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scandalous. They've no religion; that's peror's box at the Coliseum, where the on the threshold. The Editor, the Callhow it is.

performers assemble before entering Boy, and the gladiators spring to their LAVINIA. But I think the Captain the arena.

The martyrs are sitting feet.) meant us to laugh, Centurion. It was so


about awaiting their turns. funny.

THE EMPEROR. The Christians will not is seated half way up, thoughtful, try- blood up to attack them. It's all that

fight; and your curs can not get their CENTURION. You'll find out how funny

On it is when you're thrown to the lions to- ing to stare death in the face.

fellow with the blazing eyes. Send for (To the Captain, who looks her left Androcles consoles himself by the whip. (The Call-Boy rushes out on displeased.) Beg pardon, sir. (To the nursing a cat. Ferrovius stands be

the east side for the whip.) If that will Christians.) Silen-n-n-n-ce!

hind them and at the foot of a flight not move them, bring the hot irons. The Captain.

You are to instruct your of steps crouches Spintho. Gladiators man is like a mountain. (He returns anmen that all intimacy with Christian pris

are standing at ease as they await, like grily into the box and slams the door.) oners must now cease. The men have the Christians, their turn to enter the

(The Call-Boy returns with a man in a fallen into habits of dependence upon the

Suddenly Spintho, losing his hideous Etruscan mask, carrying a whip. prisoners, especially the female prisoners, for cooking, repairs to uniforms, writing nerve, commits an act of apostasy and They both, rush down the passage into

the arena.) letters, and advice in their private af in trying to escape is devoured by a fairs.' In a Roman soldier such depend- lion behind the scenes. The Captain, worthy. Can they not kill him without

LAVINIA. (Rising.) Oh, that is unence is inadmissible. Let me see no more standing on the stairs, watches La- dishonoring him? of it whilst we are in the city. Further, vinia curiously:

ANDROCLES. (Scrambling to his feet your orders are that in addressing Chris

and running into the middle of the space tian prisoners, the manners and tone of

THE CAPTAIN. I heard that one of between the staircases.) It's dreadful. your men must express abhorrence and

your fellows bolted, and ran right into Now I want to fight. I can't bear the contempt. Any shortcoming in this re

the jaws of the lion. I laughed. I still sight of a whip. The only time I ever spect will be regarded as a breach of laugh.

hit a man was when he lashed an old discipline. (He turns to the prisoners.)

LAVINIA. Then you don't understand horse with a whip. It was terrible; ] Prisoners. what that meant?

danced on his face when he was on the CENTURION. (Fiercely.) Prisoner-r-r-s!

THE CAPTAIN. It meant that the lion ground. He mustn't strike Ferrovius! 'Tention! Silence! had a cur for his breakfast.

I'll go into the arena and kill him first! CAPTAIN. I call your attention, pris

LAVINIA. It meant more than that, (He makes a wild dash into the passage. oners, to the fact that you may be called

Captain. It meant that a man can not As he does so a great clamor is heard on to appear in the Imperial Circus at

die for a story and a dream. None of from the arena, ending in wild applause. any time from to-morrow onwards, ac

us believed the stories and dreams more The gladiators listen and look inquiringly cording to the requirements of the man

devoutly than poor Spintho; but he could at one another.) agers.

I may inform you that as there is a shortage of Christians just now, you

not face the great reality. What he would THE EDITOR. What's up now?
have called my faith has been oozing away


(To the Captain.) What may expect to be called on very soon.

minute by minute whilst I've been sitting has happened, do you think? LAVINIA. What will they do to us,

here, with death coming nearer and THE CAPTAIN. What can happen? Captain ?

nearer, with reality become realler and They are killing them, I suppose. CENTURION. Silence!

ANDROCLES. (Running in through the CAPTAIN. The women will be conduct- realler, with stories and dreams fading away into nothing.

passage, screaming ed into the arena with the wild beasts

with horror and THE CAPTAIN. Are you then going to hiding his eyes.) of the Imperial Menagerie, and will sufdie for nothing?

