The Inter Ocean from Chicago, Illinois • Page 31

ONE day last winter a N. wisdom-fed daughter of Momus was discussing the serious drama; or. as It I more frequently referred to In these parlous the intellectual dcama, and In the midst of her conversation the declared. with marked emphasis: There Is Just this much- that I have learned the Ibsen drama Is a trick of the trade. If luck Is against you; if you have started your season and fallen early among the uDfortUDate failures; It there are no other engagements held out to you and Winter stretches his Ions, white, thin boarding-house finger at you from out the calendar tha thlnr In itn li tn nllT IhiII." Her listener sat straight up In the stiff -V-l V.

.1 with WIAVU CUflir VI IUC LiUlCI imiivi a smile that was alike incredulous and bland. Invited an explanation. "I mean It," continued the wise actress; 'I mean every word of It. If you are down on your luck, play Ibsen." "And In the name of all that's reasonable from whence do you draw that conclusion?" "From experience, my friend, And you will find It to be the truth that once you do even reasonably well, the review era will write beautiful essays about your Interpretative skill, the women's clubs will Invite you to lecture before them, the broad minded pastors of liberal minded flocks will speak, from -their, pulpits of your earnest efforts, to resuscitate the dying- dramatic art. and.

In fact, before you know It, you will be one of our most prominent actresses. deep Insight Into the subtle mysteries of the psychologic drama, the society editresses will take care of your charm of manner and grace of bearing." The listener was plainly dumfounded at the bloodless view the actress took of the matter, for he was a very aerlous listener and given to believing in people and statements, and even though' he squirmed, again In an effort to find comfort In the hotel chair be plainly would hear more of auch "I have also discovered another somewhat Interesting fact in reference to the exploitation of the aerlous drama It Is best appreciated by those who least understand It. No do not start. I have felt this coming on for some time, and I may as well rid myself of It now as later. Next week I'm going back to playing Ibsen, you know, and there Is really little relief in that.

But, to return to the manuscript the Intellectual drama, the outgrowth of the problem play movement which reached the point of dominant a decade ago, after having enjoyed several cycles of activity aince Euripides began Its study, is quite as new to the people of the stage as to the patrons of the theater. And In Its newness lies Its force. Everyone Is equal, don't you seeT" The listener drew Imaginary circles about the rim of his surprised hat, and admitted that, likely; he would see before the interview closed, but that he was still a bit mystified. Well." continued the earnest Iconoclast. the problems of Ibsen and Sudermann.

Hauptman and Maeterlinck, to take the better known writers among what we are prone to term the extremists, are beyond the solving, of the ordinary mind, not because of their remarkable depth nor yet because bey are Immersed tn symbolism or mystic-Ism, but because they deal with soul struggles and soul tragedies that, granting their possible existence, fall to the lot of people who seldom affect the library, and less frequently the theater. Now do you catch my snu The listener lied manfully, and furrowed bis brow In evident determination to convince the lady that be waa absorbing every blessed thought' that passed through her nmn.dnn anil startled the narlor atmna- phere. '-'Well, then we have the class dividedon the stage the students who study Ibsen from the manuscript, occasionslly from the library and quite frequently from the reviews In the neswpapera. These students are, i it Tun nnxn suxday mokmxg, may 22, 100 A WISDOM-FED DAUGHTER OF MOMUS TALKS OF IBSEN. I a a i ft- -v i therefore, presenting, so many Individual conceptions as their understanding of the author's intent.

In the audience sit those other students and they are few, though the audience, drawn -by curiosity, may be large who have read Ibsen patiently, carefully and frequently, and who are striving to fit their rather bezy conclusions to the character deductions of those on th stage, ttiosa ianif inna sympathy Is bound to be awakened for 90 per cent of both classes, the players and tbe auditors, have very little idea of true- Ibsen values. Tbe auditor applauds to prove- his appreciation and Intelligence; the player accepts the applause and puffs with prido because he feels that his noble insight has been rewarded. And neither having founda tion for their belief, both are satisfied It is natural for any man to admire-that which he does not understand." The listener was still studying the pattern In tbe rug, but he looked up before the silence became embarrassing, and. the quixxl-eal expression which illuminated his thoughtful features suggested that he should very much like to inquire as to what was the answer. But he did not, and she meaning the wisdom-fed of Momus), continued: -i "So, you aee, It is very simple the Ibsen drama Is, to some extent, a fad, and que that cannot be affected by the stragglers In soci ety or In the greater middle classes.

