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Show TTIE nERALD-REPUBLICA- SALT LAKE CITY, UTAH, SUNDAY, MARCH 5, .1916 N, en n ir 1 t ir - r " . ry S -- r ' ;r ' , r I r n (f . i 1 ,'.. - 1 US' TO - fifcr ' il- ( Ml m and forsaken creatures are lost and found again, suffer grievous wrongs, and are In no case cherished as they deserve, but their charm, purity and nobility of nature triumph over What ary Has Been everything." "The charm of youth and fantastic romance shines round them like a halo; the foulness of life has no power to defile them. They are without being endowed with the spirit of Shakespeare's earlier adventurous maidens, and they are pcntle without being overshadowed by the pathetlo mournfulness of his . ' sacrificial victims." "There are the viragoes of his youth," Brandes says In reviewing the gallery of Shakespeare's women, "bloodthirsty women like Tamora; guilty and powerful ones like Margaret of Anjou, and later. Lady Macbeth, Gonerll and Regan. There are feeble women like Anne in Richard III., and shrews like Katherlne and Adrlana. Then we have the passionately loving, like Julia in "Two Gen' of Verona tlemen f Venus, TItania, .. A Helena in 'All's Well that End3 Well,' and above all. Juliet. There wl are the charmingly witty, and often . . 1 frolicsome young girls, like Rosaline Ir. 'Lovo'a Labor Lost,' Portia, : " Beatrice, Viola and Rosalind. "Then the simply-mindedeeply-feelinsilent natures, with an element cf tragedy about them, pre1 to destruction Ophelia, ordained ' ...... ' r , M t T .'' Desdemona. and Cordelia. After these come the merely sensual types of hla bitter mood Cleopatra andCressida," The Love Madness o Ophelia as Interpreted in "Hamlet." And now lastly comes the young drawn wIth the ripened man's glrl TT TO TvTrCf . I 1 ilUiV over her youth and a certain ViViNLXLl-.l-rapture AK l3y f admiration He had taken Pa:on solved the Kief- ways apaled to the students of th.j eiul deep appreciation, has been the a SHAKCSrKARK In 43 dtSercnt works of the "Supremo Bard." but critic of all critics to make readers "01t.rfa ,J" Durden oC fe upon him- ln It has remained for one of the latest of Shakespeare understand what the ,fWe" could V. pasnow a)8, for ho has no less than lays heav8t or and most philosophic critic. George poet was trying to put forth. It is . 4. heroines in his plays. No moro tragedies! - not J. ?' solacharis for to this Brandes. ttJ. show Inner real ofTer that the so, ratne the , surprising them, however, raorJ? mstorlcf1 dramas. Iso moro tioa of the problem of womanhood, ncter of each and all of tho heroines Brandes Is the man who aroused con- iiaiut in ine.r which has been and fttlll Is to man. that walk across the stage of life Unental Europe and even England . .wow. ui iue, to a of of the Itself on tinder real earth the skilful guidance the with all the e3 man. the greatest puzzle appreciation and of chances changes one of of Shakeworld's a work of latter'a fairy-talIt required the genius Coleridge, greatest genius. and A framework legend. It is true that Htlnrich Heine greatest poets and e3saylts. It is speare to perform this task. He acid-tea- l a been or mads more have less to Just what of love used the superficial might bring expected, out the characteristics of ftudy of Fhakespcaro's heroines, that, after almost a lifetime of liter !n? womankind, for it Is when tested touching lightly upon all cf the 45.- ary study and production, Brandes f hy her affections that we can come Mrs. Jameson, in her "Character- - has given us the most trenchant and v.a I'.ttle nearer to the solution of the Istlc3 of Women." grouped them artl- powerful study of Shakespeare that puzzle. a then docs woman become ficlally into various categories, and the world has seen. Brandes says: wrote some "What figures occupy the most her real self. praises of one or some of of and the The mignincent variety them, analyzed prominent place in the poet's sumpt- harvest-homaluous two. but the young. with keen his fem'.nlne characters Is what ha3 Brandes, Insight Said of the Great Dramatist's I 4 h ski The Eternal Question as Revived by This Year's womanly rorma of Marina, Imogen. TercentenPerdlta and Miranda! These girlish 1 - It H szi rTN J7 1 : self-relia- nt ifrJv'ft ilVc ' Women by Some Men, and an Interesting v v -- by d, g, Dr. George Brandes. . rT nTl rr" g to i V? 4 .twu e The Humor of Women Shown in "Merry Wives of Windsor." ters, or outside, but a poet compre- kind. The latter is not in a position hends that women differ, even sis- to understand or appreciate the highters, and that the difficulty with men er type of womanhood, until ho has As is In their assumption of similarity. developed out of his boyishness. sure so When Shakespeare tests each one he grows wiser he is not of his women by love he is subject- that he knows all about women, and is ing them to the only test by which when he becomes old he usually man really tries them. Even the ready to admit that he knows noth- ever-chan?