LAVINIA. Androcles, Androcles! What's fer the consequences. The men, if of an

LAVINIA. Yes; that is the wonderful the matter? age to bear arms, will be given weapons thing. It is since all the stories and ANDROCLES. Oh, don't ask me,

don't to defend themselves, if they choose, dreams have gone that I have now

Something too dreadful. Oh! against the Imperial Gladiators.

doubt at all that I must die for someLavinia. Captain! Is there no hope thing greater than dreams or stories.

(He crouches by her and hides his face

in her robe, sobbing.) that this cruel persecution

THE CAPTAIN. But for what?

The Call-Boy. (Rushing through the CENTURION. (Shocked.) Silence! Hold

LAVINIA. I don't know. If it were

passage as before.) Ropes and hooks your tongue there.

Persecution, indeed ! Captain. (Unmoved and somewhat

for anything sinall enough to know, it there! Ropes and hooks !

would be too small to die for. I think THE EDITOR. Well, need you excite sardonic.) Persecution is not a applicable to the acts of the Emperor. is real enough to die for. I'm going to die for God. Nothing else yourself about it? (Another burst of

applausc.) The Emperor is the Defender of the

THE CAPTAIN. What is God?

(Two slaves in Etruscan masks, with Faith. In throwing you to the lions he

LAVINIA. When we know that, Captain, ropes and drag hooks, hurry in.) will be upholding the interests of reli

ONE OF THE SLAVES. How many dead? gion in Rome. If you were to throw him we shall be gods ourselves. to the lions, that would no doubt be per

THE CAPTAIN. Lavinia, come down to THE Call-Boy. Six. (The slave blows

earth. Burn the incense and marry me. a whistle twice; and four more masked secution.

LAVINIA, (The Christians again laugh lieartily.)

Handsome Captain, would slaves rush through the arena with the CENTURION. (Horrified.) Silence, I

same apparatus.) And the basket. Bring you marry me if I hauled down the flag

in the day of battle and burnt the in the baskets. (The slave whistles three Keep silence there.

cense? Sons take after their mothers, times, and runs through the passage with one ever hear the like of this? LAVINIA.

his companion.)
Captain, there will be no-

you know. Do you want your son to be
a coward?

THE CAPTAIN. . Who are the baskets body to appreciate your jokes when we

THE CAPTAIN. (Strongly 110ved.) By for? are gone.

great Diana, I think I would strangle you The Call-Boy. For the whip. He's in if you gave in now.

pieces. They're all in pieces, more or Infinite buffoonery and much that

LAVINIA. (Putting her hand on the less. (Lavinia hides her face.) seems indistinguishable from horseplay head of Androcles.) The hand of God (Two more masked slaves conie in invest the action with effects of drollery is on us three, Captain.

with a basket and follow the others into in this style until we come to the THE CAPTAIN. What nonsense it all is! the arena, as the Call-Boy turns to the climax of the play. Lavinia has again And what a monstrous thing that you gladiators and exclaims, exhausted.) and again refused to save herself from should die for such nonsense, and that Boys, he's killed the lot!

THE EMPEROR. (Again bursting from a martyr's death by sacrificing to the I should look on helplessly when my

whole soul cries out against it! Die, his box, this time in an ecstasy of degods—a simple and convenient cere

then, if you must; but at least I can light.) Where is he? Magnificent! He mony, as the Captain, in love with her,

cut the Emperor's throat and then my shall have a laurel crown. explains, involving no more than dropown when I see your blood.

(Ferrovius, madly waving his bloodping a pinch of incense on the pagan (The Emperor throws open the door stained sword, rushes through the passage altar. We are next behind the Em- of his box angrily, and appears in wrath in despair, followed by Inco-religionists,


ask me.


tell you.