It Is an Intellectual fad and belongs to tne leaders, and therefore Its interest, in place of waning, will continue to until It Is replaced by something equally deep and equally fascinating. Until then It Is the thing for the actress who has. trouble in finding modern play which present her personality In an attractive light to the public. She Is applauded, as I say, for her intelligent efforts at saving the art dramatic, and she is granted the full attention of the special-. 1st reviewers, who, under ordinary would dismiss her performance with aline." Again the silence fell without breaking.

The listener was not asleep. Indeed not. He was thinking. he was thinking whether it Would be better for him to put; a question that would continue the interview, or to offer a merry. Idle quip, end the-matter then and there, and depart.

Soon be was decided. "Is it your contention, the intellectual drama, so styled, I presume, to separate it from the plain amusement brand. Is entirely an affectation, and should not be exploited?" "Not In the least. To the contrary. I believe in it thoroughly am I not playing It myself? Of course.

I will admit that I am doing It because nothing else -offered and because well, because I like to be considered intellectual and socially fit, don't you know. But I also believe ln.lt thoroughly, and In Ibsen, too. 1 believe'in anything that makes people think, whether it makes them think right or not. Cobwebs have a way of collecting in unused brain ceils. And we need the heavier theatrical fare as a balance weight to the trivialities.

Without variety my professional life would be quite as uninteresting aa my private life under the same csndlticns. But I also say this, that all the chanting that one bears nowadays concerning the intellectual drama, and of Ibsen as its Father. Abraham, la largely affectation. And that, so tar as many of tbe actresses presenting, these studies are concerned, it is merely a trick of the trade. And further, that the interest taken In Ibsen Is largely, very largely, due to tbe fact that no one understands him or his problems." "You don't?" somewhat -awkwardly Inquired the listener.

"No, I confess that I do not. I hare my own views of his charactera. Some of them I can reduce to a logical basis; many of them I cannot. I have often tried to Individualise them by gaining the view of others better fitted than I to analyze. But invariably I have found that each person had formed his or her own Ideals from a partial digestion of the printed plays, and waa quite as much at sea as "To-wit?" abruptly, and net altogether without rudeness, ventured the listener.

"Well, for Instance. I have talked with many women concerning Hedda Gabler. One told me that ahe understood her perfectly. I asked her In what regard, and she replied that It waa plain as day why Hedda disliked her aunt's bonnet lying on the chair. She herself had felt such irritability.

But this was quite as far as she went. Another could appreciate Hedda's nervousness, and attributed her treatment of Lovborg to an evidence of her craving for excitement, due to her physical condition. And she had gone no deeper. A gentleman thought the character was a composite picture of the tragedy that Is taking place in many lives, but he could not remember of a friend or a friend's friend or of a nearer relation that ever even remotely approached the mind condition of General Oabler'a 29-year-old daughter. There were numerous opinions concerning the 'discontent of an Impoverished but there were no two similar deductions.

and all those I obtained were fanciful and distinctly individual." "And was It so all through the Ibsen list?" "Practically. Mrs. Alvtng was the eaaicst Understood of any of the women, and the horrors of "Ghosts' appear to been the most Impressive, likely because that play has been seen the as well as because it comes closer to tbe lives that people real "people might live. Rebecca west Hs- Bifrsnoiin imonf me readers, was wiimn the understanding of our ccmpany members, and of course Nora Doll's was looked upon as a somewhat extreme but still possible defender of individual liberty theories. Hedda Gabler and.

Elllda Wangtl "The Lady from the were practically beyond us. and the others" "And yet you play Ibsen," softly muttered the listener, rising and sslling. as though he Lad made up his tnlod to "Can an actress successfully present a character she does not "Well, the critics say I can. For my part, I'm not certain. However, no more Ibsen for me next season.

