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BJB bT^V \ Bfla*VvJsJ'Q flaP BrT^^aa^T^ . Ps4mmS&iim^><:+J'' *b2J Wi laftWfl aflr <"^a n •'• B\jr%lf 2^••'•"" '-".^r flJEfi Ka'jßi "^4£>»X /WirC^aflß mt^^m^m**^^ ninraaji f^| \K\ flBaaSK aflßaV Bflr -^ V.^'VX fC Bk | Wal aflflflflT b^ H •^^?C^^*l"BaS^™Wfll^^^^^F"^_ HaflaV t<~". S9 B4 tN—flf-1 ' 'aflß fl^Bt **'*.. *Ljlflfl HaWF flfl™fll Sw ■(aft** aflßaV aN" *%L. ] HF^","'i«"»V >-^flaflaaV flB I kWm «OB flr £*f wr fjnf flgj3R ' •;*-.' m\WEj] {fn aT'3B aaHaV* BflPtek. JJaflfll 7B BT'**»Baß JaßL^Hrßn $?7 \ aP **afiS t^aaaaa^aal flallaßw "ARE YOU A MASON?" AT THE METROPOLITAN. A farce comedy that is credited with uncommon success as a mirth provoker, will occupy the Metropolitan stage the first four nights of this week beginning this evening. It bears the interrogative title "Are You a Mason?" The company presenting It is headed by John C. Rice and Thomas A. Wise, two well known comedians whose capacity to entertain has long ago been unmistakably demonstrated. The com edy, which is an adaptation from the German by Leo Ditrichstein, tells the following story: An elderly married female having ar rived at the conclusion that the lodge room is the only safe place for a husband (his own fireside, of course, excepted), has decreed not only that her own husband shall become a Mason, but also that her daughter's worse half shall join. This decree from mother 7 in-law is sent, via the wife, to the young husband, Frank Perry, during Mrs. Perry's absence, with Instructions that he shall join before she comes home. Unfortunately so much time has been consumed by the husband in his attempt to "be good" after his own ideas that he has forgotten all about the mystic* oftle* until a letter from his wife announcing her immediate return brings it to mind. Her untimely arrival forces him to assert himself a Mason in order to ex plain his midnight wanderings, which a brisk housemaid exposes. He seems quite safe under the protection of "in violate secrecy," which the encyclopedia explains is the first essential of the order, until his father-in-law arrives with mother-in-law. According to current belief Mr. Bloodgood, the fatherrln-law, has been a maSon for twenty-two years and is way up, thirty-seven degrees high; hence his arrival fills the bogus Perry with fear of exposure. It appears, however, that Bloodgood is also bogus, and the meeting of the two men, each supposing the other to be the real article, is absurdly funny. The difficulties and embarrassments of the two frauds, abetted by the arrival of a real Mason who is in search of one of Bloodgood's daughters, and the anxious to be initiated into the lodge constitutes the rest of the story. The engagement is for four nights and a Wednesday matinee. "THE GAMBLER'S DAUGHTER" AT THE GRAND. A new melodrama entitled "A Gambler's Daughter," will be the at traction at the Grand Opera house this week. The play will have the same production and the same cast as in the original Chicago engagement. It is said to contain stirring scenes and pictures que stage settings. The heroine is the daughter of a lead ing Chicago board of trade man, who also secretly maintains a gilded and luxurious gambling palace on Michigan avenue. The daughter, Kate, discovers the true character of her father only JOHN C. RICH AND THOS. A. WISE —- . . — --__ . _l In "Are You a. Mason?" at the Metropolitan Tonight. after the later, aided by his unscrupu lous partner, has conspired against the honor of her lover. By her brilliant deals on the board of trade made through her broker, she ruins her father financially, winning from him nearly every cent he has. On the same night she visits her father's gambling hell where he Is desperately trying to make up his day's losses on the board. Disguised as a Spanish woman she breaks the bank playing faro, and the father in a fenzy tears the mask from her face. His rage knows no bounds when he discovers it is his own daughter who has wrought his ruin and discovered his iniquities. After many more exciting adventures the lover and his sweetheart see the clouds of their distress move away and they are reunited, the father being reclaimed from his evil ways. The role of the daughter is assumed by Miss Clara Thropp. Others