Tebeler
b. 1—
box 11/4
have only a feminine reference. From
reality, then, to say nothing of very ury
ethics, the author forces us back on dra¬
matio treatment. Here one must allon
for some los: in translation, but Dr.
Schnitzler, whatever his repute as a
Gramatist in Austria and Germany, decs
not impress one as any weaver of subtie
plet, anv master of stuation. His mechod
is thin and shetchy; he is fond of sug¬
gestion. The audience hoars of the lady
in black velvet, but does not see ###er. The
audience suspccts that Fritz is off to fight
a duel when he bads goc d-bye to Christine,
but there is no proof of it. The news of
Fritz’s death is a surprise for which the
audience has not been prepared—and there
is almost alwaye something incomplote and
znartistio abont sudden surprises of ihis
sort on the stage. Then what becomes of
Christine! She runs out, half demented,
to find Fritz’s grave. She never will
coune back, seys the old father. The
audience is to assume that she will com¬
mit suioide. T#t it docs not know. And
what is it “ make of the father’s phil¬
osophy! Ho sells the suspicious Kathe¬
rine Binder af wit he regarde as the
tragedy of his dead sister’s life. He saw
the rich womanhood of his sister pass
away, and fon d a withered old maic at
his ode. The inference is fairly clear;
and vhen Christine has confessed every¬
thing to her father he has no reproof to
make; on the contrary, he says tha he
knew what was happening all the time.
But if Christine ends her life on the grave
#f her faithlees lover, Hans Weiring's
philosophy docs not work out very well.
Of inmdent Light „' Lore has for a
ühree act play almost mänimum. In dhie
first act Fritz and his friend Theodor
Kaiser are having a Bohemian littie aup¬
per at the former’s rooms, with Chrisime
aud her very undesirable companion Mfi#i
Schlager present.
The rather forced
merrimenn, of ehe party—for Christine is
dobiful abo## ebe lady in black with
wüom eine hns seen Fritz and presses him
wuth questions—as ünterruptel bv che en¬
trance of ühie busband of dhe lady. The
husband has founl out ühe intrigue, which
Fritz cannot demy wihen be is confronted
with a bundle of bis own iettere, and be
amnply eays that he is at ühe oth ar’s seg¬
wice at umy time. The eccond iot is de¬
voted, apart drom the spedious philosopens¬
Ings of Hare Weiring, to the rather mys¬
tersons farvswvell ###at Fritz takes of Qiris¬
tine. Glrüstüne tührinks sthat he will only be
away a. day or dwo; but wirem wo days
hawe passetl she mn#l## ber oonfession to
ere is a good reh-Lquif
her father
saarelung patts in dilns aot, especaally M
the scele betweee
rand daughter;
68,
but the hand
fthe clos
Chough
mornents,
The entrance
in black,
sbroke.
tdon is also
this gruel
as lese apparei
did Fritz
without a word
dor anot
dramatist makes m
tlon, he does
theatriaally effeotiv
to turn on Ohrist
moment Christine won
seif Mlran of türe man whlo de
and
Short the author has
surene
re
inevitablenees of touch. Here
he can do very cheap things. Fnitz,
coming to Christine’e roomns to sav fare¬
well, Jooke at eonne pictures. What are
she subjeots? he asks. Return and
Parting, de is rod. But Chere is a better
Pioture in ihe alber room--it is dalled
#
ihe Abandoned One.“ Viennese drama
is net without ite nalveté
Mr. Ainley, as has been said, idealised
Fritz Lobhesmer, as thowgh this double¬
and double-danled übertine were
aher sans peur et enns reprochhe. Vet,
ing to his oum rendang, Mr. Ainley
d tne part veny artistacally. The
same may be naid of Mise Halston. With¬
out tie teanperamert for ihe part—a
Cbrisbine too refined, too delicate, too
essentially good—she acted with charm
and tenderness and with a natural
pathos in the last scene. Mr.
Charles Mande and Miss Margaret
Bussé were excellently in the epire c
Che characters of ühe frivolous and ##sch
Theodor and Mizi; and two admisable
studies were the penewe old orchttra¬
the
player by Mr. H. R. Hignett, and
rmplacable husband by Mr. James Hgurn,
the letter a part most diffioult to ##ring
the
up to so high a pitch of intensity 1
few minutes of its stage existence. Miss
Sydnev Fairbrother had a part rather out
of ber line as Katherine Binder, tihgugm
she acled it dleverly. Türe drama hacthe
advantage of Herr Max Behrend’s sage
dlreotion, Dut the Viennese ecene gwas
better sccured in detail than in aßno¬
gphero.