Something Intellectual, yes. but not Ibsen. For, between you and me, I am in need of more funds than the Ibsen repertoire Insures me." The listener was edging toward the door, and stIU smtltng. He seemed to think that the smile would linrer to obliterate a memory of hi 8 lack of Ueaa. "Somebody mean enourh might say." he suggested, as he reached the elevator; "they might say that you were -quite as commercial and selfish as the rest of your player sisters, even though we do eulogize your Intelligence." "I am," she replied quickly.

"I am selfish. IMPROVING SHAKESPEARE. Among those who keep abreast of current theatrical and frequently air their views upon the progress, decadence, trend, and health of the drama, native and foreign, la Frank J. of the house of Wll-stach, agents, managers, and owners. This particular Mr.

Wilstach Is and has been for some time tbe director of Viola Allen's tours, and their success has been largely due his earnest and logically argumentative efforts in behalf of the attraction. The appended characteristic Wilstachlan letter concerns the possibility of reaching tbe ludicrous extreme In the matter of studying Shakespeare by the aid of well meaning but still fallible annotators. Writes "Caroline Wells, when ahe bullded her charming conglomeration of fun. 'The Nonsense overlooked one Inexhaustible occasion for merriment. Had she hit upon the pedagogue who la forever walling that Shakespeare's play 'were written for the theater and survive for the -and-so supplants tbe actor with 'curiously discordant foot notes, her wonderful little book would have been complete, and a gem beyond "Several personally appointed noodles, sclntillant annotatora of the text of Shakespeare, have been playing on this string for so long a time that they havecome to believe the tune a tuneful as they consider It true.

But It is neither musical, nor is It a fact, that Shakespeare has ceased to be actable, and to understand the deeper meaning of the text one must depend upon a parcel of ridiculous comments, instead of the finer art of the actor, "In order-to discover to what a low level of -absurdity these foot note ninnies have sunk, all that is, necessary to do Is to pick up almost any copy of Shakespeare and read the annotations. The reader will there discover such startling facts as that when Shakespeare said be meant 'absurd'; and that when be wrote 'boundless' he Intended pedagogue's purpose seems to be to deprive tbe reader of thinking for himself, or making use of his own Imagination. It Is. however, rather rough on Shakespeare to put him In the same class with the author of 'Mother However, before entering upon an examination of some of the notes to Shakespeare, let us see what the annotators, who consider that Shakespeare Is for tbe library alone, have done for 'the old lady with the Take 'Hey, Diddle, for example: 'Her. diddle diddle.

a am an Thm COW JU Tn llttl To sea surl Th cat and th Addle, lumped over the moon; doa- lauahad- urh sDort. And the dish raa away with tfca spoon. are Clara Austin Window's curious annotations: The following questions are suggested for atlm- ulatlna the dudII'b imagination -What la tha alsnitu-anca of the first Una? Hey arialnallir a pad character. "Do you understand that the cat had already br" to pixy the Addle? How did Of cat jump by the Drlaarte method? What a full moon? Vr'ae the due's iaunMng an evidence of wit ox and I dc pretend to know nruch more than I do know, but stiH 1 am different from the -r "In what way inquired the listener. "I admit It all." she said.

"Going called the young Eta In the elevator. BURNS MANTLE. Marlovre ArWe to Olnerve. Julia Marlowe's latest remarks upon the causes making, for success upon the stage are Interesting because they Include a reference to her failure in "Fools of Fortune," and cot because they offer anything new upoa a rather trite subject. Recently the spoke of the force of personality.

of all the American public demands personality," she "Give it this, and It will often be content with a poor play. But give it a good play and no personality, and -It will have neither. In one place the playwright may Injure the actor. In the other th actor may hurt the author. I frankly eonfees that my failure la "Fools of Nature" probably injured Mr.

Esmond's reputation in this country as a playwright, I believe I may say I have been successful, and for a eccceesful act rets to fail in a play doesn't do the author any good, to say the least. I believed and still believe "Fools of Nature" to be a good play. The trouble we 3 it didn't bring out my personality. I should have recognised this at first. Then I should not have done Mr.

Esmond an Injustice. Uceer no circumstances would I pro duee a play no matter how good which I felt old not suit me. An artor should be as careful about being fair to an author as he Is about being fair to himself. Even the strongest personality cannot Insure the success of a play See what happened to "Dante," even with auch a personality as Irvlnj's In its favor." One tbe Sarlag Crop. Sometimes they are changed about, and so travel another season with This tn reference to the Joseph Jefferson anecdotes, and particularly those relating to fishing experiences, which invariably sprout In the spring.