in the company playing the principal roles are Fannie Argyle, Arthur J. Pickens, Frank E. Mitchell, Benson A. LaMar, George Lyle Cox, Lavina Thompson and Allie Willard. By no means the least interesting portions of the performance are the songs and specialties that are introduced. NANCE O'NEIL AT THE METRO POLITAN. If the unexpurgated ardor of the ad vance agent's rhetoric can be relied upon, next week's offering' at fhe theaters are of a sort to make us forget all past dramatic sorrows. At the Metropolitan theater next Thursday night Miss Nance O'Neil, the young American tragedienne, will begin a two night's engagement in an elabor ate production of Herman Suderman's play, •Magda," the central figure of which is held to be one of Miss O'Neil's greatest creations. "Elizabeth, Queen of England," will follow on Friday night. "Camille" will be given at the matinee performance, and "The Jewess" on Saturday night, which will close the engagement. The version of "Magda" used by Miss O'Neil is an adaption from "Heimath." It was first produced in London in 1895 when it was at once rendered famous by the genius of Eleanora Duse, who played it In Italian, and Sara Bern hardt, who of course gave a French translation. The story of the play deals chiefly with the contest for supremacy between Col. Schwartz, a retired officer of the German army, and his eldest daghter, Magda, whom he has driven from home for refusing to marry the man he had selected for her. Dring her absence of twelve years or more In the world Madga Is betrayed by a Dr. Yon Keller and deserted. Subsequently, however, she rises to fame as an operatic singer and returns to her native village as the star of .a.great musical festival. There she again meets her betrayer and her father discovers the secret of their former intrigue. He makes her choose between death or becoming the wife of Yon Keller, but she must give up her child. This Magda refuses to do under the promptings of mother love. Just as her father is about to shoot her he is seized with another fatal stroke of paralysis, but forgives her with his dying breath. WALDRON & BRYANT'S TROCA- DEROS AT THE STAR. That clever band of comedians and handsome girls, Waldron & Bryant's Trocadero Burlesquers, will be the at traction at the Star theater this week, beginning with a matinee today. This is the second season of this organization and its success last sea son will probably "be Remembered by all who had the pleasure of enjoying its performance. The comedians are ster ling performers and the girls of the company are young and pretty. Twc* new amusing skits have been especially written for the company and they are full of funny situations, breezy dia logue and catchy music. They are ar ranged so that during their action there will be plenty of opportunity for the introduptkm of pleasing specialties, songs, dances, marches, medleys and ensemble numbers. The first part is entitled "Prince Henry's Reception" and is a merry satire of the doings of the kaiser's brother while in this country. Larry Smith, a funny little Dutch comedian will be seen in the role of Prince Henry and he will be assisted by W. W. Mc- Evoy, who wiir play the part of his valet. The closing burlesque is called "The School of Love. The olio will comprise Adolph Adams, impersonator of famous characters, Larry Smith and Mamie Champion "the funny little Dutchman and the handsome soubrette;" Carrie Masspney and Martha Hableman, vocalists; the three Herbert Brothers, wonderful ac robats; Burk and McEvoy in their humorous boxing act; World's Comedy Four, and Kelly and Reno, comedy acrobats. The usual matinees will be given. COMING ATTRACTIONS. America's most intense emotional ac tress, Mrs. Leslie Carter, in David Be lasco's "Dv Barry," will close the regular season of the Metropolitan opera house, ihe engagement will be for one week, be ginning Monday, May 25. Mrs. Carter made a great reputation in "The Heart of Maryland" and "Zaza," but her success in this play, in the leading role, is greater than all previous triumphs. The support ing company and elaborate scenic produc tion which ran for over a year in New Yory will be seen here. The sale of seats for Mrs. Carter's engagement will begin Ihursday morning at the Metropolitan