The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1911-01-22


Chantecler.'' which he has entitled "a
play in four acts in verse; will be pro-
duced by Charles Frohman for the first
time on any English-speaking stage at
the knickerbocker Theater Monday
night. with Miss Maude Adams in the
name part. A poetic text in English,
made by Louis n. Parker. with the in
tent of a faithful translation, not an
adaptation. OF the original will be used.
'Chantecler" will be performed not as an
allegory. a poetical satire. for any
thing else except for what it primarily
presents itself to any one who reads it
play. Mr.. Frohman's single wish is to
present NJ. Rostands play in adequate
settings. with simple truth to its story
and thought. reading into it only the
meanings that are indisputably there. and
always giving prime consideration to the
playwright's Gear intention. The play
viii be given in a manner thoroughly nat
ural to its ideas. and incidents as they
occur. in its entirety. with no attempt
at forcing a particular Interpretation.
1t is recognized that there have been
hundreds of interpretations Of ..Chante-
cler. and there will be thousands more.
FOR "Chantecler'' is like a clear pool
der an open sky-each spectator will see
in it his own image. will read in it that
answer to the riddle of life which he
himself has found However, 'Chante-
cler' was not written a philosophic
work arbitrarily cast in the form of a
poetic drama, but n thing to enter
tain. poetic drama with philosophic
background-and as such it will be per-
formed
Also the performance will have the aim
OF emphasizing what is generally agreed
to be the principal theme Of "Chante-
cler.' namely. the history of the trials
and disasters that overtake any being
who believes he has a vocation. a call
ing. great cause to further. a great
work to do. Along with this basic idea
the play contains the exhortatio tof es-
pec1al significance to a nation of work
ersD that although the daily work of
such being may not actually bring the
light of-day, at any rate it proclaims it
IN a sleeping world. Easily that is the
keystone thought of NJ RoStand's play
'hantecler discovers that the sun rises
without his morning crow: but none the
less must he obey the impulse to work.
mysterious. Imperative. sacred life
itself. He must do that for which he
was sent into the world, and must find in
the doing of it his justification.
Pheasart-What night Is left to conquer:
Ihantocler-1he night that rests Oh heavy eye
lids
Pheasant-Ah. yen see-you see. The day has
dawnod without you,
ChanteclcT-My destiny is zlrer than the DAY.
Tho woman learns the lesson that is
now being taught in every home. under
every roof
Beyond a steady mindfulness OF this
great preachment that stands out SUM-
clear on every page of "Chantecler."
there will he no attempt in Tomorrow
nights performance to crowd the ale
cory or symbolism of the play beyond
the patent intent of the author As
matter of fact. the characters in Chan
tecl"r' are not always consistently allie
CoriCal or symbolic They have very
distinct characteristics of their own both
human and animal. and il would be alb
surd to subject either them or the play
I" any detailed symbolic analysis
AS ] was taking a walk few weeks
ago, writes Rostand. "a chance ramble
led me to a small neisnboring farm
entered the yard to ask for cupful of
milk. and there | saw a spectacle that
struck me. Among the heaps of hay
on a solitary cart. it's shafts pointing
10 the sky. A number of animals were
playing. free and gladstone, like laborers
returned to their lodging. the days work
being ended. Before ME were chickens
ducks, cat, dog. a turkey. which SEEM
ed TO chirp and chatter and tell the latest
gossip of the day. Against the wall. in
a cage, a blackbird from time to time
emitted cry as though he were ieering
at somebody: you would have thought
he was punning.
"A cock entered. naughty, erect. SUI
Perb. and all of a sudden all private con-
versations ceased. He crossed the ward
dlsnified. somewhat theatrical without
haste. like tenor with an eye to effect.
suddenly he became the center of atten-
ton The dog played about him ami
cabiy. the duck in fear got out of his
way. the blackbrd was silenced the hens
advanced. submissive and affectionate
All this little world acknowledged his
superiority. greeted him as a hero; and
why. after ALL should he not be a hero.
and even a hero of DRAMA
This idea crossed my mind In short.
replace this cock. this dog this black
bird. this duck. these hens by men and
women. and you have characters of the
stage. passions of the stage a scene that
can be staged. Then. since the play could
he possible with men and women. why not
Keep what is picturesque in it, by making
these animals. at bottom so little diff
ferent from us. act. think, and sneak like
human beings? / wished to write a mode
play in verse. Now. the lyrical qualities
OF a poetic production do not 60 we'll |
with the modern suit and COMMONPLACE
frock coat 1t needs the additional cos
iuHle but a poet may have the desire 10 |
express modern ideas with a modern yo- |
cabulary. to allude to happenings of the
DAY. to laugh as one laughs on the bouIe- |
ward. and TO think one thinks in the |
twentieth century. a problem difficult |
to solve. The sight of the BARNARD at !
Cambo Immediately offered me a solu-
ton
Thus. as drama whose characters are |
the most picturesque animals in all ma
ture. pleasing the eye with varied color
OF dress and landscapes. pleasing the ear
with musical lines now sweet and soft
when a nightingale sings. but ALWAYS
moved and actuated by the passions of |
men and women. it is best to regard |
"ChanteCler.'
1T Is to be the drama of human an
deavor graphing with life Rostand told
CoIuelin in defining the scheme of
"Chantecler.
Taking Chantecler as a symbol of the
typical individual bent upon forcing a
living from the world, four phases of OK
perience are represented in the play. In
the first stage of his development Chan
tecler is strong and self-confident be-
cause of his youth and because he is
conscious only of himself and his inn
pulse to sing or to work He is uncon- |
scious of enmities or Sings because he
has not felt them. He is sure of himself
or his song. because he knows no other
He Is in the world. but not of it.
In the second and third phases come |
knowledge and human complications.