Did any

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and by the Menagerie Keeper, who goes The MENAGERIE KEEPER. Why not that other end of the passage and finds himto the gladiators. The gladiators draw little Greek chap? He's not a Christian; self at the focus of thousands of eager their swords nervously.) he's a sorcerer.

eyes. The lion's cage, with a heavy portFERROVIUS. Lost, lost forever! I have THE EMPEROR. The very thing; he will cullis grating, is on his left. The Embetrayed my Master. Cut off this right do very well.

.peror gives a signal. A gong sounds. hand : it has offended. Ye have swords, The Call-Boy, (Issuing from the pas- `Androcles shiters at the sound; then falls my brethren: strike!

sagc.) Number twelve. The Christian on his knees and prays. The grating rises LAVINIA. No, no. What have you for the new lion.

with a clash. The lion bounds into the done, Ferrovius? ANDROCLES. (Rising, and pulling him

He ruslies round, frisking in his FERROVIUS. I know not; but there was self sadly together.) Well, it was to be, freedom. He sees Androcles. He stops; blood behind my eyes; and there's blood after all.

rises stifly by straightening his legs; on my sword. What does that mean? LAVINIA. I'll go in his place, Caesar. stretches out his nose and his tail in a

THE EMPEROR. (Enthusiastically, on Ask the Captain whether they do not horizontal line behind, like a pointer, and the landing outside his box.) What does like best to see a woman torn to pieces. utters appalling roar. Androcles it mean? It means that you are the He told me so yesterday.

crouches and hides his face in his hands. greatest man in Rome. It means that THE EMPEROR. There is something in The lion gathers himself for a spring, you shall have a laurel crown of gold. that; there is certainly something in swishing his tail to and fro through the Superb fighter, I could almost yield you that-if only I could feel sure that your dust in an ecstasy of anticipation. Anmy throne. It is a record for my reign! brother would not fret.

drocles throws up his hands in supplicaI shall live in history. Once, in Domi ANDROCLES. No; I should never have tion to heaven. The lion checks at the tian's time, a Gaul slew three men in the another happy hour. No; on the faith of sight of Androcles's face. He then steals arena and gained his freedom. But when a Christian and the honor of a tailor, I toward him; smells him; arches his back; before has one naked man slain six armed accept the lot that has fallen on purrs like a motor-car; finally rubs himmen of the bravest and best? The per If my wife turns up, give her my love self against Androcles, knocking him secution shall cease. If Christians can and say that my wish was that she should

Androcles, supporting himself on fight like this, I shall have none but be happy with her next, poor fellow ! his wrist, looks aff rightedly at the lion. Christians to fight for me. (To the Caesar, go to your box and see how a The lion limps on three paws, holding up gladiators.) You are ordered to become tailor can die. Make way for number the other as if it was wounded. A flash Christians, you there; do you hear? twelve there, (He marches out along of recognition lights up the face of AnRETIARIUS. It is all one to us, .Caesar. the passage.)

drocles. He flaps his hand as if it had a Had I been there with my net, the story (The vast audience in the amphi- thorn in it, and pretends to pull the thorn would have been different.

theater now sees the Emperor reenter out and to hurt himself. The lion nods THE CAPTAIN. (Suddenly seizing La- his box and take his place, as Androcles, repeatedly. Androcles holds out his vinia by the wrist and dragging her up desperately frightened, but still marching hands to the lion, who gives him both the steps to the Emperor.) Caesar, this with piteous devotion, emerges from the paws, which he shakes with enthusiasm. woman is the sister of Fer

They embrace rapturously, rovius. If she is thrown to

finally waltz round the arena the lions he will fret. He

amid sudden burst of will lose weight; get out of

deafening applause, and out condition

through the passage, the THE EMPEROR. The lions ?

