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The question naturally arises why this particular play, disregarding all precedents, should have rushed to the front and exerted a sense both of astonishment and jealousy on the part of those who have been left so far behind. Is it an extraordinary play in point of construction and characterization, or how are we to account for its unexampled vogue? The answer to this query is not so easy as might appear. Intelligent and well-versed people who have attended a performance of this drama at the Broadway theater, New York, or at the Illinois theater, Chicago, must be convinced in their own minds that the play is not a masterpiece of construction. Out of a great mass of material the dramatist was obliged to select enough for his purpose and leave the rest alone, an invariable necessity when any book is made into a play. This involved the duty of cementing together in a somewhat perfunctory manner incidents which, in the original, were explained and held together by long descriptive passages, and be the work ever so deft, this process invariably leaves something to be desired on the part of those familiar with the original. The necessary brevity of incidents for stage use has impoverished this adaptation at several points, although the principal theme is preserved, if not in all its integrity, at least vividly enough to sustain the thought and lead up to the grand climax on the Mount, where we find the chief inspiration of the play and learn the reason for its success. The wreck of the trireme, the chariot race and even the spectacle in the groves of Daphne are pictorial rather than dramatic features, embellishing but not carrying forward the essential action. These features are interesting and absorbing, but they do not make the play.

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In casting about for the one mighty appeal which the play makes to Christian and pagan alike, to men and women of every condition and in every walk in life, we find it where I have no doubt General Wallace intended that it should be found, in the overwhelming significance of Christ on earth, the greatest, most impressive and influential event in all history. The action begins with the separation of Ben Hur from his mother and sister by a cruel tyrant, and sympathy is at once enlisted to be sustained by a succession of events which develop the final and miraculous cleansing of the lepers through the power of the Redeemer. is this Presence, unseen yet felt, that lifts the play into its eminence and inspiration. Audiences composed, as all theater audiences are, of those who entertain all shades of belief and unbelief, fall under the resistless spell of this simple narrative, the burden of which is the coming of Christ. In the vital scenes, meaning those that develop the main story, the hush in the audience is almost painful. There is breathless expectancy, an intense and eager interest, and yet an unconscious attitude of reverence that forbids any noisy outburst. I have never known a succession of audiences so uniformly impressed by a serious play in which there is no appeal whatever to the ordinary love for mere amusement. In "Quo Vadis" and "The Sign of the Cross," plays frankly intended and proclaimed as semi-religious in their tone, we find the substance cheapened by tawdry theatrical devices and melodramatic effects, but in

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Ben Hur even the spectacular incidents, which are introduced for the sake of high color in the pictures, are so well assimilated and subdued by good taste that they are not obtrusive and do not interfere with the sincerity and power of the major theme.

When this play reaches London it is probable that precisely the reverse of this statement will be made by the critics of that city, who invariably don their green spectacles when the product of American talent is presented to their view. But it will be too late to reverse a verdict already pronounced by innumerable intelligent audiences, and whatever the fate of the play in the British metropolis, it will still remain true that as book and play "Ben Hur" has surpassed in public recognition any book and play which this country or England has produced.

The author of this remarkable success, General Lew Wallace, is one of the few great men coming as an inheritance from the war period who still survive, and while most of them achieved their apogee during the war and soon thereafter passed into a decline, General Wallace was destined to gain higher ground and an eternity of fame thirty years after the surrender at Appomattox. Innumerable little-big men in this country have strutted their brief hour under the public gaze only to disappear. Mediocrity has attracted attention, by its own clamor, while this veteran has gone from one achievement to another without ostentation or parade. Born, as it were, to the purple, his father being Governor of Indiana, his birthday was in the year 1827, and at this time he has consequently passed beyond the boundaries of three score years and ten with his intellectual fire still unabated. Designed for the law, his education was interrupted by the Mexican war, in which conflict he served as first lieutenant

and gained that love for military service which many years later gained him the rank of Major General in the Union Army. During the interval between the two wars he practiced his profession at Crawfordsville, Indiana, a little city which has become famous as the seat of Wabash College, one of the finest classical institutions in the country. When the rebellion broke out and the cannonade at Sumter awakened the nation, Lieutenant Wallace was appointed Adjutant General of his native State and presently took the field as Colonel of a volunteer regiment. In September, 1861, he was made Brigadier General and commanded a division at Fort Donelson, and soon thereafter was promoted to a Major General's berth and was pres

WILLIAM GILLETTE.

ent at Shiloh, where a barely averted disaster set on foot an angry discussion from which he suffered with others. He was credited in 1863 with having prevented the capture of Cincinnati by General Kirby Smith, and later was in charge of an Eastern department, with headquarters at Baltimore. While in this position he intercepted the march of General J. A. Early on Washington, but was defeated by him July, 1864, and removed from his command by General Halleck only to be restored and vindicated by General Grant. After the war legal business and literature occupied his time, and in 1873 his first important book, "The Fair God," was published and created a most profound impression, although it was the fashion of that day to assume that nothing of literary consequence could emanate from the West. Be

tween the years 1878-81, General Wallace was Governor of Utah. In 1880 Ben Hur was given to the world, and from 1881 to 1885 he served with distinguished success as United States Minister to Turkey. His third book, "The Boyhood of Christ," was published in 1883, but, relatively speaking, achieved only a moderate Vogue.

