the contrast of the Polenta and Malatesta families, and, repellent as he is at times, D'Annunzio has moments of great poetic fervour; his fire swings forth in many of Francesca's speeches, that alternate with the languor of her symbolic nature.

That his drama on Francesca was definitely constructed for theatrical effect, was openly avowed by Marion Crawford. At the beginning of the French version made for Mme. Bernhardt, he placed material that showed his intention of dealing with fact in the manner of a novelist, and regardless of the sweetness of Dante. To him, Concordia is fourteen, since he considers 1289 as the date of the tragedy, and, with his details from Boccaccio's commentary, he has coarsened Francesca, making her bitterness full of the spleen that could only accompany maturity. A striking point is to be noted in the strong vein of Catholicism that colours many of the speeches.

Paolo's wife, Orabile, moves through the D'Annunzio play with only slight mention—to show the husband's avoidance of her—to draw attention to her deep-rooted aversion to Francesca. Mr. Crawford also brings her on the scene, and has Paolo the cause of her death, wittingly distorting history, since Orabile died many years after the murder of her husband.

The only American drama on the subject is that by Boker; it is a peculiarly contradictory piece of work, since, from the standpoint of the stage, it is essentially and effectively dramatic, while as literature it is imitative of the Elizabethan style. Boker's poetic imagery is distinctly borrowed, and his choice of words disappointingly colloquial. Yet, over and above the mere story, he has succeeded in portraying a strong character in his Pepe. The historical setting of the play is slight, yet sufficient to localize the piece, and his dramatis personæ are faithfully distinct in outline, though at times devoid of consuming passion.

Phillips as a dramatist has the fault of being diffuse; Boker's style is prosaically plain. Were it not for over-elaboration, D'Annunzio's play might supplant all others because of its spirit. Could we take from Phillips his simplicity, from D'Annunzio his Italian intensity, and from Boker his proportion, and could we add these to Crawford's realization of situation, toned away from his melodramatic tendencies, an ideal drama on "Francesca da Rimini" might be constructed.

But the revitalizing power that was given Shakespeare, has been bequeathed to none who have followed Dante. The one beauty of the Francesca story is the simple element that permeates the dark motive. The genius required to deal with it lies in this: to make one conscious of the tragedy in a touch that recalls the beauty of spring.

It is strange that no other poet than Dante has succeeded in catching this beauty. No poet, writing directly on the theme, has the subtle feeling which may be compared with that of the Italian. Richard Le Gallienne is infinitely superior to Hunt; Lowell and Gilder beyond the lesser poets,—but all fade before the master. They treat of the vision of Hell, with its whirling wind; of the two in close embrace; there is the kiss that ends the reading of a self-same love; there is the flash of a dagger that joins them eternally in death. These are the themes for the songs. The artists have done with brush and pencil, what the poets have tried in sonnets and verse. But it is Dante who dominates them everyone.

To me, after tracing in part the development of this Italian tragedy, there remains the charm of Dante's simplicity, and were one to ask, who, among the moderns, have partially reflected his passion, I should turn to Keats' insatiable thirst for beauty in his sonnet, "A Dream, After reading Dante's Episode of Paolo and Francesca," and his account of it in a letter to George and Georgiana Keats (February 14, 1819), and to Carlyle's appreciation of tragedy and love, in "The Hero as a Poet."

Boker's "Francesca da Rimini" will stand largely because, in structure and in directness, it is strikingly effective for the stage.

[Footnote A: Duyckinck recalls that, in 1862, R.T. Conrad's
"Devotional Poems" were published, edited by Boker.]

[Footnote B: We find a record of Mrs. John Drew having, as Francesca, supported Davenport when the play was taken to Philadelphia.]

BROADWAY THEATRE

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LESSEE MR. E.A. MARSHALL STAGE MANAGER MR. W.R. BLAKE

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SECOND WEEK OF THE REGULAR SEASON!

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CONTINUATION OF THE ENGAGEMENT OF THE EMINENT

=AMERICAN ACTOR=

MR. E.L. DAVENPORT

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FIRST TIME ON ANY STAGE OF

=THE TRAGEDY=

by G.H. BOKER, Esq., author of "Calaynos," "Betrothal," &c called

=Francesca da Rimini=

Will appear in an entirely
ORIGINAL CHARACTER!!

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This production of a popular and most talented Native Author will be brought forward with the efficient aid of

ESTABLISHED PERFORMERS!
NEW AND APPROPRIATE SCENERY!!
COSTUMES, PROPERTIES, DECORATIONS!!!
APPOINTMENTS, MUSIC and PAGANTRY!!!!

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WEDNESDAY EVENING, SEPT 26, 1855
Will be presented the Tragedy, in five acts, by G.H. BOKER, Esq., entitled

=FRANCESCA= =DA= =RIMINI=

CHARACTERS REPRESENTED.

GUELPHS.

Malatesto, (Lord of Rimini) Mr. Whiting
LANCIOTTO {his sons } Mr. E.L. DAVENPORT
Paolo { } Mr. Lanergan
Pepe, (the Jester) Mr. C. Flaher
Rosalvi { } Mr. Walters
Malvechi {Young Nobles—companions of Paolo } Mr. Harcourt
Civanti { } Mr. Cutter
Rene, (a Troubadour) Mr. Vincent
Nobles, Soldiers, Pages, Troubadours, Attendants, &c, &c.

GHIBELINS.

Guido da Polenta, (Lord of Ravenna) Mr. Canoll
The Cardinal Veechino Mr. Hodges
Florensi {Nobles of Malatesto's Court} Mr. Willet
Beppo { } Joraike
Henrico, (Captain of the Guard) Mr. Fordyck
Antonio, (A leader of the Forces) Mr. Wright
Nobles, Dignitaries of the Church, Soldiers, Pages, Banner
  Bearers, Messengers, &c.

Francesca da Rimini, (Daughter of Guido) Mme Poniat
Ritta, (her attendent) Miss J. Manners

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TO-MORROW EVENING—A NEW TRAGEDY, in which

        =MR. E.L. DAVENPORT=
                Will appear

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TREASURER Mr. P. WARREN ASSISTANT TREASURER Mr. NAGLE * * * * *