New-York tribune., 1908-01-26
A TRAGIC EPISODE.

%. Insanity the stage theme then fs
vogue, as blindness has been the recent one. HUI
manity. not content with the painful realities that
afflict it. takes strange delight in reproducing
their semblance- 1t is not infreqUently The case
that reality, more poignant than the most highly
wrought fiction, is concealed beneath the tragic
mask In the early part OF January. 1Sl3.
Rachel acted for the benefit OF MOnrOse one OF
the best Figaros the boards had ever known.
Poor Monrose had been indebted for his success
in Beaumarchaiss play to constant study OF It
that had the most fatal result-insanty FTe did
not play the part: he had Identified himself with
It, the stage and oil OF 1t: at table, waking and
sleeping, he in the character. This constant
strange absorption of the authors creation pro-
duced a strange phenomenon: the actor could M
longer lay down the fictitious part, and be HIM
self: the character. like the robe of the centaur.
cIung to him and would not be torn away. He
had forgotten his name. but he Immediately
swered TO that of Figaro. In conversation he was
absent and appeared neither to hear nor under
stand: but quotation from the Barber brought
forth prompt animated answer, the droll gesture.
the contagious laugh he had forgotten his own
existence. he had not forgotten line Of the
play!
1.-The unfortunate actor had determined. in
ucid interval. TO take advantage OF the next one
to come before the public. and endeavor to earn.
during that respite. wherevith supply himself
with the comforts his helpless condition required.
The house crowded; the anxiety of the spec
tators and actors may readily be conceived; the
sight vas terrible the trial exacting the highest
degree. All. conscious of the truth. dreaded at
each word, at each gesture, return of the fatal
rnalady; nay doubted whether it had not returned
and was not lurking beneath the apparent calm.
The Rosine and the Almavive of the evening were
under the influence Of terror they could scarcely
disguise The object of all this alarm seemed to
seek by his off-hand, easy grace. his brilliant
saies ard his smiling looks TO reassUre them.
There are. IN the part OF Figaro. passages but too
abusive his unhappy state, and every heart
beat with terror as the doomed uttered the
three words at the conclusion Of the third act:
III est foui ~ est f0u! ~ est four And there and
there only did Monrose himself seem TO allow
that he was aware of the truth He uttered the
sentence each time with increased vehenence and
with an expression Of the most poignant grief
Even Rachel. who that evening played her best
character. one with which she most familiar.
actually lost her memory twice during the per-
formance-
when Monrose entered, a thunder OF applause
welcomed him and II would have been renewed
much oftener had the fear Of exciting him too
much counseIIed calmer tones OF appreciation He
surpassed his former self It seemed impossible
that the fine intelligence. quick at comprehend
ing all the wit Of the author readily interpret
ing it. should be doomed to utter darkness again;
and most terrible Of ALL that the gay. laughing.
charming spirit knew his doom The general In
preston, notwithstanding the wit and hurnor OF
the play. could not but De sad: the more gay and
merry seemed the actor. the greater was the re-
sret at losing him again That farewell to the
public produced a OF 5000 francs The intel
Hgent physician OF the asylum. Dr. Blanche, re-
rnafned behind the scenes, comforting and encour-
aging Monrose between the acts. but himself paler
and more anxiou. that the brilliant performer of
Ffgaro."-From Old Memoir