The years that have elapsed since the Turkish portfolio was relinquished have been devoted to literary pursuits and to that ease which has been earned by a life of high endeavor. The very large royalties from the stage version of Ben Hur have added to General Wallace's wealth to such an extent that he need deny himself no luxury and can enjoy the autumn of life without a care. Yet, being a man of simple life, though of the most artistic tastes, and withal too active to premit himself to rust, he lives quietly and happily in his beautiful Crawfordsville home, and his busy pen is still tracing thoughts that will live. The General is now engaged upon his autobiography, written with that care marking all his work, and which, in this instance, will be of priceless value in throwing light upon many disputed points in connection with the great war.

Now that all passion has burned away and with ripened judgment and a contented mind General Wallace can view the events of the past with the eye of one who has nothing to gain or lose. Nearly all the generals of that strenuous day have passed over to the other country, and it is almost literally true that in his autobiography General Wallace will have the last word in regard to certain battles the recollection of which embittered many lives. That he will say that word justly, honorably and well is beyond all dispute. The man who has won such honors as soldier, diplomat and writer has no need to make the worse seem the better part.

In an earlier number of this periodical reference was made by me to the fact that, contrary to popular belief, a majority of the plays made use of by American stars are of American origin. The conviction is generally entertained that save in a few minor and unimportant instances the plays commanding our special attention come from abroad. This view was combated in the article referred to, and the developments of the early Fall are such as to fully justify the contention that, aside from the classics, our stage is chiefly supplied by American writers. An enumeration of thirty-five of our principal stars, a list almost exhaustive, discloses the conclusive fact that but four of the number are playing dramas brought from abroad. These are John Drew with "The Second in Command," E. H. Sothern with "If I Were King," Miss Maude Adams with "Quality Street," and Mme. Modjeska in a classic repertory. This fact should be inspiring to all who are anxious to see this country forge ahead in letters and art, and so long as it is a fact, those inclined to be pessimistic should know it in order to revive their faith and restore their courage. William Gillette with a play of his own entitled "Sherlock Holmes," evolved in a general way from the Conan Doyle detective stories, has forced the fighting in the very citadel of English prejudice, and entrenched himself in the Lyceum theater, London, which is

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another encouraging symptom that our art products are making their way not only at home but abroad. The merry war precipitated by the riotous gallery gods when Mr. Gillette took possession of Mr. Irving's theater is one of the most exciting incidents of the Fall season. Quite likely it will be far reaching in its effects and lead to a just but belated appreciation of fair reciprocity on the part of our esteemed but sometimes chilly English cousins.

Nothing theatrical since the unfortunate conflict waged between Macready and Edwin Forrest has excited so much discussion on both sides of the Atlantic as this Gillette incident, but there is evidence of an improved feeling in the fact that while the rowdy element "booed" Mr. Gillette, the better classes in England rallied to his support and enabled him to wring victory from apparent defeat. His engagement has become the leading dramatic feature of the London season, and with the time already extended, it is likely that he will be obliged to remain in London all winter. Add to this gratifying circumstance the facts that Beerbohm Tree is producing "The Last of the Dandies," by Clyde Fitch, an American dramatist; that Nat Goodwin is playing profitably in the British metropolis, and that Charles Hawtrey, an English actor, is playing in New York "A Message From Mars," which was written in America, and it may readily be perceived that we are "getting on."

Added proof in the same direction is provided by Mr. Mansfield's brilliant production of "Beaucaire," an exceptionally clever piece of dramatic work by Booth Tarkington of Indiana. Accepting all the evidence at hand as conclusive, together with the convincing fact that Mr. Mansfield will play nothing else this season, we are bound to believe that in this new product of American talent Mr. Mansfield has found a companion piece for Beau Brummel, and that without going abroad. Beaucaire is not a book play, as many suppose, owing to the fact that "Monsieur Beaucaire" was published in book form nearly a year before the play was first given at the Garrick theater, Philadelphia. But the book was little more than a scenario or brief running narrative of the play previously written by Mr. Tarkington, although the impression it made as a contribution to the modern classics paved the way to a deep interest in the stage version. The atmosphere is dainty and charming to a degree seldom realized in modern plays, while the principal characters stand out with cameo-like clearness and beauty. The title role appears to be one of those inspirations for which the dramatist is constantly praying but seldom achieves. It is full of those niceties of manners, fopperies of the exquisite, elegancies and sincerities of the lover and heroisms of the gallant, so fascinating when combined in exactly the right proportions and imbedded happily in appropriate incidents and a vital story. We perceive at once that there is no trace of the swash buckling D'Artagnans in this cleverly outlined hero who masquerades with such skill and finesse. He fights with wit rather than sword, although it is quite within his power to use one as well as the other. A gentleman, a scholar, an adventurer in a polite way only, and interesting withal, in every phase of his character, Mon