One that has been successfully treated In this way relates that on one occasion-Mr. Jefferson came unexpectedly upon a Hibernian disciple of the great Izaak, who was Industriously casting bis lines into the limpid waters of hts private lake. "Sen here!" said the comedian, "what do you mean by catching my fish?" "Begorra," replied the fisherman, slowly removing his pipe from his mouth, "Oi'mnot flahln. Ol'm t'achin'. these wurrums how to swim!" humor, or mlirht thers have been a combination of the two elements? "Would It have been poaaible for the dog to see at sucn a alliance i "The reader may.

imagine that this ex ample is' an unfair one to cite, but If he thinks so, let him scan the professor's ex aminatlon of a youth as to a salt box: Profeaaor What la a aalt box? "Studftnt It la a box made to contain aalt. "Proft-aaor How la It divided "Student Into a- aalt box end a box of Rait. "Profeaaor Verr wall! Ehow tha dlattnetlon. "Hludrnt A aalt box may ba bera there la no tan; nut fail is aDMiuteiy ntcesrary to tna tx irtenea of a bcx of aalt. "Profeaaor Are not salt boxes otherwise dl- VldCOT; "Htudent Te: by a partition.

"Hrofeaaor What la th uaa of thla DartltlonT "8tudnt To at-pa rata tha coaraa salt from the not. Profeaaor How Think a little. "Student To aeparata tha Aoa aalt from tha 'Professor-To be cure; it la to aeparate the Una aft from the mars'; but are not salt boxes other- Wise astinstiinedT "Student Tea; Into possible, probable, and poal "Profeaaor Define these several kinds of salt Doaes. "Student- A posnlble aalt box la a aalt box yet unroiu in me nancs c.r tne carpenter. "Professor Whir ao? "Rtudent Because It hath never yet become a salt oox in taet.

navina; never nao any rait in ft: and It mar Dosrlbly be anolled to eome other use. "Professor Very ri ue; for a Halt box which never hath, oath not now. and rerhaps may never have any Hit In it, can only be termed a possible salt oox. wnnt i a prooaoie salt dot "Htudent It Is a en It box In th" hands of one irolna to a shop to buv salt, and wbo hath a dim tn his potket to par the e-rorer; and a dopKIv salt box Is one which bath actually ot salt In It. "Profeaaor What la -the abstract Idea of a salt box 7 "Student It Is tha Idea of a salt ho-r ahtre-te! from the Idea or .1 box.

-or of salt, cr the salt box. nr the Lnx ef alt. "Professor What la tha aalt called with respect to tne box 7 "Student It is celled. Its contents. "Professor Why so? "Student Fteoause the cook la content to find trn1v of salt In tha box.

"Professor Ynti.are ilxht I sea you have not mtstpent year time. "The reader wilt say that It was very absurd to state that any annotator ever applied "hny auch extraordinary comments on the text of Shakespeare. If be thinks in thlj way, be will presently be disillusioned. Let us take a few lines from Shakespeare's text and then discover the-notes to them: sleep. gentle sleep.

Nature's soft nurse, how have I frlahted thee. That thou no more wilt welrh my eyelids down And steep my senves In forgetfulnessT "Here are the annotations: "Not to the first line: This line mesns that sleep Is soft and caressing; but that the speaker has scared the timid creature, and is suffering from that dreadful disease Insomnia. And yet be is so lacking In discernment that he asks bow the timid one has been "Note to line two: 'Would It hot have been better for Shakespeare to have said, "Lovely nurse, Instead of "soft nurse." Certainly the bard did not mean that thla nurse was "5ote to line three: 'It is evident that the' speaker cannot keep his eyes doted and going to sleep, forget. It is a very pretty figure, the idea of weishina; the lids down, say, with copper cents. This custom evidently prevailed In Shakespeare's time.

"Note to line four: 'Hasn't Shakespeare mads a frightful blunder In mixing his meta- T'J Xl' 'J' came to light at the time of Charles Cogh- -jf. 1 tlC UndCrStUCty V. lan death, which occurred in Oalyeston. 757 Texas. A Texas newspaper msn telegraphed ill- TT th news of the actor's death to Northern 7 CLTLCL ltlCLTLCe psperaior which he was correspondent.

