The Continental Monthly, Vol. 1, No. 2, February, 1862. Various

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СКАЧАТЬ in the effect produced by that exploit, he enters with the rich Gorgias, who has ordered and paid Phidias in advance for statues of his three friends, Laïs, Phryné, and Aspasia. He finds Phidias unwilling to part with the statues, on which he has worked so long and ardently till, like Pygmalion of old, he has fallen in love with his own creation; he will not even allow Gorgias to see them, and the latter departs swearing vengeance. Diogenes enters, and a satirical brisk dialogue ensues, at the end of which Phidias draws aside a curtain and shows his work to Diogenes, who, stoic as he is, can not refrain from an exclamation of delight. The group is admirably arranged on the stage, and the effect is very fine as Theä, a young slave, holds back the drapery from the group while the moon illumines it with a soft light. At this moment an approaching tumult is heard. Theä drops the curtain, and Gorgias with his friends, heated with Cyprus wine, enters, accompanied by the 'myrmidons of the law.' He again demands the statues, for which Phidias has already received his gold. Phidias expostulates, then entreats,—no, Gorgias will have his statues. At this, Theä, who had long loved Phidias, unknown to him, hardly noticed, never requited, throws herself at Gorgias's feet and cries, 'Take me, sell me; I am young and strong, but leave Phidias his statues.' Gorgias says, 'Who are you? Poor creature, you are not worth over fifty drachmas! Away! Guards, do your duty! Slaves, seize the statues.' Then Diogenes, hitherto half asleep on a mat in the corner, cries, 'Stop, Gorgias! You always profess justice, strict justice. Why don't you ask with whom of you the statues will prefer to stay?' A shout of laughter from his jolly companions makes Gorgias accede to this droll proposal. 'So be it!' cries he; and Diogenes draws aside the curtain, and holds up his lantern, which, with a strong French reflector, throws a powerful light on the upper part of the group, with a fine and startling effect. The group represents Aspasia seated, with a scroll and stylus, Laïs leaning over her, and Phryné at her feet looking up, all draped, artistically posed, and the three beautiful girls that perform the parts look as like marble as possible.

      'Now, Phidias,' cries Diogenes, 'come, what have you to say to your marble girls?'

      'Laïs, Aspasia, Phryné, I am Phidias. You owe me your existence, and I love you; you know it, and that I am poor.'

      'That's a bad argument, Phidias,' says Diogenes.

      'I am poor, and have nothing but you. Stay by him to whom you owe your glory and your immortality!'

      The statues remain immovable.

      Gorgias addresses them: 'I am Gorgias, the rich Athenian; I alone am as rich as all the kings of Asia, and I offer you a palace paved with gold. Aspasia, Laïs, Phryné, which of us do you choose?'

      The statues turn their heads and smile faintly on Gorgias, who starts and stands as if petrified. The Athenians look horror-struck. Phidias covers his face with his hands, and, uttering a cry, falls to the ground. A soft and enervating strain of music fills the air.

      'By all the gods!' cries Gorgias, 'I believe the statues moved their lips as if to smile upon me.'

      'I know you by that smile, O girls of marble,' says Diogenes,—'courtesans of the past, courtesans of the future!' and he returns to his mat.

      At this moment Theä's voice is heard in the far distance, singing a few mystical, mournful bars of music, and the curtain falls.

      This is the 'argument,'—the other four acts work it out.

      The next act opens in a restaurant of to-day in the Bois de Boulogne, near Paris. A young artist lives there, and falls desperately in love with an actress, for whom he leaves his art, his mother, and his betrothed, is ruined in purse, and returns at last, heart-broken, to his old home, to die; the actress all the while sees his despair with indifference, and proves herself therefore a 'fille de marbre'

      In another recent piece, we are told that a 'procession of nuns, dressed in white, sing a lay at midnight. In the intervals, a chorus of frogs in the neighboring swamp croak the refrain in unison. Sax, the great brass-founder, who made the Last Trumpets for the 'Wandering Jew,' and the instruments for the Band of the Guides, is engaged upon the frogpipes required. The illusion will be heightened by characteristic scenery and mephitic exhalations. M. Sax visited the pool in the Bois de Boulogne, known as the Marée d'Auteuil, and brought back many useful ideas in reference to the quadruped with whose vocal powers he desired to become acquainted. The frog voices will be a series of eight, representing a full octave.'