opera house box office. • • * Manager Scott is very busy preparing for the opening of the summer season at the Metropolitan opera house, beginning Sunday, May 31. The tremendous cooling apparatus with which the building is equipped, is being thoroughly gone over and put in first- claas shape so that the THE ST. PAUL GLOBISU^iuWt, MAT 17, 1903. temperature will be at such a low ebb that this theater will be one of the desirable spots this coming summer. Managers Scott and Ferris promise a capable com pany for the summer. The season will open with the play "Graustark." This will be the bill for one week. The terson nel of the company will be announced in a few days. DRAMATIC GOSSIP. C. B. and Thomas Jefferson will make a revival of their old success. "The Shadows of a Great City," next season. * • • "Lights of Home," is the title of the Lottie Bfair Parker melodrama that will be seen at the Fourteenth street theater. New York, next fall. The scenic features embracing nine big sets. A large company will be employed in the presentation. * • * Out of the eleven musical comedies that have been seen on Broadway since the first of January, only three remain, and two of these, "The Sultan of Suiu" and "The Prince of Pilsen." were both stamp ed with success in the West before New York would listen to them. Both pieces give promise of continuing through the summer. * * * Joseph Haworth Is to star next season in a play by Theodore Burt Sayrc, called "The King's Highway." * * • Maxine Elliott, while abroad this sum mer, will be the guest of the Emperor and Empress of Germany on a yacht cruise along the Baltic. Frank Moulan and his wife, Maude Lil lian Berri, have lately turned their atten tion to song writing. Two have already been published under assumed names and have been successful enough to have brought them to the conclusion of putting their real names to them in the future. The late Stuart Robson was a free thinker, and it was a notable feature of the last rites over his remains that no stereotyped funeral service was conduct ed. There were flowers and a brief ora tion by Augustus Thomas, and thus ended the career of one of the most famous actors of the American stage's history. • * * Nothing daunted by the failure of "Dv Barry" in Berlin, it is more than likely now that Mrs. Carter will go abroad with that piece when her American engage ments are closed, and will appear in Lon don and Paris, ag Belasco retains the French and English rights to the piece. ♦ ♦ • Paris has a new sensation in the be quest of 100.000 francs to M. Coquelin by a Madame Renaud, who admired the actor but wag unknown to him. It is said that Coquelin will transfer the entire sum to a worthy charity, as he has refused to ac cept it for his own use. * • * Oliver Doud Byron, the actor of sensa tional plays, will hardly feel the loss of his cottage by fire at Long Branch, finan cially, for he owns some thirty others in the vicinity. Outside of that he is very rich. Byron made his first big money in "Across the Continent," a play now quite obsolete. Henry Irving quarreled with Sardou FANNY ARGYLE, -■- ' iri " ~ With "A Gambler's Daughter," at the Grand. before "Dante" was produced in London because he deemed it proper to cut the popes out of the scene ..depicting hell. Now he has grounds for a much graver quarrel, for. from all accounts, "Dante" haa proven the biggest failure of the famous English player ever had on his hands. It is said that the production cost a snug fortune and there is little chance for Sir Henry to recover his losses. New Yorkers ought to be able to find some amusement in life next winter; there will be sixty-five theaters devoted to drama, musical-comedy, vaudeville and burlesque. This includes only theaters that are realities; there are a lot more "on paper" that may materialize later. Then there is the Metropolitan opera house for grand opera, the Madison Square Garden for the horse show, circus and other big exhibits, and innumerable dime museums and music halls. But Greater New York is a big town. » * • Ezra Kendall and his "Vinegar Buyer" seem to have made an unexpected hit in New York. His engagement at the Savoy gives every indication of proving one of the comedy successes of the season, even if It did arrive