The Ways of Men [67]
interest, and perchance create a desire to see the masterpieces of classic drama (the common inheritance of all civilized races) revived with us, and our stage put to its legitimate use, cultivating and elevating the taste of the people.
One would so gladly see a little of the money that is generously given for music used to revive in America a love for the classic drama.
We are certainly not inferior to our neighbors in culture or appreciation, and yet such a performance as I witnessed at Orange (laying aside the enchantment lent by the surroundings) would not be possible here. Why? But to return to my narrative.
The sun is setting as we toil, ticket in hand, up the Roman stairway to the upper rows of seats; far below the local GENDARMERIE who mostly understand their orders backwards are struggling with the throng, whose entrance they are apparently obstructing by every means in their power. Once seated, and having a wait of an hour before us, we amused ourselves watching the crowd filling in every corner of the vast building, like a rising tide of multi-colored water.
We had purposely chosen places on the highest and most remote benches, to test the vaunted acoustic qualities of the auditorium, and to obtain a view of the half-circle of humanity, the gigantic wall back of the stage, and the surrounding country.
As day softened into twilight, and twilight deepened into a luminous Southern night; the effect was incomparable. The belfries and roofs of mediaeval Orange rose in the clear air, overtopping the half ruined theatre in many places. The arch of Marius gleamed white against the surrounding hills, themselves violet and purple in the sunset, their shadow broken here and there by the outline of a crumbling chateau or the lights of a village.
Behind us the sentries paced along the wall, wrapped in their dark cloaks; and over all the scene, one snowtopped peak rose white on the horizon, like some classic virgin assisting at an Olympian solemnity.
On the stage, partly cleared of the debris of fifteen hundred years, trees had been left where they had grown, among fallen columns, fragments of capital and statue; near the front a superb rose-laurel recalled the Attic shores. To the right, wild grasses and herbs alternated with thick shrubbery, among which Orestes hid later, during the lamentations of his sister. To the left a gigantic fig-tree, growing again the dark wall, threw its branches far out over the stage.
It was from behind its foliage that "Gaul," "Provence," and "France," personated by three actresses of the "Francais," advanced to salute Apollo, seated on his rustic throne, in the prologue which began the performance.
Since midday the weather had been threatening. At seven o'clock there was almost a shower - a moment of terrible anxiety. What a misfortune if it should rain, just as the actors were to appear, here, where it had not rained for nearly four months! My right-hand neighbor, a citizen of Beaucaire, assures me, "It will be nothing, only a strong `mistral' for to-morrow." An electrician is putting the finishing touches to his arrangements. He tries vainly to concentrate some light on the box where the committee is to sit, which is screened by a bit of crumbling wall, but finally gives it up.
Suddenly the bugles sound; the orchestra rings out the Marseillaise; it is eight o'clock. The sky is wild and threatening. An unseen hand strikes the three traditional blows. The Faun Lybrian slips down from a branch of a great elm, and throws himself on the steps that later are to represent the entrance to the palace of Agamemnon, and commences the prologue (an invocation to Apollo), in the midst of such confusion that we hear hardly a word. Little by little, however, the crowd quiets down, and I catch Louis Gallet's fine lines, marvellously phrased by Mesdames Bartet, Dudlay, Moreno, and the handsome Fenoux as Apollo.
The real interest of the public is only aroused, however, when THE ERYNNIES begins. This
One would so gladly see a little of the money that is generously given for music used to revive in America a love for the classic drama.
We are certainly not inferior to our neighbors in culture or appreciation, and yet such a performance as I witnessed at Orange (laying aside the enchantment lent by the surroundings) would not be possible here. Why? But to return to my narrative.
The sun is setting as we toil, ticket in hand, up the Roman stairway to the upper rows of seats; far below the local GENDARMERIE who mostly understand their orders backwards are struggling with the throng, whose entrance they are apparently obstructing by every means in their power. Once seated, and having a wait of an hour before us, we amused ourselves watching the crowd filling in every corner of the vast building, like a rising tide of multi-colored water.
We had purposely chosen places on the highest and most remote benches, to test the vaunted acoustic qualities of the auditorium, and to obtain a view of the half-circle of humanity, the gigantic wall back of the stage, and the surrounding country.
As day softened into twilight, and twilight deepened into a luminous Southern night; the effect was incomparable. The belfries and roofs of mediaeval Orange rose in the clear air, overtopping the half ruined theatre in many places. The arch of Marius gleamed white against the surrounding hills, themselves violet and purple in the sunset, their shadow broken here and there by the outline of a crumbling chateau or the lights of a village.
Behind us the sentries paced along the wall, wrapped in their dark cloaks; and over all the scene, one snowtopped peak rose white on the horizon, like some classic virgin assisting at an Olympian solemnity.
On the stage, partly cleared of the debris of fifteen hundred years, trees had been left where they had grown, among fallen columns, fragments of capital and statue; near the front a superb rose-laurel recalled the Attic shores. To the right, wild grasses and herbs alternated with thick shrubbery, among which Orestes hid later, during the lamentations of his sister. To the left a gigantic fig-tree, growing again the dark wall, threw its branches far out over the stage.
It was from behind its foliage that "Gaul," "Provence," and "France," personated by three actresses of the "Francais," advanced to salute Apollo, seated on his rustic throne, in the prologue which began the performance.
Since midday the weather had been threatening. At seven o'clock there was almost a shower - a moment of terrible anxiety. What a misfortune if it should rain, just as the actors were to appear, here, where it had not rained for nearly four months! My right-hand neighbor, a citizen of Beaucaire, assures me, "It will be nothing, only a strong `mistral' for to-morrow." An electrician is putting the finishing touches to his arrangements. He tries vainly to concentrate some light on the box where the committee is to sit, which is screened by a bit of crumbling wall, but finally gives it up.
Suddenly the bugles sound; the orchestra rings out the Marseillaise; it is eight o'clock. The sky is wild and threatening. An unseen hand strikes the three traditional blows. The Faun Lybrian slips down from a branch of a great elm, and throws himself on the steps that later are to represent the entrance to the palace of Agamemnon, and commences the prologue (an invocation to Apollo), in the midst of such confusion that we hear hardly a word. Little by little, however, the crowd quiets down, and I catch Louis Gallet's fine lines, marvellously phrased by Mesdames Bartet, Dudlay, Moreno, and the handsome Fenoux as Apollo.
The real interest of the public is only aroused, however, when THE ERYNNIES begins. This