Emperor watching them in Nonsense! (To Lavinia.)

breathless astonishment until Madam, I am proud to have

tlicy disappear, when he the honor of making your

rushes from his box and deacquaintance. Your brother

scends the steps in frantic is the glory of Rome.

exciteinent.) LAVINIA. But my friends

THE EMPEROR. My friends, here. Must they die?


amazing THE EMPEROR. Die! Cer

thing has happened! I can tainly not. There has never

no longer doubt the truth of been the slightest idea of

Christianity. (The Christians harming them. Ladies and

press to him joyfully.) This gentlemen, you are all free.

Christian sorcerer—(W’ith a Pray go into the front of

giell he breaks off as he sees the house and enjoy the spec

Androcles and the lion emerge tacle to which your brother

from the passage, waltsing. has so splendidly contributed.

He bolts wildly up the steps Captain, oblige me by con

into his box, and slams the ducting them to the seats

door. All, Christians and reserved for my personal

gladiators alike, fly for their friends.

lites, the gladiators bolting THE MENAGERIE KEEPER.

into the arena, the others in Caesar, I must have

all directions, The place is Christian for the lion. The

emptied with magical suddenpeople have been promised

ness.) it; and they will tear the

ANDROCLES. (Naïvely.) Now decorations to bits if they

I wonder why they all run are disappointed.

away from us like that. (The THE EMPEROR. True, true;

lion, combining a series of we must have somebody for

J'awiis, purrs, and roars, the new lion.

achieves something very like FERROVIUS. Throw me to

a laugh.) him. Let the apostate perish.


on a chair inside his box and you would tear him to pieces,

lookng over the wall.) Sormy friend; and we can not

cerer, I command you to put afford to throw away lions

that lion to death instantly. as if they were mere slaves.

It is guilty of high treason. But we must have somebody. CAESAR SAVES HIS FACE

Your conduct is most disThis is reall: extremely awk

After precipitate Aight from the Lion, Cæsar is forced to accept ward. the protection of Androcles. Once he is safe again, he appeals to the

gra- (The lion charges at public for its applause.

him up the stairs.) Help!





By Courtesy of Everyhody's

disappears. The lion rears against box; looks over the partition at and roars.

The Emperor darts out ugh the door and down to Androcles, ucd by the lion.) NDROCLES. Don't run away, sir; he t help springing if you run. (He es the Emperor and gets between him

the lion, who stops at once.) Don't fraid of him. HE EMPEROR. I am not afraid of him. e lion crouches, growling. The Emor clutches Androcles.) Keep between

If you

peror is the dearest friend Andy Wandy THE EMPEROR. How about the Preto-
has in the whole world. He loves him rian Guard now?
like a brother.

FERROVIUS. In my youth I worshipped THE EMPEROR. You little brute; you Mars, the god of War. I turned from filthy little dog of a Greek tailor! I'11 him to ve the Christian God; but tohave you burnt alive for daring to touch day the Christian God forsook me; and the divine person of the Emperor! (The Mars overcame me and took back his lion growls.)

own. The Christian God is not yet. He ANDROCLES. Oh, don't talk like that will come when Mars and I are dust; sir. He understands every word you but meanwhile I must serve the gods say; all animals do; they take it from the that are, not the God that will be. Untone of your voice. (The lion growls til then I accept service in the Guard, and lashes his tail.) I think he's going Caesar. to spring at your Worship.

THE EMPEROR. Very wisely said. All wouldn't mind saying something affec- really sensible men agree that the prutionate. (The lion roars.)

dent course is to be neither bigoted in THE EMPEROR. (Shaking Androcles's our attachment to the old nor rash and hands frantically.) My dearest Mr. An- unpractical in keeping an open mind for drocles, my sweetest friend, my long-lost the new, but to make the best of both brother, come to my arms! (He em dispensations. braces Androcles.) Oh, what an abom THE CAPTAIN. What do you say, Lainable smell of garlic!

vinia ? Will you, too, be prudent? (The lion lets go the robe and rolls LAVINIA. (On the stairs.) No; I'll over on his back, clasping his forepaws strive for the coming of the God who is over one another coquettishly above his

not yet.