- :- j high-soundin- g o Idyllic Romance Portrayed in "IHdsummer Night's Dream." llllll I ii'li in i . rill kiiii r " i. ii in- iriiini-fi- " " Ml -- - - r v v, ,., t -- -. j - ' . i j.,.itni w?.r .... ...i, .... ..I.. ... tiJ.lt...w.ii n.i iiM'iimi k' ' i i -- - - ,v "V-- ...ii. ii.,.!.!! ii. i it - mini- m.h " n. r.r "tt" y '8'' - ; - J "Tvyf ''T'TI . f- ...i.,.. J j ; - .. - rr Xf ' XTvX': t? . rti 4 - 3 ; . f L' heightening of passion to romantic love does not remove, but rather deepens the influence of mutual attraction between the sexes. It is as men and women respond or react to the stimulous of the deepest of emotions that they begin to know one another, and really to understand. Shakespeare hlmseir made progress in the comprehension of women, ripening his conceptions to the finer type of Miranda, whose name, itself, indicates, a combination of all the best qualities in womanhood, as he left far behind bim the cruel, crude, the primitively passionate Tamora or Cleopatra. Even Juliet, v;i ij It-jVr- v-t-t ' VjC wi:; V-"- ' uB 5 - - n L v..vr' WT! X"" k - " :f- a . ' - - - . t - 1 ,m Curbing a VsA kv 14 rfv-.-- " - J : - ' - v. " v s-- -j - v - I 'v 4 - . y , ; .J "t'-S.- -' .' '.1: High-Temper- ed Wom Portrayed in "The Shrew." of the Taming of fanciful poetry woven around tho charming seriousness of the youthful 'oman and the serious charm of the young girl. All of these varying characteristics of women of all climes and times are brought into relief by playing the passion of love upon them, or letting them feel Its urge, and become themselves In its light. It was that skilled American critic Henry T. Flnck who said: "It Is in the works of Shakespeare that the various motives and emotions which constitute love sensu ous, aesthetic, intellectual are for the first time mingled in proper proportions. Shakespeare's love is modern love, and, therefore, calls for no separate analysis. It Is a primitive passion, puiified and refined by Intellectual, moral and aesthetic culture. And though by no means universal, or even common, at the present day, It Is yet of frequent occurence, and will become more and more prevalent as time rolls on." Shakespeare makes clear, as has no other writer before or since, thai infinite variety of woman, and thereby helps to explain why man is so easily puzzled in treating her. The ordinary man thinks iter sy to classi- fy wonien, and puts them either In the category of his mother and sisfull-fledge- d, . f - , .'. " n- . " ' - ,.tt.mmim.,..rt.m-jr.m...l..iLJS-. ,"","'" . t in '.; .. I- l-- SK -m ll,',WJrZJlm:i WX&SOiSUr. l- -t V' 'T Ti xV .,,mz .'.r : X''X' i.'.Zu. - ' ''X "w&k :' 'rryy?. J 1 t.fr'tt:i..iiLi&M "Jr'- - JBcUAJiK1. I w?-- . J .h-iyJ- v. 4 vrg.?l - type as Ehe will always be of passionate devotion, stands many degrees below Miranda, in the beauty and elevation of thought and loftiness of ideas. But this was not so much the fault of Juliet as of Shakespeare, who, though a genius, still shows marks ' of progression and maturity. The understanding of the finest type of woman came to Shakespeare thus, only as he outgrew the earlier, even though poetic and real. What was true of him must be all the truer of the ordinary man. who is trying to solve the great problem of woman he ing at all about them, save thatlife. has misunderstood women all his It is the genius of a great poet, a may Shakespeare especially, that fatal save some men from making mistakes, if they can only place their feminine acquaintances and friends in some one of the many classes that have been drawn so clearly and beautifully by the poet. But when he i3 very sure of his classification he may find that he will have to alter his conclusions considerably, for under the stress of a great love, he finds perhaps that his Juliet is really a Cleopatra, or that she is more than Juliet, a real Miranda. Between these are ail the other variants of the infinite theme. The man who can understand will save himself many disappointments. The way to this understanding is in the light of the wonderful dramas of the greatest of the world's dramatists, for there they walk before us and only the blind can fall to see. But many look and do net see, or will not understand, and they will be the first to blame their own shortcomings upon Shakespeare, whom they have not taken the trouble to grasp in all Lis significance. Classifying Shakespeare's Women Characterizations from Dr. George Brandes. the Great Danish Critic WOMAN Katharine. . . Beatrice Rosalind...., Viola PLAY CHARACTERISTICS of . the . but lovable Shrew".... .High spirited, ."Taming Ado "Much About Nothing". .High intellect, combative, energetic, daringly witty ."As You Like It".. Gay without a sting, sensitive and intelligent: loving passionately and being passionately loved . ."Twelfth Night" Sound of understand, motional, deep and patient, .with great self-wille- d, Lady Macbeth . . "Macbeth" Portia "Merchant of Venice" Helena "Love's Labor Lost" "Titus Andronicus" "Romeo and Juliet" "King LecLr" "Anthony and Cleopatra' - power of passive love Wicked even to the point of bmtalitv under stress of passionate love and great ambition Thoroughly genuine, almost masculine, yet most womanly in power of . . .High-soule- d type of loving and crually maltraataj woman . . .Powerful intellect, defiant of morality . . .Passionate love yet under control of Drtndpl. ....Filial love, kindn3S3 of heart erotic emotion chemically frea from all other Quintessential Felf-surrend- Tamora. Juliet Cordelia Cleopatra ...."Pericles"..."- IVTarina .... "Measure for Measure". . Isabella. "Cymbeline" Imogen irlermione. . .. . . ."Winter's Tale" ...."Hamlet" Cphelia Miranda . . "Tempest" besdcrr.ona... . ."Othello". . . er elements .Nobility of character . Spotless puVity of sou! Born for happiness, inured to mffeng, alm. collected .Majestically lovable, grand and gracious simplicity Unobtrusive affection, devotion even to insanity ...All that i3 admirable m woman, maidani immacnla Victim of jealousy ..... ; |