      The Provincial, at Paris, is a standard theme for playwrights; what the Scotch were to Johnson, Lamb, and Sidney Smith, is the native of Provence or Brittany to the comic writers of the metropolis,—a nucleus for wit and an occasion for practical jokes. One of the late pieces, called 'My Uncle,' turned upon the devices of a wild youth to obtain money from his simple-hearted relative in the country. For months a pretended love affair, a marriage, and the birth of an heir, elicited remittances, which were expended upon banquets, at which a bevy of gay students applauded the ingenuity of their entertainer. At last the uncle comes to town, and it becomes quite a study to carry on the game, which yields occasion for innumerable salient contrasts between rustic simplicity and city acumen. A diagnosis of the provincial's ways in Paris, like every form of life there, has been given by a shrewd observer, who mentions among other signs that the novice may be recognized by the fact that he keeps his toothpick after dinner and carries it to the theatre.

      I found that marvelous actress, Rachel, before her visit to America, much attenuated; indeed, she resembled a bundle of nerves electrified with vitality; her bleached skin, thin arms, large, scintillating eyes, and that indescribable something which marks the Jewish physiognomy, gave her a weird, sibyl-like appearance, as of one wasted by long vigils. There was in her glance and action the spasmodic inspiration observable in Malibran towards the close of her career. The play was Racine's Andromache, and the depth and energy of Hermione's emotions were illustrated by a sudden transition of tone, a working of the features, that a painter might study forever, and a gesture, bearing, look and utterance which were the consummation of histrionic art; yet so exclusively was this the ease, that admiration never lost itself in sympathy; it was the perfection of acting, not of nature; it won and chained the scrutinizing mind, but failed to sway the heart; it lacked the magnetic element; and while the critic was baffled in the attempt to pick a flaw, and the elocutionist in raptures at the sublime possibilities of his art, it was Rachel, not Hermione, the genius of the performer, not the reality of the character, that won the earnest attention, and woke the constant plaudits.4

      That over-consciousness which belongs to the French nature, so evident in their 'Confessions,' their oratory, their manners, their conversation, and their life, and which is the great reason of their want of persistence and self-dependence in political affairs, modifies their ideal representations on the stage as well as in literature. The process described so philosophically by Coleridge, to lose 'self in an idea dearer than self,' is the condition of all greatness. It sublimated the life of Washington, and made it unique in the annals of nations; it enabled Shakspeare to incarnate the elements of humanity in dramatic creations, and Kean to reproduce them on the stage; it is the grand law of the highest achievements in statesmanship, in letters, and in art, without which they fall short of wide significance and enduring vitality.

      Although thus destitute of great central principles, nowhere is human life more enriched by minor philosophy; it may be a fate, a routine, a drudgery, and an accident in other parts of the world, but in Paris it is or can easily be made an art. The science of substitution, the law of compensation, nowhere more obviously triumphs; taste cheaply gratified atones for limited destinies; manners yield a charm, which, for the time, renders us oblivious of age; tact proves as good a resource as learning, wit as beauty, cheerfulness as fortune. The boudoir, by means of chintz, gauze, and human vivacity, is as prolific of fine talk and good company as the drawing-room. A bunch of violets or a box of mignonnette suggests to sensitive imaginations the whole cornucopia of Flora. Perhaps the eclectic provision for enjoyment in the French capital was never more apparent than during the sojourn of the СКАЧАТЬ