THE CAPTAIN. May I come and argue
ANDROCLES. There! You see, your with you occasionally?
Worship, a child might play with him LAVINIA. Yes, handsome Captain; you

See! (He tickles the lion's belly. may. (He kisses her hand.)
The lion wriggles ecstatically.) Come The EMPEROR. And now, my friends,
and pet him.

tho I do not,

you see, fear this THE EMPEROR. I must conquer these lion, yet the strain of his presence is conunkingly terrors. Mind you don't go siderable; for none of us can feel quite away from him, tho. (He pats the sure what he will do next. lion's chest.)

THE MENAGERIE KEEPER. Caesar, give ANDROCLES. Oh, sir, how few men us this Greek sorcerer to be a slave in the would have the courage to do that! menagerie. He has a way with the THE EMPEROR. Yes, it takes a bit of beasts.

Let us have the Court in and ANDROCLES. (Distressed.) Not if they frighten them. Is he safe, do you think? are in cages. They should not be kept in ANDROCLES. Quite safe now, sir.

cages. They must be all let out. THE EMPEROR. (Majestically.) What THE EMPEROR. I give this sorcerer to ho, there! All who are within hearing, be a slave to the first man who lays return without fear. Caesar has tamed hands on him. (The menagerie keepers the lion. (All the fugitives steal cau and the gladiators rush for Androcles. tiously in. The Menagerie Keeper comes The lion starts up and faces them. They from the passage with other keepers surge back.) You see how magnanimous armed with iron bars and tridents.) we Romans are, Androcles. We suffer Take those things away.' I have subdued you to go in peace. the beast. (He places his foot on it.) ANDROCLES. I thank your Worship. I

FERROVIUS. (Timidly approaching the thank you all, ladies and gentlemen. Emperor and looking down with awe at Come, Tommy. Whilst we stand together, the lion.) It is strange that I, who fear

no cage for you; no slavery for me. (He no man, should fear a lion.

goes out with the lion, everybody crowdTHE CAPTAIN. Every man fears some ing away to give him as wide a berth as thing, Ferrovius.




NDROCLES. Never be afraid of aniS, your Worship; that's the great et. He'll be as gentle as a lamb when knows that you are his friend. Stand e still; and smile; and let him smell

all over just to reassure him; for, see, he's afraid of you; and he must mine you thoroughly before he gives

his confidence. (To the lion.) Come -, Tommy, and speak nicely to the peror; the great good Emperor who

power to have all our heads cut off ve don't behave very, very, respecty to him. The lion utters a. fearful roar. beror bolts madly up the steps, across landing, and down again on the other , with the lion in hot pursuit. Ancles rushes after the lion; overtakes as he is descending, and throws himon his back, trying to use his toes brake. Before he can stop hin the gets hold of the trailing end of the beror's robe.) NDROCLES. Oh, bad, wicked Tommy, hase the Emperor like that! Let go Emperor's robe at once, sir; where's r manners? (The lion growls and ries the robe.) I'll tell you what it sir, he thinks you and I nds. HE EMPEROR. (Trying to undo the Þ of his brooch.) Friends! You inal scoundrel (Tlie lion growls.) 't let him go! Curse this brooch! I t get it loose.

We mustn't let him lash self into a rage. You must show him you are my particular friend-if you have the condescension. (He seises Emperor's hands and shakes thein lially.) Look, Tommy; the nice Em







SEASON HE managers so far have been spectacle “The Wars of the World,” the playwright. The conflict between loathe to admit that the war but this production was planned many the law and these varied elements, the upsets their plans. They ask months ago, and every scene that could writer prophesies, will be the theme of us to remember that in times of possibly be construed as an allusion to most of the plays this year.