there rather late. * • • Marie Tempest is to revive "Caste" in London for the final week of her engage ment there, assuming the role of Polly Eccles. After her English season closes Miss Tempest will take a well-earned va cation and then come over to this country, which she has not visited since she de serted comic opera for legitimate work. Speaking of comedy, a combination just formed, by which Otis Skinner and Ada Rehan are to be seen as Joint stars next season, brings to mind that they will de vote their entire season to it. In a meas ure this combination should prove one of the most artistic organizations of the modern stage. Both Mr. Skinner and Miss Rehan are graduates of that famous Daly school, where the best of the period was given, and they will have all of the Daly mounting to back up their work. As an nounced now their repertoire will embrace revivals of "The Merchant of Venice" "The School for Scandal" and "Taming of the Shrew." With Mr. Skinner as Shy lock, Charles Surface and Petruchfo in these respective plays his admirers are promised a delight, especially when taken into consideration that Miss Rehan will play the opposite roles of Portia Lady Teazel and Katherine. Of Miss Rehan's work in the famous old comedies everyone who has kept any record of the stage is familiar. As for Mr. Skinner, his reading is one of the distinct charms of everything he does. With two such artists at the helm theso old plays should certainly take on a new interest, and there is every reason to believe that they will b e given in a manner as near artistic perfection as can be attained at this time. It certainly i s a happy blend of exceptionally talented stars and means a great deal for the new season. —Cincinnati Enquirer • * * The long expected announcement that Miss Eleanor Robson is to be a star next season has at last been made. Her work this year in "Audrey," and more particu larly her remarkable success In the all star production of "Romeo and Juliet " have fully warranted the elaborate ar rangements made by Liebler & Co for her tour at the head of her own company A contract has been signed with Edwin Arden, who . has begn. engaged aa her leading man, and the two plays intended for her use have been dfccided upon. On* of them Is "La ValMfefre^' a play written by Henry Bat< He, Hie famous Parisian adapter Of "Ile.*urre«.ion," especially for Miss Robson. ' The other play accepted for Miss Robson is how being written.especially for her by Mrs. Humphrey "Ward and Mr. Louis N. Parker, and this hpa already advanced sufficiently to encourage the hope tnat ft will prove a play of marvelous strength. It is entitled "Agutha," ana will be an orig inal English society drama, not a book adaptation, in which' the characters will b« drawn with the gifted English author ess' supreme skill, and to which Mr. Par ker, the famous author of "Rosemary," will lend his best efforts as a playwright. When Stuart Robson appeared for the last time in "The Henrietta" at the Grand opera house in this city, he remarked to some friends after the performance that this was the hist time "The Henrieflta" would ever be played. So jealous was he at the thought thai any other actor should appear in his role of Bertie, that I under stand he had a provision in his will that all the manuscripts connected with the play should be destroyed immediately 'up on his death. It was. a favorite saying of his that, next to his wife, "The Henriet ta" is the finest woman in the world. One point upon which Robson was particularly sensitive was his age. He was such a complete master of make-up that few who saw him in the role of Bertie ever realized how old he was. J. H. Stoddart" was talking with Robson about "The Bon nie Briar Bush" shortly before he sailed for Nova Scotia, and remarked that he . NANCE O'NEIL ■i* >B Who Will Appear in Repertoire at the Metropolitan dtt the End of the Week. would use the same play next season. "By the way," said Mr. Robson, "there is a great opportunity in it for an old man. The part Just fits you." "That's no way to talk," replied Mr. Stoddart. "I'm not so very old." "You are doing pretty well, though." "Why," said the actor, "I had to ask my mother to let me go to see one of the first performances; of Joseph Jefferson • in • 'Rip Van Winkle,' and I was just cutting my, second teeth when you put on "The Henrietta.' That isn't so bad for an age 4, man."