Evening star. [volume] (Washington, D.C.) 1854-1972, 1917-04-29
to forget the weary day and be a child

to forget the weary day and be a child
again.
Come with us into Fairyland. We
shall build mountains with chairs. palaces
rivers of love in flower boats, sailed by
your imagination. Come with us. till the
rich blood courses through your veins
and be as boys and girls again-healthy,
rosy cheeked-rejoicing in the fragrance
Of a never forgotten spring day.
ERE I depart my footsteps hence let
me impress upon you that my property
man to your eyes is quite intensely in
visible.
Mind not the painted faces of vii
lainy-of these I warn you beforehand.
My brothers of the Pear Tree Garden
are impatient to begin. for the perfume
of their sacrifice already floats upon the
august air. For SO much kind patience as
you have shown / give you thanks and
shall tell my brothers. bow"
Ancient Babylon Rest0red-Prof. Nor
rs Jastrow. jr., professor Of Assyriology
at the University of Pennsylvania, and
Ia world-famous authority on Baby
lonian history. says of the Griffith MIN
spectacle Intolerance:
The huge scale on which the presenta-
ton Of the theme Is arranged is in it
self sufficient to make the production
most notable one.
Naturally. I was particularly inter-
ested in the scenes depicting life and
events In ancient Babylonia, You have
succeeded in conveying remarkably
vivid picture of the art. architecture,
costumes, public and private life as re-
vealed by the monuments and the thou
sands OF documents found beneath the
mounds of Babylonia and AsSyria-
Your artists have been careful to
utilize the results of excavations and OF
researches and have awaited themselves
l,,r-f <,fY hxa lSavIy
material to restore the appearance of
the great hall, of tbs palaces. OF the
enormous walls. with their battlements
and gates and of the equipment Of the
Babylonian and Persian armies"
Referring to the attack upon the city
of Babylon, he says: Il was amazed to
see the care with which your artists
followed our knowledge of the enor-
nous walls of the city, with their dec
orations, Of the battering rams. of the
battle towers and other instruments of
ancient warfare. By skillful grouping
and by equally skillful variation in the
various phases of the attack, you give
a continuous picture of the assault
which helps to impress upon one the
enormous strength of the contending
armies.
The wall decorations in the palace
scenes were also admirably done. and l
was delighted to see, in the feasting
Scene portraying Belshazzar and his
queen, how closely you followed the
famous representation of an Assyrian
king and his queen, now in the British
museum
Il believe by such portrayal of Baby
lonian manners and customs. and events
in the history of this people, even
though somewhat romantically clothed.
YOU bring home to the masses view of
the great civilization that arose in the
Euphrates valley thousands of years
ago."
Extraordinary Music.-D. w. Griffith,
in his creation of Intolerance" made
use of sculpture, painting, architecture
and music to assure the triumph of his
colossal work.
Among the original numbers written
for this production are marches. melo-
dramatic episodes. choruses and very
lovely cradle song. Leading themes,
or leit-motifs, for example the in
tolerance" and hate moths, occur and
recur in the score
The borrowed excerpts include many
well known passages from the famous
operas of Massenet, Saint-Saens, Del
ibes. fragments of Wagner and selec-
tions from Tchaikowsky
"Herodiade" and Samson and Delilah"
are heard, and dance rhythms that
have charmed in "Lakme" In one
enisode strains from the Pathetic"
symphony are introduced. and the mel
Iihuous chanting of the priestess of
Phta in 'Aida.s In some of the more
thrilling scenes the music has been
taken from the second act of Fan
dnnaTs Francesca da Rimini" At one
point in the play is heard the very old
est known composition, the Hymn to
Apollo"