The silver messenger. (Challis, Idaho) 1890-1912, 1907-04-02

Heaven in the final act appeared too
grewsome and sensational for one
whose works were characterized by
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.
/ see 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.
II then you determine, after this tri-
umph, to enter private life forever,
you win find me your devoted friend,
as now"
After this last argument Marie Mar
Gel suddenly gave her consent.
II 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
Pih1 ROtISy WOulQ GuRCl the AtdQln&
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
small fortune.
The temperance 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
faultless. Never was a 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 actressso
overwhelmed with heartache, that the
physicians ee't really began to fear
her mind would give way. There was
a consultation in the foyer between
| the third and fourth acts at which it
was considered advisable to stop the
| play, but neither the management nor
the audience would hear of such a
! thing.
Marcel has strong character"
they said. "She only acts with more
fervor than usunl. 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
management actually feared panic
After that the audience asked what
could be presented in the fifth act?
What was the climax in store for them
The critics agreed that the author had
made an objectionable error in not hav-
ing concluded his plot in the fourth
act
Then the great tragedienne was
seen entering pagan temple with tot
tering steps, her face ashy pale, and
supported by her faithful maid carry
ing the urn which contained the ashes
of Iphigenia.
Only one sentence was uttered in
that act. Slowly the mother olsen
gagged herself from the support Of her
maid. AS she approached the statue
of Diana her graceful body was erect.
She lifted her right arm aloft and,
showing the passion of vengeance in
every lineament of her countenance,
she hurled the urn at the monument.
"On thy head, Oil cruel goddess, be
the ashes of my child"
Her voice rang through the Mouse
in a shrek that stirred men to trem-
bling.
Then she fell unconscious before the
footlights. her deathlike face turned
TO the audience.
From the shattered urn rolled onto
the stage the little golden casket con-
tanning the heart of the actress child.
Then the audience recovered from
, its awe vociferously. But the ira
gedienne did not move. The curtain
was lowered, physician called. He
revived her.
Marie Marcers eyes opened to meet
the gaze OF her devoted lover.
r 81 am yours, Marchand, yours for
ever. Lead me from this hell, save me
from this world OF empty mockeryl'
she cried, starting up.
Marchand pressed the actress to his
i breast. He promised her that hence.
forth he would never ask her to play
4 again.
! Then. JOY surging through his bos.
ON, he held her from him to seek ap-
Z probation in her eyes. But he found
2 only strange, empty stare. He was
! horror-stricken.
j The tragedienne had become hope
lessly insane.
: Mathematical Facility.