The sun., 1916-12-24
GABRIELLE D ,ANNUNAO = "FRANCESCA
DA RLkLW."


saw YOU face, silent between the
spears of the horsemen,'' she tells him.
and adds that she longcd for death.
lie replies in a like excited fashion.
lie exposes himself at the open port.
cullis. She trcmblcs but Is brave and
conceals her fear Her 'Fatcr Sos,erp
IL IN outlet for o%vercharged feelings.
rho intensity Of the scene is heightened
by her husband. surnamed Gianciotto.
A mighty warrior. he limps. The
characters Of the two brothers ara
exposed in n few lines. Still another
brother appears. M%alatestino. lie IA
the youngest. During this battle an
eye has been destroyed. Cruel. inaloyo.
lent. he too loves Francesca. In a
later act he plays the part of Iaeo 70
his elder brother. Act III. is, in N.
early half. both u picture and Il ,,ron.
isc. Littlo happens. In a rare cham.
Der We are shown Francesca. with .ho
Adriatic sea perceived through tho
open windows. Upon n lectcrn is rlace6
a tome. "The History Of Launcelot OF
tho Lake" the book spoken Of by
Dante as III fatal one. There are
sirlish testing and chattcring. II NAV
he noted that at the beginning OF Act I
tho old romance OF Tristan and Isoldes
is alluded to; thus suggesting tho ult,.
mate fate OF Iaolo and Francesca.
Throughout there arc these delicate
loops Of leading motives binding the
somewhat loosely built dramatic tale.
To her slave Smaragd. Francesca 70.
latcs n dream. It is about a pursuit
through dim woods of q naked woman
h,y m os.arA vSVS~tA --A IT,
Tho vision. which has haunted her
moro than once. always ends In the
same manner The knight cuts out
the heart Of the woman and throws II
to the hungry dogs. They devour &.
Tho entrance OF n voluble merchant.
and later an astrologer. and her Jester.
relaxes the tense melancholy OF the
lovclorn lady. A scene OF bright
foolery follows. II IL touched hy no
little fancy. And then the elave wills.
pers that Paolo Is without. Sending
away her people. she receives him.
Presently ensues the inevitable duo OF
amorous despair. followed by the tragic
reading. Here D'Annunzio handles n
forcsecn situation with poetic skill.
From the beginning he contrives an
atmosphere Of suspense. francesca's
final cry: NO. Paolo." Is worth a page
OF o~vcrwrought phrases and writing
embraces.
The cruelest OF the nve acts Is the
fourth. and II Is devoted TO the arous.
ing of Giovanni's suspicious. This 10
accomplished by the wicked younger
brother. Malatestino. Jealous OF Pnolo.
he shocks Francesca with his hints. his
Inf a6ynnnal aud thn Iglnn,. ,z,.,...
he exhibits when cutting on the head
OF n prisoner: he drags in this head
developed in a bag. IL is heavy. lie re-
marks. Oddly enough, D'Annunzio 40
manages tho plot that We sympath!ze
with the deceived husband. rather an
uniat.n proceeding. In tho final act
We fee. that Shakespeare has been
tho mode. \ scene from Otho,.o -
evoked, not To much as incident az in
the spiritual. tragic atmosphere. Fran
cesca sleeps. She means in her dreams.
Her maidcns have been sent away.
Her slave is called, but does not come.
Trickcd by this plotted absence Pao.o
enters. The lovers are speedily sur
prisod and slain by the husband. Go
vanni, who then breaks his sword
across his knee. Not the least potent
factor is the absence OF remorse IN
Francesca. The victim Of deceit. she
does not hesitate to deceive. We 70
member Duse and the po.se. dignity
and suppressed melancholy OF her In
depreciation.
Since those times Gabrielle D'Aurun.
zio has run the entire eamut ~ his art.
! lie has been called the Italian Eau
1ar, A,l 80. a l. ..-4
seem 20 have stepped from the yace.
Of JOHN Webster or John iori H.
knows the English classics. To-day
his novels are Amos forgotten. save
The Triumph az Death" n voi.'nh'"
masterpiece. The Sh!i," VAS r.-ht,v
claimed as n poetic treasure. ~
Paris he spilled lis Sits In tie W.T.
ing ~ ballets. Tile incubation RON
the magnificent art q E,cUnura Dgs'
To h accomplished mining D: la
Ruhins;ciu was brief. Tha' ,. ,a ~
TO depict su-calied dcCadou' M, nul
women. ana all hrist.lng Win NI'u'l'"
may he set down TO a personal III -
synCrasy. His chief defect Is du ts
late lack uf hgu,pr. and This. |cnli.'!
with the tropical quality - LIS |'
causes q certain moN0touy ~ s'yl.
We breathe q dense. .lw-lurpg- ''t
waiting atmosphere. Iiuuru i~.,'rrst.
IN the daily sense ~ tlc l.yl>r - too
often ahs,n liut L., love, I.'3gr u
lovingly describes Ice. II formal
sense !s exquisite, Vet tp' iuI.' liter
dtUrc' ~s'rang."s o." l.m.nI't - -
characters. lie - mnlr hIIr iHttl
dramatic. II" Is - thirkrr. r,~,r,Hl'
master Il himself, uua uI.a Hul'
given L. enthusiasm owe. a t'a .'lfl|
verse than to tlr expression OF
sympathy Cor ~struc-..nE humanity. IL
has written. "Ou" must keep one
liberty complete at ans cost, even In
!ntoNica,ion." The perfect type OF to
ARTIST FOR Whom ant q, ar nGls
else.
We heard. years ago In lti..r, p'.N"-
runzio called Gaetaoo f,apagnst' .
though this has been denied. lie '
also said 10 he named Iiapaport, and
Of Austrian ana Jewish extraction o'
the paternal side, but this seems an inn
rcntion, as he has "A brother, a resident
Of this city, with the anne name, nN'.
nunZio. Certainly "Giuricl -" W
nnunc.r" as u pen name is p,Cturrs s',
and almost too good t. h' tTI" !
~prccociuiiS genius, his ,iyS; .u" ~
verse. "lr.mo We're" "Niurtud ''orl
the critic Mare Mnnui"r IN tho h'i"r
Suisse the remark: III were ,g" -
his masters | should give him ID IN Ia
and the stick" JAMES Il %ENlI'