Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-11-11

Special Correspondence OF The Star
LONDON, November /. 1906
DUDOLF BESIER ought to be
X cheerful young man today. Until
last week he was known only to
a limited circle of Londoners as the editor
of one of the smaller English magazines.
Like many others who have set foot on the
pavements of Grub street he had written a
play. 1t was a Greek tragedy. and even
more ambitious than a first attempt ordi--
narily is, and, according to the usual gen.
Civilizations on the subject was even less
likely to see the light of day-or rather the
footlights of a first night-than the work
of an unknown dramatist usually is. Yet
TIE Virgin Goddess" as Besier called
his play. has been produced at the Adelphi
and has aroused applause and cheers that
were hearty and vigorous as they were
perhaps, unexpected The explanation
doubtless Is that the new author had sue
ceeded in handling a big melodramatic
theme in simple, straightforward, dig
nified way. never forgetting that his prin-
cipal object was to get on with his story
1.-THE Virgin Goddess. follows carefully
many OF the traditions Of ancient Greek
tragedy, and even has a chorus whose
function 1t is to comment on the events Of
the drama. The action takes place in
single afternoon and the scene does not
change. the second and third acts beginning
exactly where the previous acts left on at
the fall of the curtain. But all these and
other similar observances probably con-
tributed little to the undoubted popular in
-terest in the piece.
The story of the play tells of the fierce
happenings of day In the courtyard be-
fore the temple Of Artemis In an ancient
Greek capital called Arts. Tributary
towns are In revolt and are laying siege;
the best men of Arts have sailed away
in ships that apparently have been lost
the king, Cresphontes. instead of leading his
half-starved troops like a man has taken
to praying to Artemis, the virgin goddess.
unmindful of the taunts of his beautiful
queen and of the populace. In desperation
the queen has secretly sent for the king
brother, Haephestion, whom Cresphontes
had exiled because of jealousy, When
Haephestion appears prepared to head the
troops and save the city the king. knowing
that his brother and the queen are in love,
orders him to leave, and accedes to humili-
ating peace terms from the enemy.
XIII him, that the city may be saved,
says the queen. II WILL says Haephes-
ton, and straightway attends to the
matter
Then speaks the virgin goddess through
the mouth of her priestess, and Haephes-
TONS heart is revealed to him. The deed
he has done was not for patriotism, as
he had led himself to believe, but for de-
sire Of the queen, and the penalty must be
paid. Not until he has slain the queen
shall the city be saved. He defes Ar
tennis and all the gods, and sets forth to
battle in spite of them, but paralysis seizes
him. He struggles nightly, but in vain,
and cannot move. while the enemy batter
in the city walls and women and chill
dren fly shrieking to the courtyard of the
temple. They, too, have heard the decree
of Artemfs and demand the death of the
queen. but Haephestion holds out until the
queen herself appears and insists that he
shall slay her that the curse Of the god
dess may be withdrawn. He complies, and
the return of the long missing warriors
and the enemy's flight is announced.
A notable feature of the production was
the return to the stage of that distin-
guished American actress, Genevieve
Ward, after silence of some years. Her
performance as the aged and blind mother
of Cresphontes and Haephestion was one
long to be remembered for splendid dig
nifty and power. Oscar Asche and Lily
Brayton, the fixed stars Of the Adelphi,
also found lines admirably suited to their
abilities in the parts Of Haephestion and
the queen.
The play Is in blank verse that Is now
and then of really high quality.