public catastrophe the theater the present conflict, has been carefully kely to flourish. In 1907, when busi- eliminated. If Turkey decides to join “One need only read the titles: 'On 5 went to the wall, the dramatic Germany, the scene in which the Arabs Trial,' 'The Trap,' 'Innocent,' "What ses prospered. Evidently the mana unroll the green flag of the Prophet Happened at 22,' 'Baited,' and so on. s are whistling to keep up their cour will no doubt be bluepencilled. The The crook may not have the monopoly of . For our little panic shrivels into entertainment is the most intelligent the stage he possessed some years ago, gnificance compared with the catas spectacle ever staged by the genius of but the man struggling against law and he that is engulfing the world. In Arthur Voegtlin at the most immense

order is the figure that dominates so far

in the theaters. The woman in the same. first plays that have been success- playhouse in the western world.

situation may appear later. Will she be: y produced in New York this sea In the regular theater, the under- another Mary Turner? For it was un- there is no hint of the war. The world, as the New York Sun dolefully doubtedly to Mary's sufferings and tripodrome produces an elaborate points out, is still a popular milieu forumphs in Within the Laws that the:



present style in drama is to be attributed.

parison with Mr. Reizenstein's piece. "Such success as this play had throws

The play, as the Brooklyn Eagle oba shadow for several years over the thea

serves, may be compared with any ter. Managers with their genius for imi

number of similar plays produced “betation will continue to search for one of the same kind and just as good. Play

fore the war” which exploit the cleverwrights, knowing that there is certain to

ness of a “master crook” who victimbe a demand for such works, set out to

izes all the law-abiding folk in the supply it.

play for two or three acts, only to be "Some more or less original talent se

brought up short and unmasked to lects for his work some new characters

provide a “punch” for the last act. and new scenes. The public happens to like them. The play enjoys a long period

“This particular crook is a forger, of popularity and there are rewards for

working in league with a fake employthe manager and the author. Every other

ment agency. He 'puts over' several big manager wants a play like this and every

jobs; hounds an innocent girl to the house other playwright sets out to furnish one;

of the lawyer who is close on his trail; and a mode in the theater is created."

murders the lawyer, forges the will of the

dead man; fixes the murder and the The season's most interesting play,

forgeries on the lawyer's son, with whom

the girl is in love, and finally, in a really so far, is “On Trial," a melodrama by

effective scene in the last act, is trapped a hitherto unknown author, Elmer L.

by the girl, who clears up everything with Reizenstein. Mr. Reizenstein surprises

the greatest ease. even the jaded critic of the New York

“The chief fault of the play lies in the Evening Post by his startling applica

fact that it takes the better part of two tion of the moving-picture method to

acts to get started. This, coupled with the regular drama. The boldness and

the unnatural dialog and forced situathoroness with which the idea was car

tions, made it tiresome waiting for the ried out on the stage of living actors,

overwhelming scene in the last act, which

alone justifies the play.”
the manner in which the mechanical TURNING DRAMATIC ART TOPSY-TCRTY
difficulties are faced and solved, and

Mr. Reizenstein's "On
natural course of the drama, but his bold ex-

“Under Cover,” a play that had a the dramatic traditions of time and

periment has made a hit in New York, long run in Boston, is pronounced by sequence defied and disregarded, brings

some as even better than "Within the success to this stunning experiment.

trial scene, serve actually to increase it.
The mind acquires extraordinary agility

Law.” It is (we quote the New York in shifting back and forth and seems to

Times) an ingeniously-fashioned play “The rising of the first curtain and the enjoy the exercise.”

so constructed that its most vigorous falling of the last found that stage ad

thrust comes in the form of a mirably set as a courtroom, with judge, An experienced playwright, remarks prise which is withheld until the last jury, counsel, prisoner. The time of the Rennold Wolf, in the Morning Telepiece was measured exactly by the length graph, scarcely could have written the

act is well under way. Its full force is of the trial. Mr. Reizenstein's moving

felt at the moment when only too often picture drama trick is this: As each wit- thing, because every step of the way some members of the audience begin to

fumble for their wraps. ness begins to testify, courtroom, judge he must have remembered the hard and