ACM
b. 1—
box 11/4
have only a feminine reference. From
reality, then, to say nothing of very ury
ethics, the author forces us back on dra¬
matio treatment. Here one must allon
for some los: in translation, but Dr.
Schnitzler, whatever his repute as a
Gramatist in Austria and Germany, decs
not impress one as any weaver of subtie
plet, anv master of stuation. His mechod
is thin and shetchy; he is fond of sug¬
gestion. The audience hoars of the lady
in black velvet, but does not see ###er. The
audience suspccts that Fritz is off to fight
a duel when he bads goc d-bye to Christine,
but there is no proof of it. The news of
Fritz’s death is a surprise for which the
audience has not been prepared—and there
is almost alwaye something incomplote and
znartistio abont sudden surprises of ihis
sort on the stage. Then what becomes of
Christine! She runs out, half demented,
to find Fritz’s grave. She never will
coune back, seys the old father. The
audience is to assume that she will com¬
mit suioide. T#t it docs not know. And
what is it “ make of the father’s phil¬
osophy! Ho sells the suspicious Kathe¬
rine Binder af wit he regarde as the
tragedy of his dead sister’s life. He saw
the rich womanhood of his sister pass
away, and fon d a withered old maic at
his ode. The inference is fairly clear;
and vhen Christine has confessed every¬
thing to her father he has no reproof to
make; on the contrary, he says tha he
knew what was happening all the time.
But if Christine ends her life on the grave
#f her faithlees lover, Hans Weiring's
philosophy docs not work out very well.
Of inmdent Light „' Lore has for a
ühree act play almost mänimum. In dhie
first act Fritz and his friend Theodor
Kaiser are having a Bohemian littie aup¬
per at the former’s rooms, with Chrisime
aud her very undesirable companion Mfi#i
Schlager present.
The rather forced
merrimenn, of ehe party—for Christine is
dobiful abo## ebe lady in black with
wüom eine hns seen Fritz and presses him
wuth questions—as ünterruptel bv che en¬
trance of ühie busband of dhe lady. The
husband has founl out ühe intrigue, which
Fritz cannot demy wihen be is confronted
with a bundle of bis own iettere, and be
amnply eays that he is at ühe oth ar’s seg¬
wice at umy time. The eccond iot is de¬
voted, apart drom the spedious philosopens¬
Ings of Hare Weiring, to the rather mys¬
tersons farvswvell ###at Fritz takes of Qiris¬
tine. Glrüstüne tührinks sthat he will only be
away a. day or dwo; but wirem wo days
hawe passetl she mn#l## ber oonfession to
ere is a good reh-Lquif
her father
saarelung patts in dilns aot, especaally M
the scele betweee
rand daughter;
68,
but the hand
fthe clos
Chough
mornents,
The entrance
in black,
sbroke.
tdon is also
this gruel
as lese apparei
did Fritz
without a word
dor anot
dramatist makes m
tlon, he does
theatriaally effeotiv
to turn on Ohrist
moment Christine won
seif Mlran of türe man whlo de
and
Short the author has
surene
re
inevitablenees of touch. Here
he can do very cheap things. Fnitz,
coming to Christine’e roomns to sav fare¬
well, Jooke at eonne pictures. What are
she subjeots? he asks. Return and
Parting, de is rod. But Chere is a better
Pioture in ihe alber room--it is dalled
#
ihe Abandoned One.“ Viennese drama
is net without ite nalveté
Mr. Ainley, as has been said, idealised
Fritz Lobhesmer, as thowgh this double¬
and double-danled übertine were
aher sans peur et enns reprochhe. Vet,
ing to his oum rendang, Mr. Ainley
d tne part veny artistacally. The
same may be naid of Mise Halston. With¬
out tie teanperamert for ihe part—a
Cbrisbine too refined, too delicate, too
essentially good—she acted with charm
and tenderness and with a natural
pathos in the last scene. Mr.
Charles Mande and Miss Margaret
Bussé were excellently in the epire c
Che characters of ühe frivolous and ##sch
Theodor and Mizi; and two admisable
studies were the penewe old orchttra¬
the
player by Mr. H. R. Hignett, and
rmplacable husband by Mr. James Hgurn,
the letter a part most diffioult to ##ring
the
up to so high a pitch of intensity 1
few minutes of its stage existence. Miss
Sydnev Fairbrother had a part rather out
of ber line as Katherine Binder, tihgugm
she acled it dleverly. Türe drama hacthe
advantage of Herr Max Behrend’s sage
dlreotion, Dut the Viennese ecene gwas
better sccured in detail than in aßno¬
gphero.
ACM