New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-03-23

Paris. March Zone OF the most dar-
ing and successful OF the classical re-
vivals at the Odeon has been NJ. Ber-
gerats adaptation Of the ''Mandragore'
OF Machiavell under the title Of La
Mutt FTorentine." BY how many OF us.
unerudite In the literature OF the qudtfro-
cento, has the role OF Machiavelli as
dramatist been quite ignored. To most
the name OF the author OF The Prince"
on Partisan playbills must seem suffi-
GENTLY homogeneous. Seen in It's excellent
performance at the Odson, the piece pre-
sents two distinct charms-one as an in
innate picture OF the life and manners OF
Renaissance Florence, The other It's gen
uine comic power. OF which the continu-
Gus laughter OF a modern audience is the
best testimony.
The "Mandragore,' which forms so
strange and brilliant a contrast with The
Prince" and the History OF Florence"
was first played in Florence by the acade-
micians and young people OF the city. 1t
soon acquired such popularity that Leo y
had the actors brought specially to Rome.
where the comedy was played repeatedly
before him. Again. in 1915. when he
/. he ordered performance OF the play
in that city.
When one has read this piece. II has
been said. there is nothing further TO
learn about the manners Of the century In
which IL had So great success, or about
the men before whom II was performed
the manners and men. let US remember,
that accepted so lightly the works or
Beccadeli and Aretino, and upon which
the "Decameron' is SO charming a COM
nIentary. II has been supposed that the
farce had a peculiar piQuancy in contem-
porary Florence. where the adventure II
relates was known TO be no. pure inven-
ton Since then II has never lost Its re-
nown in Italy. Votaire went even so far
rs 10 say that the "Mandragore" alone
was worth perhaps all the works Of Arls-
tophanes.
Machiavelli's comedy Is constructed. OF
course, on the strictest classical model.
Its plot is typical OF the literature OF the
period, especially OF the author OF the
"Decameron." In whose pages II might.
indeed. well have found a place. Much OF
II Is OF course. quite modified I'm the verse
adaptation OF NJ. Bergerat. but IL must
be said that little OF the Rabelaisan free
dom OF the original has been sacrificed,
Partisan audiences being no more fas-
tidious in that regard than were the Flor
ontines. The change is chiefly In n GER
tain undermining and elaboration OF the
dialogue; the unity OF place and action
has been destroyed, too, and much OF the
intrlcacy II the original plot Is missing.
However more agreeable this may render
the play to modern popular audience.
one cannot make the acquaintance OF this
delightful old relic OF Renaissance gayety
and beauty without wishing to see IL per-
formed according To its original intention
the unchanged scene. with tho houses
which the actors leave and enter, the
three unities' strictly preserved and all
tho aesthetic satisfaction OF the Latin
comedy on which the "Mancragore" was
modelled.
An event Of tho dramatic week was the
mounting Of the "Malade Imaginaire'' on
the stage Of the Bobino Music Hall. The
interest of this event for critical and
theatregoing Paris was not that OF a mere
revival OF the masterpiece so often heard
at the Odeon ard the Coincide FRANCHISE:
the peculiar character Of theatre and
audience was what made II extraordinary.
The house Is one which mounts a new
play every week. mostly written for the
occasion. and all appealing to the highly
seasoned popular taste OF Montparnasse
These pieces are given with much spirit
by littlo troop of excessive actors. who
put no limits to freedom OF buffoonery
The presentation Of Moliere TO the ''peo-
ple' by these artists of the Cafe Concert
was naturally a novelty to be awaited
with some curiosity.
On the whole. the offering was we'll re-
celved. and the denouement, always pop
ular with the pit" had an immense sue
cess. Throughout tho familiar relations
between actors and audience suggested
admirably what must have been the per-
formances Of 1873. This was especially
true I'm moments when the actors spoke
to the public. In ordinary theatres moth
ing could be colder than the reception
of such addresses in the old comedies.
At the Bobno. however. II was quito
different matter The audience had clear