The Jr i I. came to light at the time of Charles Cogh-lan'a death, which occurred in Oalyeston, Texas. A Texas newspaperman telegraphed the news of the actor's death Northern papers lor which he was correspondent. The The understudy, to the members of the profession at least. Is a decidedly interesting young The principals eye them narrowly, measuring an ability that in case of accident may o'ertop their, and those clinging to the lower rungs on the ladder are Just a wee mite Jealous of the preference shown the emergency stars.

The understudy's opportunity to. rise and shine usually comes like a thunderbolt from a clear sky. A few penciled lines from the star to the stage manager half an hour before the curtain rUes starts the excitement. Then there Is a nervous tap on' the chorus girl's door, and she finds herself being shoved into a dressing room by herself, with a dresser nervously tossing clothes about, an assistant, stage director giving a few final suggestions to her. and the musical director taking musical cues at her.

She wishes she could let her friends know, but there is no time tor it. Tbe news has spread to the tier of dressing rooms occupied by the chorus and ill-will Is forgotten; everybody- wants to len-1 her something, from real tllk stockings to a pearl pendant. Her deadliest enemy even offers her corsage bouquet of real orchids, and then enter the manager, had tempered at the absence of the popular actress, but diplomatic enough to remind the understudy that this is her chance.vand she is bound to make good. Then her entrance with friendly and unfriendly, watching her from the wings. As she comes off emotional girla tell her she "was fine," other principals patronise her and admit that-she did very well Indeed, and the manager -pats her on the back and calls her a "good girl." The next morning she buys all the papers, rushes through them, finds nothing but a line or two about her debut and weeps.

There are occasional instances of promotion following quickly on the heel of a clever bit of understudy work. Julia Sanderson, one of the principals In "Wang," was In the "Winsome Winnie" chorus at the Casino last year and wen recognition by the. good, work sne aia in Paula Edwarde role. It la seldom that an understudy, for a prominent actor can be palmed off on a New York audience, but on tho road, particularly In cne night stands or when business is dull, the understudy gets the coveted chance to play the role and the public Is none the wiser. The most remarkable Instance of this pbors? In Hne three be speaks of weighing the eyelids down, evidently with pennies; and In the fourth line speaks of steeping the sleepless person's sense that Is.

holding the head over a pot of boiling water; 1. soaking the "This Is the sort of thing that emanates from those persons who consider that Shakespeare ia for the study a ad not for the stage. But all one has to do to discover the complete absurdity of this notion is first to read the notes commonly affixed to one of the plays, and then see the play acted. There are whole passages in tbe dramas which are entirely lest on tbe reader, unless he knows or sees the stage 'business' which goes with them. Lately, la Wahington, Ambrose Blerce saw a performance of Viola Allen's company 4n 'Twelfth After the famous kitchen scene, he said: 'I read the play this afternoon and I hadn't then the slightest notion that there was sneh a wealth of fun and comicality in the lines and situations.

Afte all. It takes tbe actor to elucidate the text either by inflexion, facial expression, or by what Is called "business." It is surprising to discover what a difference there is between reading, a play and aeelng it well duel scene of the comedy can be read without one grasping more than a pinch 01 me nuge duik 01 comicality. Unlets one knows the 'business' that goes with the lines, tbe fun is almost entirely lost. "Take, for example, the following from Twelfth Night': "Sir Toby: 'Where are you. Sir Andrew "Sir Andrew: 'Here I "Now.

there Is certainly nothing particularly comic to these speeches, but see them properly rendered and they.become the occa-rion for shouts of laughter. The reader who has not seen the play upon the stage, does not anow mat sir Andrew has bid in a tree to escape the soldiers who have come to arrest Antonio, but whom he imagines have come to take htm in consequence of his duel with (jesano. bir Toby, In the meantime, baa bad a few saber thrusts with Antonio, and that person carried off. looks about for his friend Sir Andrew, crying. 'Where are vou.