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sieur Beaucaire should fit Mr. Mansfield to a nicety, and we are told that in this embodiment he has created another of those portraits for which he is famous. It is not often that plays, as it were, made to measure, fit so well as this one undoubtedly does. Perhaps Mr. Tarkington deserves special credit for such an achievement, as he certainly wrote the play with Mr. Mansfield in his mind's eye. Doubtless many deft touches were added by the actor in fitting the play for the stage, for be it known that among his many talents in the line of music, the drama, painting and literature Mr. Mansfield is also one of the most acute dramatists in the country.

Beaucaire is written in four acts and five scenes. The first act shows the celebrated Pump Room at Bath at a time when that watering place was the fashionable resort of all England, under the social supremacy of Beau Nash. At the opening of the play the belles and beaux are much stirred by the gossip from France in regard to the flight of the Duke of Orleans, but there is another and more startling sensation in the report that Monsieur Beaucaire, who has obtained recognition among the fashionables, is in point of fact barber of the Marquis de Mirepois, Ambassador from France. Beau Nash believes the rumor and a stirring scene leads up to Beaucaire's social humiliation and expulsion from the pump room. The first scene of the second act discloses Beaucaire's lodgings in Bath. He is exiled from fashionable drawing rooms, but the nobles and gentlemen frequent his rooms to play cards. Among them is the Duke of Wintersett, whom Beaucaire detects in the act of cheating and cleverly uses this secret to compel the Duke to re-introduce him to exclusive circles. During the progress of Lady Mary Carlisle's ball, on the same evening, Wintersett introduces Beaucaire as the Duke of Chateaurien (his real title), and

Lady Mary capitulates at once. The dialogue and incidents of these scenes are very smart, and the act culminates with a delightful piece of gallantry following an attempt upon Beaucaire's life.

The background of Act 3 is the garden of Mr. Baniston's country place. It is a moonlight night and the guests are leaving after a lively evening. Beaucaire's suit with Lady Mary has prospered and he is gallantly handing her to her coach when Wintersett's henchmen attack him in the dark. They are beaten off, but Beaucaire is wounded, and Wintersett gratifies his malice by informing Lady Mary that this alleged Duke of Chateaurien is indeed Beaucaire the barber. In the last act the masquerade, cleverly sustained for so long, is dropped, and Lady Mary, obdurate after the disclosure, relents. The hero of the story is duly announced in accordance with his legitimate title, and everything ends happily, as it did not in the book.

One may readily perceive the opportunities an artist of Mansfield's stamp would find in such a character as this. It is in no sense a combination of Beau Brummel and Prince Karl, as has been given out, but stands by itself, a strong, original and vivid creation, superior in color and finesse to anything we have recently had from domestic or foreign sources.

There is another current play which is so conspicuously in popular esteem at the present time that it seems to demand something more than casual attention. David Harum as represented by William H. Crane is a remarkable example of success achieved through the invention of a single original character.

Not one of the rustic plays preceding it, such as Joshua Whitcomb, Way Down East, or Shore Acres, has been so lacking in diversified features and general interest. In each of these other plays the story has stood for something and there have been contributing characters of comparative value and interest. Such is not the case with David Harum, in which play every vestige of interest is monopolized by the shrewd horse-trading factotum of Homeville, whose characteristics are instantly recognized as typical of his class.

Edward Noyes Westcott, who wrote the book the success of which he was destined never to know, since his death occurred before the book was published, did not possess the imagination or the technical facility necessary to the creation of a powerful or well-balanced story. The prototype of his hero is understood to have been a real personage whose peculiarities were gradually impressed upon the author's mind with such photographic clearness that he was enabled to reproduce them in a smart and fascinating manner. But the embroidery of iction in which he attempted to introduce his favorite character, althougn possessing a certain charm for the uncritical, easily demonstrated a lack of creative genius. Beyond several conventional types, time-worn and hackneyed, imbedded in a tissue of commonplace incidents. Mr. Westcott could not go and the remarkable vogue of his book was due entirely to the illuminating power of one character drawn from nature.