The author, and jury fade away, and the scene the

fast rules which have governed drama like Mr. Reizenstein, so far unknown witness is telling about takes its place be- tists these hundreds of years. To fash- to fame, has wisely selected a story fore the eyes of the onlookers. The first ion such a melodrama required either which, according to the New York time it happens, it is disconcerting to the the daring or the ignorance of the Tribune, never fails in the theater. point of exasperation. You say to your- novice, and because Mr. Reizenstein is Here, too, we have the shift in time self: "This will not do.' The second time that, he has to his credit a sensational which Mr. Reizenstein uses so effectit happens you are less exasperated, not

play which is certain to be notable in ively. Four farces, “Twin Beds," "The so sure it will not do; the third time, no doubt remains. It will do. It is working.

its pecuniary achievement, and which High Cost of Loving," "The Third The story is being told powerfully and

may exert a lasting influence upon play Party,” and “It Pays to Advertise,” stirringly, and the leaps back into the past building of the future.

likewise scored success in these which bring the murdered man to life, so

“What Happened at 22,” by Paul troublous hours. They are funny withfar from impairing the realism of the Wilstach, suffered considerably by com out being salacious.






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HIS FUTURIST MUSIC N music, as in life, the Progressive the North American Review, there is The recent performance by the Flonof to-day is the Stand-patter of bound to come an hour when some new zaley Quartet of Schönberg's string to-morrow. The men who hailed voice will speak out of the art that is quartet in D-minor, opus 7, in New Beethoven balked at Wagner. The contemporary with us in a tongue that York, verifies the prevailing impression

generation that embraced Wagner is alien and repugnant; and we shall of Schönberg as a musical idol-breaker. struggled painfully against Strauss. find ourselves exclaiming against it as Yet this quartet, Mr. Gilman informs But even Strauss is already of to-mor- passionately as did our grandfathers us, is by no means typical of Schönrow. The mad Austrian composer, against the iconoclast who is to us a berg's present phase—the third “period” Arnold Schönberg, out-distances his classic.

of his creative activity. In his present musical eccentricities, and the men who Schönberg's enemies say that he is work all precedents are abolished, we yesterday were uneasy over Strauss lifting the art of music from its ancient enter a terra incognita, to all appearand Debussy, to-day are openly and foundations. His disciples affirm that ances an utterly barren, desolate, unvehemently hostile to the "irrubrical” he has discovered a new land of sound, friendly land—the musical Antarctic. newcomer. However responsive, how- Schönberg's madness is confined to his “As to the D-minor quartet—the first ever flexible, however hospitable we music; in life he is an industrious, characteristic example of Schönberg's may be, remarks Lawrence Gilman in sober Viennese just past middle age. writing that has been heard in New


except and accept, with a relief that is
now comically pathetic, the bridal music
in 'Lohengrin,' the Spring Song in

The essential, the problematical,
Schönberg is in the first section of this
quartet. It is while listening to these
initial pages that even the most imper-
turbable of modernists receives a shock.

“It is not easy to describe the peculiarity of these passages to those who do not understand the special terminology of music. And as very few cultivated men or women who are

not musicians ever take the trouble to approach music on its intellectual side, we find ourselves somewhat at a loss in the matter, since we are disinclined to turn these remarks into an elementary treatise on the art of composition. Let it suffice to say that with Schönberg the art of polyphonic writing—which, traditionally, means the art of combining a number of different melodies so that they will form a coherent and euphonious wholeis transformed into something the like of which was never heard on sea or land. Richard Strauss, who in his operas and

tone-poems often makes the various inICK MAY HAVE TO BEAR ARMS FOR struments of his orchestra sing many dif OWING ALLEGIANCE TO FRANCIS THE KAISER ferent melodies at once, has achieved com

JOSEPH that the Boston Symphony will be binations of extreme audacity. But even

Slezak, being a Bohemian, may even now be without leader.