Sir Andrew This individual, scared stiff, sticks hi head out from jt cluster of leave and answers plaintively. "Here 1 Nor can a mere reader have any proper notion of ict. era! of Viola's lines, such as that: 'You're fair. If God did and that other one: 'Poor lady, ahe bad as well love a unless spoken by an accomplished actress 'in the Play. "Now, Shakespeare left much of the sense of these passages, as he has hundreds of others, for the actor to Illustrate and em bellish.

Consequently, In order to reallv know one of the plays In Its fullest sense. It must be seen upon tbe stage, for, as It has been said. Tbe drama were written for the theater. If Shakespeare had Intended them for the library be would have supplied his own notes and illustration and thus saved the world from a collection of ridiculous annotations. "The Individual who does not go to tk theater to see Shakespeare's play performed reminds one of that sapient Hooaler who did not visit the ruins of Pomreil.

for the reason, as he expressed It, That they were out of next morning the report of the actor's death was denied officially-by Coghlan's manager, who 'was-la Omaha, where the-Cogh-lan company was playing "A Royal Box." The manager insisted Coghlan was with his company; the Galveston newspaper man Insisted Coghlan was It was noruntil late in the day that the manager acknowledged the correctness of the news from Galveston. It then, came out that Mr. Coghlan had not been with the company for several weeks. An understudy had been playing his part all this time and the publio was none the wiser. In some pf the men who saw the- understudy in the play at Omaha Joined the manager in declaring the "report from Galveston to be untrue.

All cases of dramatic 'mistaken Identity are not tragedies, as witness this tale: All light comedians look more or less alike to the unobservant public, and Harry Corson. Clarke, a popular comedian through the West and mid-West, often takes advantage of this fact when playing one night stands. His understudy was a young chap of much patience, but this virtue was taxed heavily during the season. When Mr. Clarke did not.

like a long jump he didn't make- It Just took the short cut and met them at the next stand and the understudy played tha role on the intervening night. In the course of time the company struck, a town whose principal hotel was run by a bonlface with a memory for' name and habits-, of ills guest. If not for faces. The. understudy walked up to the desk bodly wrote "Harry Corson- Clarke" en the register.

The hotel man beamed. "Ah; I've been expecting you. Mr. Clarke. Tour meals will be served In your room as usual." The- understudy said.

"Thank you" In a bewildered fashion, a he was not accustomed to being served In his room. the first meal arrived he said something that did not sound like "Thank you." The meal consisted of breakfast food and milk. Mr. Clarke had indigestion of the most aggravated sort and the bonlface bad Everybody around the hotel seemed to have remembered, and the understudy was, compelled to play his role both on and off the stsge. The engagement was for two nights, and when the company at last boarded a train the understudy made for the dining car and ordered the biggest steak on the menu.

I raareralag rTf vette." 1 Manager Prohman was evidently wise in trying one of his problem play holdings upon a charity audience in New York, for the piece was voted a failure. "Yvette" was the and it will be recalled aa having been In the possible repertoire of Julia Mar lowe, when that actress closed her season la Chicago, shelved "Fools of Fortune" and refused to go on with any of the new plays sent on from New York for. her consideration. was looked upon as a possible successor to "Zaza," having been adapted! by Paul Berton, the author of the latter play, from the original story by De Maupas sant. But the reviewers were unanimous in their discouraging conclusions In regard to its possible success.

Tbe story, as staged. suggests a certain unpleasant strength In characterisation. Yvette Is the illegitimate daughter of at woman who passes as a Marchioness In a world of adventurers male and female, and uvea In luxury upon such lovers aa chance may aend her. On version of the delectable tale' has been played in this 'city already. Yvette has been brought up in a convent," Ignorant of the world, especially her mother world.

When the plsy opens she has been long enough In this roclety to hear things that pussle her, and to fall in love with Jean de ServlKDT. the least questionable of tne men who follow her-about offering everything but marriage. Jean has some spark of decency left in him. and is unable to decide whether Yvette' amasing Innocence is rea or- affected. She is so extraordinary a product of convent training that any one might be pus aled.

She lives in halls of glided vice, she exchanges with the surrounding- blacklegs sallies of wit that would make a drum-major blush, and yet he has hie doubts. When the household adjourns to the country, Yvette dances the cancan in her bathing dress with a boating party of strangers, but nevertheless is indignant when the enraptured Jean tells her that he love her to distraction, but not enough to marry her. When Yvette realises this, and also that her mother's life is everything that It ought not to be, she decides to inhale chloroform, and does so. Then Jean Invites her to go to the uttermost ends of the earth with him as his wife, and Yvette recovers sufficiently to consent. In De Maupassant's book there Is no question of chloroform or marriage Yvette simply decide that what was good enough for her mother is good enough for her.