- —Cincinnati Enquirer. * • * • Tfie business of the -claque has been subdivided into many branches, all 'of which are controlled by one man or group of men. The applauders—even the lady in ,tl\e box who faints and the man whO; hisses at a good part in order to arouse the,, indignant enthusiasm of the audience were all provided for so many tickets a performance, to be sold by agents to the public. So carefully were the plans of campaign thought out that the Wnitely ©f applause used to provide a. man or woman dressed in provincial sjyle,to jump up fuul scream out, "There's, the villian hiding behind that tree," or the like. We also hear of cowboys in thefAr West pulling out their revolvers and peppering the mel odramatic villain. On one occasion In a London theater the busine|te instinct came out in the same way., A, relative of the lessee was enacting the part of an Indig nant father whose son had got into the hands of the money lenders. In the inter verely lectured him, and rthen demanded view with the money lender the father se his son's bill. "There/ six," he said, "la my check for a thousand) pounds." The money lender was Jusjt reaching out for the check when a voice came from the pit: "Don't you take it, old chap. I've got one of his now f or'"six pound ten, and he asked me to hold it for a fortnight."— Chambers' Journal. We often hear some one say, "The show business ain't what it used to be," and although the complainer's remark is not prompted by progress and advancement, he is right, "It ain't what it used to be." Never were the possibilities so great, the theaters so handsome or well conducted, the plays so well staged or acted or the public so willing to patronize good plays as now. Gone forever is the "palmy day advance agent—he of the tall shiny hat, the big yellow diamond and the long black cigar, whose "ad" always read, "Can book the show, know the country backwards, not afraid of work, carry a paste brush and overalls in my bill-trunk and can post 'em four high without a ladder." Gone al so are the motley crowds that gathered at Fourteenth street and Union Square a de cade ago to swap yarns of great triumph in Ypsilanti and Dowagiac. In their place are the greafc. office buildings along Broad way and Thirty-sixth to Forty-second streets, almost entirely devoted to theat rical business. From these offices com panies are routed months, and frequently two and three years ahead, as there is hardly a town of any importance but has a reputation in one or the other of the the atrical exchanges. The advance agent 01 business manager of today possesses the "showman's instinct" while outwardly he savors of a commercial training. He can write good copy, has a large acquaint ance with Dusiness people, attends to the details of the company with accuracy and dispatch and moves on. "Some one" was right, "The show business ain't what it used to be." I Mansfield's Brutus ji One of the pleasant«Bt iand certainly one of the most beriefldal results of witnessing a standard presentation of a classic, Is the gleaming, of our after math reflections, our jaenfce of ripening consciousness of its jjne points, and, what is still more plaasrtnt and bene ficial, the intefthreadihg 6f our utteTed comment with that of? a fellow specta tor. Will the "amateur critic" who spoke in last Sunday's'-klqbe of Richard Mansfield's presentation ctf Julius Caes ar, allow a little friendly interchange of opinion, in no splrM o£ controversy, but rather with a iribtrve of finding points of agreement as well as of dif ference? First, as to Mr. Mansfield's concep tion of the character of Brutus. The exceeding quietness of the impersona tion was doubtless due to the thought that this consorted with the adjective "gentle" accorded him in the text. Reference may be made to Charles Lamb's essay "On Some of the Old Actors," In which he speaks of Bens ley's lago as being done surpassing well, being, in fact, consummate acting and why? Because it appealed to the discernment of the spectators, making them flatter themselves for the astute ness at discovering knavery under a mask? No, far fram