The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-08
some Philosophy Of the stage.

winter or the eighteenth century.
some Philosophy Of the stage.
Two sorts Of readers may be attracted
20 FREDERICK WARpEs The Fools OF
Shakespeare Mcbride. Nast); those
who look for the literary philosophy in
dicated in the rather pre,entious sub
title. AN Interpretation of Their wit.
Wisdom and Personalities" and those
who enjoy the "reminiscences Of veterans
OF the stage. The book is dedicated to
the memory OF Louis James, gallant
gentleman, loyal friend and splendid
actor" and is written from the actors
point OF view rather than that OF the
Shakespearlan scholar. IT have not
! entered tho literary dissectins room"
! says the author, nor invaded the realm
OF psychology. Shakespeare.
being an actor. wrote these plays to be
acted. The beauty OF diction.
the delicate imagery, the exquisite
poetry and the sublime philosophy were
the spontaneous expression Of his
transccndent but unconscious genius"
MIR. Warde is not often controversial
but is frequently dogmatic enough to
| furnish material for wordy war, es-
pecially in his not very complete intro
! duct!on and first chapter. The Fool
/ in Life and Literature"
Objection Is entered against the pro-
gramne description OF Touchstonc as
"a clown" This character is "a mos;
/ positive and complete conception of the
medieval court Jester" with all the
/ knowledge. wit and wisdom and keen
observation that marked those delight
full gentry. He Is not a buffoon. not
! even n punster; neither pranks nor
} empty persNagc can be called his stock
in trade. Two TouchstoneS have been
indicated by no less an authority than
DIR. F'urness. a clownish one in the frs.
act. a keen and witty character in the
+ rest Of the play; but Mr.. Warde sees
no Inconsistency in his development.
And yet he half admits the charge when
= In comment on the critics view OF the
playwright's method--"It Is unthinkabie
that from the first instant each char
acter WAS not present before him in per
feet symmetry and absolute complete
ness"--he says that Shakespeare had
not the doctors advantages y: "A sys-
tcmatized education. nor such profound
literary culture and that ne worked
/ without regard TO the established con-
ven;ions OF his art, followed the nat.
ural instincts OF his own mind and es-
| tablished 4 new standard Of dramatic
writing" This IS not very profitable
matter moro 70 the point Is the asser-
ton Of "unity" in the character. with
apparent inconsistency explained In
terms or the varying surroundings
The first Touchstone recalled by Mr..
Warde Is that OF Compton at the
Princes Theatre IN Manchester. Eng
land thirty years ago; the reminiscent
himself playing Oricndo to Miss AIDE
laide Nelson's Rosdliud Mr.. Compton,
fool was an adequate and effective per-
Torrance, marked BY quaint personal
ity, unctuous humor." and enhanced by
the mobility OF his features. With little
laughter he brought out in full SAVIOR
the salt Of the character: The memory
OF his performance will ever remain
with me as the living embodiment OF
Touchstonc" At Cincinnati in 1886
Mr.. Warde was Orlando to Fanny
Davenports Rosdlind. and Stuart Rob
son was the fool, His rendition of the
part Is recalled WITH, revived apprecia-
ton. Other Touchsfones recalled are
those OF James Lewis and Edwin
Stevens at Days. Mr.. Lewis created
his impression by conception Of
cameo clearness." the quaint !ncisive-
ness OF his delivery, the significance OF
his business: O. delicately finished
characterization. Mr.. Stevens gave the
part greater personal dignity: He spoke
his lines with tho elaboration Of oracu-
lar wisdom rather than with sponta
neous wit"
Coming to THE Tempest" Trtnoulc
l. l. Ia.
respectable Of Shakespeare's fools, rep.
resentative OF tho declining days OF his
profession; perhaps a satire on the
decadent testers Of the dramatist's owr
time. That much discussed song b,
Festc at the end Of Twelfth Night" I.
dismissed as an ending appropriate
though void OF special significance" as
II Is OF sense.
Among the Ldunoelot GObbos re.
called Mr. Wards gives the palm OF
supremacy to MI. A. G.. Andrews
praised superlatively by Mr.. Mansfield
He followed" IN most respects THE
traditional business Of the part, but
nothing was exaggerated. rather sub.
dued." His prime object was 20 make
the lad possible human being and moi
an impossible clown, "as many come.
. dams have done"
Other characters considered are Citi.
zen In Julius Caesar" tho clown II
Antony and Cleopatra" tho grave
, diggers In Hamlet" Launcs and Speed
in Two Gentlemen OF Verona" and tn.
fool In King Lear The book Is no.
, by any means an exhaustive treatment
but 1t Will not fail TO entertain tn,
, folks who love TO study" Shakespeare.
, Another book OF the theatre Is The
New American Drama. by RICHARD Bur-,
TON (CrowclD. Mr.. Burton. professor
: Of English literature In the Univcrsit,
Of Minnesota and member Of the Ma.
. tlonal Institute Of Arts and Letters
endeavors to treat Of the present era o.
} our theatre % II will DO seen by his
J torians Of the stage Q few years henc,