that, in his case. is exceptional, but the
rare faculty of becoming Inspired by passion. and
Of being swept along by it, and of sweeping along
his hearers. as a whirlwind. His calm manner
covers, without concealtng, great intensity. This
combination Of pussant attributes and faculties has
always been upon the stage, and like all
things, it is precious. The actor who. from
habitual mood of sweet gravity and patient gentle
ness, rise height delirious passion and
there sustain himself at poise OF tempestous con-
centration, and never once ludicrous
travagant is actor of splendid power and
extraordinary self-control: and such actor is
Mr.. Willard
During the first three acts of THE NIiddeman"
the movement is fluent continuous, cumulative.
In this respect both the drama and the perform
ance are instructive Mr. Henry Arthur Jones has
diversified his serious with various passages
Of sportive humor, and also he has freghted the
piece with conventional didaeticisn1 as to the well
worn question of capital and labor The humor
is excellent. The political economy need not detan
attention, for the lasting value of the play does not
reside in its teaching but in its exceedingly dra-
matte presentation Of strong character. individual
experience and significant story. The effect pro-
dueed by The 1fddleman" is that Of moral ee-
walton. Its auditor is touched and ennobled by a
spectacle Of stern trial pitiabe suffering and
cal endurance. In the purpose which presides
over human destiny IT appears TO be necessary to
create strong characters and then break them,
and the manner in which they are broken usually
involves elements alike Of dramatic effect and of
pathos. This singular fact in moral experience
may have been noticed by this dramatist His ex-
cellent drama is a forcibIe exposition of it-and
also, it is a model of superb construction.
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