it. Bensley's lago was successful, says Lamb, because it would have be-gulled the whole audience as effectually as it did the Moor Into believing him a steadfast, well-meaning friend to the latter, if the audjence had not heard his con fegsions In soliloquy or seen his scenes With Roderigd. And thus Mansfield's Brutus may have effectually carried out the idea of a simple, unassuming good man who never thought of talk- Ing or acting for effect. His only really thrilling public utterance was spoken juut after the assassination, in the en deavor to quiet apprehension and to as sume manly responsibility for the deed. The ppeech from the forum was no dramario oration. It was nothing more than a manly explanation of why he had acted as he had and it was perhaps delivered as such the better to contrast with Anthony's subsequent speech. And to consider the adjective "lachrymose" it is probably true that at times Mans field's Brutus is open to the very op posite criticism if insufficient pathos, of perhaps speaking too coldly the beautiful lines that liken Portia to his heart's blood and the ones that contain the mystical faith in the tide in the affairs of men. The former are capable of containing infinite tenderness and the latter may hold all the solemnity of reverent acknowledgment of unseen things. They have, in fact, become in corporated into all English speaking character. It is right to say that in the tent scene, Mansfield bore out the quality of greatness afterwards ascrib ed to him, and that strongly contrasted to this was the terrified haste, after seeing the vison, with which he roused the sleepers. Throughout the whole I>lay his only departure into heoric de livery was his command, after rousing the sleepers, that the powers set on betimes, and one is willing to admit that this only declamation utterance, with its attitude of uplifted arm as the ctlrtafn closed,- was slightly dis appointing as being rather out of keep ing with the previous simplicity of the impersonation. The death of Brutus is perhaps just ly criticised as being unnatural. True MAMIE CHAMPION H s '- »B nlicj^ ' i t^.: ■ ■■.■:■:.■:■■■■ ■■■■■■.■ ..■...■■ ■■■. ■.-. ;;■.■■ ■.;.■ v. , ■.■;■■....;■...■..•. .-v;-:-: :-y_S B .";.;!•: W^BB^Bw 'a ■ ''-^? ''.■''■'■ ',"**'•••' '■ .':' -■' > hußh ■ "ifc^v-"^.'v:*'; V:' ■.': ■'■''<-^-:' '•'. ■'<.'■'.'■''■'■'■'■'■'. A; I ■i+r"'-'' ■' *,■ '-'v" ' Tgflß -CHBy^ \ '.-'"*' '" ■' '■ -' ' '-*■'■ ■-'-.'' ■'■ -"''•-. W]^h|B ■*■'■ ■ '-^t'- "■'■■■'■'' '■ ■■' "■'■■'■ '.".'.■.■ .■:■■ ': ; v.-.f-, B With Trocadero Company at the Star. it was not enacted with the convention al, significant thud upon the stage in tended to make the audience aware that the character had become a corpse. The death of Brutus was natural in that nobody knew precisely how long he breathed after the sword wound. But the laws of gravitation would have made his body slide down from its elevation with the expiration of his strength. Perhaps the aptest adverse criticism may be specified as an ab sence of unconscious proof that Brutua was the lovable, generally esteemed METROPOLITAN J^J'S,. 4 BE Na'.% H NT, SNG TO-iSIGHT I wMHM&T I "You laugh, and laugh and laugh, and when you have finished laughing you laugh at what you have been laughing at.' —N. Y. Herald. C. I mnu o THOS. A. R JOHH C" I RIpU o, THOS. A. • ICSI COMEDIANS WWISC In the Tremendous Laughing Hit ARE YOU A IP? THE COMEDY SUCCESS OF TWO CONTINENTS Night Prices, 25c, 50c, 75c, $1,00, $1.50. Matinee, 25c, 50c, 75c, $1.00 4 PectS! Thursday, May 21 ml™|^ THE YOUNG AMERICAN TRAGEDIENNE, MISS NANCE 0 NEIL 1 Ei9i f£3f tfi^B &9 was . bKSBSBCI Xlc3j?sffir §.' H wfifl IfIImBKSPI mkH HS9R9H •■':f^l' : - In Classic Repertoire Thursday Night Saturday Matin KtESfflS "MA6OA" "CAMILLE" Friday Night Saturday Night 'ELIZABETH,Queen of England "THE JEWESS" Prices-Night, 25c to $I.so—Matinee 25c to $1 May 35— Mrs. Leslie Carter in "Dv Barry." GRAND! Tonight aAc?BLnT,PRQR the?l.