She would have preferred marriage, but the convent training counts for. nothing as against the hereditary taint. In the book Yvette is wildly. improbable. In the play ah is aa utter Impossibility.

Japsaess Actor I a War Tisne. There is an odd little story afloat concerning a strategic movement on the part of the Japanese which suggests innumerable melodrama plots. It concerns a tour of Russia made' by the Japanese actors, beaded by Sada Yacco, aome seasons ago. In Berlin the company was Joined by a Japanese actor, who was engaged to play small parts. He went about everywhere with Sada Yacco and Otojvlo Kawakami, the leading man, traveling all through Russia with the company.

That was the last Russia saw of him for a time. When he turned up again it was as the Admiral of the fleet that attacked Port Arthur. Pretty clever for a strategist to study a country wltb which he expects to be at war disguised aa a member ef a traveling theatrical company. It was on this tour, too. that Kawakami, the leading man, was honored ty the Czar wltb the presentation of a beautiful watch.

It Is decorated with the portrait of the ruler of all the Russias and also contains an engraved copy of his majesty's signature. During one of the many recent celebrationa of Japanese victories in Toklo Mr. Kawakami was relieved of this timepiece by tbe clever fingers of some pickpocket. The loss was announced in the papers, and to square himself with his patriotic admirers, Kawakami declared that he was rather glad that some one had relieved him of this memento of the Russian despot, even if It was worth 1.000 yen. A few days after this statement appeared in me TOKio uaitic a coouo mppearaa Kawakami' hotel and left a package.

It contained tbe watch and a few word to the effect that It was returned because tbe thief had found it Impossible to realise on a watch decorated with the picture of the Czar. "Even the thieves," remarked one of the papers editorially, "are ashamed to have In their- possession anything Russian." Slfsora Dsie'i Worries. The lives of some few actresses may II tn pleasant-places. But not that of 8lgnora Eleanora Duse. The Italian actress.

It msy be said without excessive exaggeration, was born ia a railway carriage and has been uneasy ever since. Now she has arrived tn Paris and will there consult the best French physicians with regard to an attack of influenza which affected her lungs, and from which ahe has never quite recovered. She lives in complete retirement, -seeing no one, avoiding all fatigue, and doing her best not to think of things theatrical. She refuses to spesk of of anything concerning the atage, and ao anxious 4s she to divert her thoughts from her profession that when she goes out she will not "pass before a theater if she can help it. If the theater has brought her her greatest triumphs, it has likewise been the cause of much sadness to her, and she ua receoiij imjicu 1010 a yruiuuuu menu- choly.

Her friends are few in number, and ahe refuses all opportunities of making new acquaintances. She constantly keeps near her a atatuette of Proserpine. The pagan deity ha a peculiar fascination for Slgnora Duse, who has Invested her with a mystlo charm, and believes she has discovered In her points of resemblance to herself. Saceeaafal Cobbler-Dramatist. In Paris a cobbler-dramatist has The tragedy "Don Qulchotte," recently produced in the capital of the art, has been declared worthy of consideration with the classics, and it was written "by Jacques le Lorraln, who previously had attracted some attention by his literary efforts, and distinguished himself by starting in business as a cobbler.

Le Lorrain' father had been a cobbler, but the son tried bis hand at this trade only because, though his writings had brought him some fame, they had not produced bread and butter regularly. The writer' cobbler hop wa in the Rue du Sommerard, and he advertised It widely In verses of his own composition. Le Lorraln also wrote letters to the Paris newspapers in which he compared htmself with Spinoza, who made spectacles' for a living while be laid the foundations of his great philosophical worka. But Le Lorrain proved to be a bad cobbler If a good poet, and the things he did to the shoes speedily drove away such customer as his verses attracted. So Le Lorraln decided not to "stick to his last." He closed his cobbler's shoo and became a school master, and it was while following that call ing that he wrote the drama which ha brought fame to him.

I.