defending his country against the Russian inStrauss has some concern for the resultant

vader. rk—there is this to be said at the effect of his part-writing, which is always rt: parts of it, as the adagio and the interesting, often thrilling, and sometimes

the four viols in the opening pages of this al pages, are beautiful with a beauty ravishingly beautiful. Schönberg has ap quartet are without precedent or parallel at is as an open book-a beauty that parently no such concern. His ideal, it

in music.” sensitive hearer will fail to

has been said for him, is 'absolute indeper

In the compositions of Schönberg's ve; a beauty that is grave and expendence of part-writing'; and this he has

third phase the grotesque. homeliness, site, that enlarges the spirit and assuredly achieved. The different melodic the apparent harmonic insanity, which gers in the heart. These pages we

characterize the opening pages of the all gladly and uncompromizingly indifference to the resultant effect that is upon their several ways with a nonchalant

quartet, are even more pronounced, and claim, as the perplexed and angry both staggering and amusing in its cool here they seem to be deliberately conblic of Wagner's lifetime used to effrontery. The sounds that issue from





THE WAR HE war in Europe threatens sons in the three cities in question. is also a reservist in the Italian Army. to play havoc with the op- The Century Company, the writer goes

Most of the French male singers in the eratic season in New York, on to say, will be little affected by the Chicago and Boston companies are memChicago and Boston. The

bers of the French army reserves and war, only about six of its members be

liable as such to service. artists and the chorus of the ing at present in Europe, because most singers unable to leave Germany is Mme.

Among the etropolitan are marooned in various of its singers are American citizens. Schumann-Heink, who is much perturbed uropean cities and most of the mem But the forces of the other songbirds over her detention. rs of the Chicago and Boston com will be decimated, indeed.

"Andreas Dippel, who has made exten-nies, according to the New York

sive plans for a season of opera comique Evicu, are in a like predicament.

here next season, is in Austria, and unable zarly all the chorus men are reserv

“Giulio Gatti-Casazza and his secretary, to leave there. Nothing has been heard es in the armies at war and have W. G. Thompkins, William G. Guard, the from him. Mr. Dippel is a naturalized obably joined the colors. Several of press representative of the Metropolitan, American citizen, and not subject to mili

tary service in Germany. He was an e German principals, including Ru- and Mrs. Guard are among those now lph Berger, the Wagnerian tenor, the general manager of the Chicago combottled up in Paris. Ceofante Campanini, officer in the Kaiser's forces before he

married the singer. Lucrezia Bori is in e officers of the Kaiser's army. Un

pany, is also marooned in the French capi- Switzerland, Marie Mattfield in Germany, ss counsels of peace prevail it may tal. Henry Russell, of the Boston Opera Mary Garden in Paris, Louise Edvina in

necessary to postpone or curtail Company, is in Italy, where Caruso and London, Margarete Ober in Berlin. Anna aterially the Metropolitan season, in Toscanini are sojourning. Scotti escaped Case, who was making her first visit to ite of the reassuring statements is- from Paris to London. Alfred Hertz, the Europe, is believed to be in Switzerland. ed by Otto H. Kahn.

German conductor of the Metropolitan, "Kitty Cheatham has reached London In the event that the three big opera

and his bride are in Munich, and Geral- after trying ordeals. She was in Berlin ganizations, the Metropolitan, and

dine Farrar is in Switzerland. Nothing at the outbreak of the war and on her

has been heard from any of them since flight to England was obliged to go for e Chicago and Boston companies lose

the outbreak of war. Caruso and Tos- thirty hours without food.” any of their artists because of the canini and Polasco are on the reserve list ar, a, plan has been suggested to

of the Italian Army, in which Caruso malgamate all three into one

served as a private soldier originally, be The war, naturally, will spare wom-ny which can give short opera sea fore he took up an operatic career. Scotti en singers, but they alone cannot make


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