New-York tribune., 1911-04-05

eShilaratinE in1ecuon, and the numerous
dancing girls. who either stand in awkward
poses when important matters are going
on elsewhere or lie on their stomachs un-
der conditions which in real life would
look extremely odd and possibly endanger
their health. And n the "Coan dancers.
wearing nothing but the COsn robe trans
parent gauzes merely" would keep them
selves out of sight during the whole of the
last really enchanting picture II would he
a boon. These artistic sins are TO he
divided equally between the authors and
the management
Those who remember Sienkiewiczs rc-
nance will easily be able TO reconstruct the
story Of the opera from a few hints which
we shall give. with interpolated remarks on
the music ana the performance IN general.
There are five acts, one 81 them. the third,
being divided into two scenes for the sake
Of dramatic contrast. The first and firth
acts are in effect prologue and epilogue 10
the drama, which IS developed I'm the sec
ond. third and fourth acts. This idea Is
more than hinfed at i'm the titles given 20
the opening and closing scenes. The first
Is "Eunices Kiss" It's chief disclosure -
tho love OF the Grecian slave Eunicc 80
whose impersonatiOn. from physical point
of view nj least Miss Lillian Grenville Gid
ample justice) for her master petronius.
who. when the play opens. is still Arbiter
pleasures exactly as he figures in history.
Incidentally It introduces ViniciuS. who
tells OF his passion for Lygia and refuses
10 he comforted with the gift of Eunce
which Petronius attempts to force upon
l. i'm, al 80 1.
love IL POLITICALLY disclosed a. the end OF
the act when. being left alone she em-
braces the statue Of her master and
presses passionate kisses upon its mar
Bile lips We are also introduced 10 the
parsonage who is most active in promoting
the progress of the drama-Chilo = busy
body and gossip monger. dealer in anu
lets. spy and michiefmaker generally.
There is much hymning OF Venus by the
two female slaves. Iras and Eunice. and
exchange of condolences between Ninicius
and Petronius. at the conclusion Of which
the latter prssages the outcome of the
drama so far as he is concerned. Some
day. the Arbter confesses. he Will grow
weary of life
Then will he tell Nero the truth about his
artistic performances which now he -
lauding and die amid scenes OF ensuing
lovenesa Incidentally. Chlo is retained
by Ninicius 10 discover the meaning Cf
symbol which Lygia had drawn in the
sand-the figure of hsu. The symbol Is
one with which all students Of classical
antiquity are familiar. though II may here
be explained for the benefit Of those who
do not choose 20 occupy their minds with
such things in the opera house. and few do.
Amonx the primitive Christians the nsh
a symbol Of Christ, the letters of its
name in Greek GchthyD forming m" mi
tals Of the words in the brief but com
prehenstve creed TscOus ChristoS. TheoW
Tios Softer ("Jesus Christ. Gods son. Sa-
viour)
What Chilos Inquiries into tho meaning
OF this symbol lead to is. disclosed in the
second third and fourth acts The ffth,
which has been called tho epilogue of the
dra ma, deals again With the loves o. Eu-
nice for Petronius and Ninirius for Lygia
and their different outcomes-the suicide Of
the first pair and the escape 10 happiness
of the second In both acts poet and COM
poser have put forth their finest efforts.
VI. Cain by creating an exquisite atmos-
phere with the aid Of a poem by Catullus,
though initiative of Massenet langud and
sensuous. is still appropriate-redolent Of
the scenes and inoffeusive 20 good taste
and Judgment. In the other parts Of the
opera. while striving to show greater midi
viduality. he Is just as eclectic. but
less successful in escaping triviality
and commonplace. IN his attempts at
dramatic characterization by typi al
themes Che strives most persistently 10
give Chio thematic delineatiOn he is moth
ing short Of vulgar. Neros orgies are
accompanied by the poorest N-d or circus
music.
These orgies dll UP nearly al OF the
second act. the climax OF which Is the
burning of Rome. The scene is an mn
pressive one, but the confagraton Is
merely a red illumination Of the back
ground. and can scarcely be called effective.
The song which Nero wishes to sing II IN
terrupted by a mob that demands the
death OF the tyrant Nero asks two OF
his fatterers TO sacrif1ce themselves Tor
his sake. but they refuse. Then Petronius
leads out the Prptorian guards and siences
the revolt while dancers I'll the stage and
wrestle and wrggle In futile effort TO
reDresent one of the cory hantic scenes
with which the era of Rome's prohigacy is
associated.
The third act shows a busting picture
ON the banks of the Tiber. Amid many
incidents Chilo pursues his efforts to
learn the meaning Of the symbol and Sue
ceeds. Vinicius attempts to carry off Ly-
gia with the help Of gladiator but
Trsus. Lvgia's gigantic barbarian slave
kills the gladiator and hurls his body into
tho Tiber. To this incident a large in
tercst was lent in Philadelphia by the
fact that the slave. JrsUs. and the gladiator.
CrCtOn were represented ot the brotHe'5
Wheeler. well known members Of prom'-
nent social circles. In this act also me
ArostIe Peter appears 10 the thrlsudh
congrecation and relates the incident which
lives in tho tradition which gave The utIe
IN book and opera-the meeting ue-
,ween Peter and Chris on the Appian
yVav the Apostles question wv hithsr
cost thou. Lord" and the answer when
sen, the Apostle back 20 his persecut''
flock
The fourth act marks the elimination z
the religious element In the play. I' -
divided into two scenes obviously i'r t"'
-ake Of dramatic contrast though since
the composer felt it incumbent upon hiin
70 connect the scenes with an oiches'ia'
intariude which continues the mood oi 'ne
Christian canticles. IF which every lsten-
er's ear must have long been weary me
effect IS most monotonous and depioraoie'
Plous orgies. pious airs
Decent sorrOws. decent pray -
are always welcome for a change even III
oneras bu, when the dramatic interest Is