That which was true of the book is equally apparent in the play. With almost a super

stitious fidelity to the author, whose demise well nigh at the moment of success seemed such a pathetic incident, the dramatists made no attempt to strengthen the story with new matter or to introduce any special variation upon the original theme. A trifling rearrange

ment in the order of events is made in order to adapt the circumstances to stage use, but beyond this there is nothing to excite comment or commendation. The incidental love theme makes scarcely any appeal to interest and none at all to the sympathy of an audience. The mortgaged widow and the town usurer are recognized as of no value save as they provide means of illustrating the rugged sincerity and humanity of David Harum, and thus, at every turn, we find confirmation of the fact that there is but one interest in the play, and that the immortal David himself.

It may be urged that this is always true of plays centered upon one prominent character, and it would be quite impossible to deny this conclusion. But a well-developed play, even though its purpose may be chiefly to exploit one individual, will contain a sub-plot and subsidiary interest. There will be something on the tapis even when the principal personage is away from the scene and the complications so develop that the audience does not yawn constantly in the absence of the hero. On general principles a one-man play is always a very bad play indeed. Shakespeare and all the great dramatists, recognizing this fact, have redoubled their efforts in those portions of their plays wherein the hero or the heroine is absent from the scene.

There is so much confusion in the public mind regarding the characteristics of a popular play that the success of such a composition as David Harum is liable to breed many strange notions. It is better therefore to understand that the diverting presence of David Harum is the only commendable feature of this work. As a play it ranges quite close to the line of mediocrity, and the fairest conclusion is to regard it as a character sketch. Fortunately for the integrity of this sketch, it fell to William H. Crane's lot to embody it in the stage representation, and a more completely satisfying effort could scarcely be imagined. Perhaps nothing else this comedian has ever done was so full of unction and atmosphere. For once in a way an eccentric book character is so realized on the stage that it seems more vivid than in the original description. This is high praise, but it has been well earned.

LYMAN B. GLOVER, Dramatic and Musical Critic, "Chicago RecordHerald."

EGYPTIAN DICTIONARY, GERMANY'S GREAT CONTRIBUTION TO EGYPTOLOGY.-The last year of the 18th century beheld the finding of the so-called Rosetta Stone, and after an intervening century of incessant toil by many hands, the close of the 19th century has witnessed the beginning of a great and, for the first time, exhaustive dictionary of the language which the Rosetta Stone helped to unlock for us. It is no little thing, either in scope or in interest. to be able to survey in detail the career of a language, whose literary remains are distributed along the millennia, while those of other

languages are at the utmost the product of a few centuries. The ancient Egyptian language, the language of the obelisks and the pyramids, after a long struggle with the Arabic of the Saracen invaders, by which it was finally displaced, is supposed to have died a lingering death in the 16th century A. D. Within the last three months, however, the surprising dis

THE ROSETTA STONE.

covery has been made that thirty years ago a few ancient graybeards in a village back of Kus could still speak a little Coptic, as the latest or post-Christian Egyptian is called; and that among a small community in the same locality the remains of the language have actually survived to the present day in the mouths of a

few patriarchs. As our inscribed monuments begin not later than 3500 B. C., and possibly much earlier, we are thus able to trace the course of the language through some 5500 years. He who has attempted Chaucer for the first time, and turned to the glossary for a strange word in every line, only to find that the word in question was a familiar modern word in unfamiliar ancient garb, will appreciate the fact that the changes thus wrought in English by a few centuries are but slight compared with the wear of five millennia, during which a word of many consonants may be eroded till it consists of nothing but a short vowel. One sees a rich apparatus of inflectional terminations and prefixes gradually melting away under the wear of vast lapses of time, until verb and noun alike have finally passed into a crystallized remnant, devoid of flexibility, incapable of inflection and dependent upon various circumlocutions and annexation of other elements to express the relations desired. It is even possible that back of this process of degeneration, we may push behind to the stage of language building, a stage so remote that it is far back of the earliest remains of any other language. Indeed, in no other country can the career of human speech be pursued during so vast a lapse of time. And hence the results of such study are unique and will ultimately prove of general human interest, not at all confined to the contracted field of the specialist.

An undertaking like that of which we speak, being certainly the largest dictionary enterprise ever attempted in any field of oriental study, is so colossal as to be far beyond the powers of any one man. The Egyptian Dictionary of Brugsch occupied him, with much interruption, for a period of thirty-five years, in the production of its seven volumes. But to master the vast mass of inscriptions and papyri accessible at the present day, it is necessary to command the services of an entire body of men, all trained specialists. The funds for this purpose

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MEMORIAL TABLET IN THE LOUVRE, PARIS, WITH TRANSLATION INTO GERMAN.

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