New-York tribune., 1912-04-28

those feeble old men ralSe thelr staNeS dHu
strive TO ncht against the oppression. I'm
rladiateIv YOU have a hewlderins, shatter-
ing effect. Helpless old men cannot hght
thus and choruses don't do such things.
The third relation Of the two worlds Is
,na normal one The ideai world Is used
10 heal the wounds Of the real, 10 translate
horror into beauty. There is, for instance
tho example Of "Iphigeuia in Taurls.
Irh'Eonia. after much plotting succeeds IN
escaping and taking her brother with her.
But. characteristica.ly, she leaves PENN"
ror the chorus that had given her "o'
There they stand deserted, when pro
wings by. bound across the waters 10
Greece Their eyes follow II and they sing
pir, Of the sea rocks. Of the bursting spray
-,.,, vrpe,icet rrvlng. crying. on thy way;
Who knoweth grief can read the tale 90 o5 nee
on. lovo long lost. one song forever Heai"'
Aud wings that sweep 'he sea'
c,s,s, too beside the sea complain,
A bird that hath no wing.
nt for a kind Greek market place a7ain'
For Artemis that hceieth vomans pain
Here ! stand huuGering
GIVE me the littlo hin above IN" sea.
INC ra.r a. pelos fr!nRel decaiey.
IN. young sweet laurel and the olive tree
Graz lcaNe1 and EllWmtiinE'
a. r.'e of lrto. Isle OF pain and love
Tho Drtcd Water and the sp'l Thereof -.
,6.l.-e SIN Tho swan. minstrel ~ things 10 ~
po,n serve the Muse and s'Hf
Il, "lIcdoa" there is sull more skilful
Use of the chorus. 1T IS Ha'der 70 tN-
,1str." Professor Murray interpolated' be
cause I've got TO be fifteen young Woi',e'' H.
49,, ob,ld~en and some other individuals.
L. in mis- scene II Is hystcria beating
o. Tho bars and breaking into anothe'
the mouse u
,,,,.rocr the children. The women wait oui-
SIDE and sing ~ their sorTo" ana %
,,o,ner,e main. Suddenly cry husts upon
them. Then separate women OF the C"oiu'
cry ont and the children wall as they are
eIaughtcred The women beat heIp'esS'
81 the stone doors. Then IN" choFus S'hs'
once more OF the sorrow OF II al ro' ",'
~, the drama has flashed into N'V'U'
terrific, intolerab.e realism anu ''eI'
loen caught back into symDo.''"H "s""' ,',i,.
simpler example occurs IL ''e 80. 80.
,o1ytus." where Ph@dra, bent OF, 81. w.
win seek vengeance. ~ 81, oS'"-'
dic another's bane" She goes 70 90 'e'
daetardlv revenge, while the cho'"S e'''7''
could take mo 70 some cayorn for ntne ,+oi
In the hltops where the Sl1 s,iro aiding
or a cloud make the hom" o.; M M % COL
a, a hirF among the bra li"''- -, .t' ,n,1
CCu.l I wing ne 20 NlN i'3l 49,. "
o, the deep Adriauc on the sA'l
,,.,aJa ne watcrs Of Erifanuf are clear,
srd phaGthon's sad sisters /, ms ''"'
49, INT, tho river. and each tedI -
cftsrr. a drop Of amber iH We -,
%, 49, .,rard OF the Daughters OF ti' SuhS."
- .,'.Ia .rec the singing ana uie p''"' 49,,
- ", ~ mariner must stay hii" from ''''
onset. .r a. cT old.
And IN, red wave Is tranqli as @ D'N'
y.a beyond that Pillar of ne In t>'6
,~taf Atlas pIarde'h. wou.A W." ,...,f
,,.t,,c "a ,oi-e of living waters never ''aS'''
IT,, Gods sulet garden by Ia" sea ,.-..,.,b
Al I-ar'r tie an tent HE gi.''' 'H.''e7'
'''i r', among the meadows 1fe Tres
Now. some people call these chorns's "h-
,,.l and irrelevant. Doubtless ir they were
,rEa, ,boso critics call relevant they would
.., something about how sad it is when
,o,na girls let their emotions get tn" bet
Tor or them. Instead. the chorus someho"
,stcbo. a higher relevancy a great beauty
On, of the sorrow. T, IS Ike the memory
:, piycs strange mello"noss ana 'nHS-
,.r,. H. what has happened t%oryt"ihe
snc,rs so much more bcauiliuN Ih'- -
tine reason why the past has such masl'a'
,,yrcr' saws Bcrtram Russell. y ne past
docs NOT change or strive. Like duncan
after nfe's htfm fever, IT sleeps wei"
what wa, eager and GTasDing What "aS
,o,,y and transitory, has faded away inc
,b,pps that were beautiful and 't'Tha'
chino ont Of it Ike stars in the night