^ts^manaserJ And All This Week The Sensational Melo-drama of Modern Life A PLAY OF PURE A FIRST TIME HEART INTEREST §% HERE GAMBLER'S DAUGHTER By OWEN DAVIS, Author "Through the Breakers," Lost in the Desert," etc. 4 SCENIC ACTS OF STOKES 4. Truly a Colossal Production! man that both Plutarch and Shake speare tells us he was. As we followed the play we had to count on this lovableness and public estimation as a foregone conclusion. Mansfield would not, perhaps, have convinced us of it without it. There was no emanation, or not a sufficiently evident one, of un conscious charm. We could not have learned from him if we had not known it before why the conspirators so eagerly sought to have Brutus of their number. It may perhaps be opportune to in* sert a word on the. fine rendering of Cassius and of Casc^, and perhaps also, to be bold enough to express no objec tion to Caesar's slight physique. His power, we may infers was rather ment al, than physical. It was scarcely of the policeman-like strut and it probably ignored fox terriers. The dialogue ex pressly tells us that Caesar was slightly deaf and Cassius relates that he was timid when in the water. His fear of lean men who think a great deal was probably the inversion of a shrewd self estimation. But as to the assassination itself. It was horribly quiet and deliberate. Where was the tumult, hub-bub, pell mell, confusion and deafening uproar? Senators and guards remained as still as if murder were a daily civic neces sity, and they did not pour out into the street to spread the news until they were told to do so. With all due con- AMUSEMENTS. MOZART HALL Pabst Theater Co. of Milwaukee Season of German Drama Price*. $1.00, 75c, 53c, 25c. TONIGHT — "Hasemann's Toechter" Wednesday, May 20—"Sic weiss etwas" SX /\ R Matinss Dally THEATR.E Evenings at 8:15 Mat,. Today-All Week jj ««♦« TROGADERO ft BURLESQUERS 20c Ladies Matinee Fridays. 3flr Next week I 'The High Flysrs Co." UWU sideration for senatorial etiquette and prevalent stole philosophy, if our eyes must take In the spectacle of a man being slain, at least let our sensibilities be stimulated by all necessary enliven ing- noise. Perhaps one of the chief results of Mansfield's Brutus may be that of the Brutus of history—the making of elbow room for Mark Antony. The latter was certainly a fine impersonation. Per haps as good as the declamation to the mob was the previous apostrophe to the corpse of Caesar when left alone with It in the senate house, and the quick dramatic dialogue with the envoy of Lepidus. The apostrophe was the reve lation of reality beneath artifice. The dialogue showed the instinctive, instan- : taneous adjustment of an unexpected circumstance to the new thought of deeply rooted cunning. Shakespeare is grand in his com pensating conclusions. Montague and Capulet shake hands over the bodies of Romeo and Juliet. King Lear admits he was wrong, and that he does justice to Cordelia is the only end of the play and the highest it could have. And we might follow out interminably this study he gives us of the homage of ; wrong to right. He is epitomized human nature, vitalized thought, letting each of us find and prove ourselves in him, prove likewise the law of per sonal influence that leavens one char acter by another and prove most of all his own abiding faith In human nature which redeems his tragedies from be- ' ing degrading enactments of crime. Othello's better nature is not changed, it is simply made subservient to lago's craft. Shylock's rage, though it is as j much that of a bereaved father as of : a defrauded money-lender, is self-sug- ; gested, as are the terrible misconcep tions of Lear and Leontes, and though Macbeth is a study of a suborned will ; rather than of a mistaken apprehension, ' even in him t ehbetter man speaks to the very end in those inimitable, beau- \ tiful raptures of remorse. And to come back to our study, Brutus, our immortal, universal poet, has shown us a nature played upon by the more vitalized, but less noble thoughts of another, subservient to a mistaken patriotism, victimized by Its own nobility. It takes a Shakespeare to make an assassin seem good, to re- ' deem both the tragedy of Julius Caesar and its chief character from the degen erating spectacle of wrong-doing. For our late opportunity for this ennobling study we are certainly thankful. We are likewise grateful for any discussion that serves to intensify our impression of the grandest of poets. TWIN CITY FENCE ft WIRE WORKS • Jl * '• 111 Ifr!^?*^Hiilt 111 - lllllTlßTl llllptt; .XIX SIXTH ST. .... ST. PAUL, MiNN. 21