Word: tragic
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Dates: during 1880-1889
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...Legend" is the best story in this number. As the writer states, it is written entirely without regard to style or effect, and this same unpretentiousness lends a great charm to it. The tale is that of the love of an Indian princess for a Mission Father with its tragic and unexpected...
...mixed Indian and Persian and Arabian character of the stories is traced. Professor Royce publishes his second paper of "Reflections after a Wandering Life in Australasia" which is fully as thoughtful and interesting as the first. The rest of the number is full of interest. The serials are "The Tragic Muse" and "The Begum's Daughter." The latter is a story of the socalled Dutch rebellion in New York in 1690, and promises to be very good. The other articles are "The Highest Structure in the World," a description of the great Eiffel tower in Paris, by William A. Eddy...
...Morgan said that in youth Euripides was a successful painter, but as he grew older he was led through by philosophy into his proper field, tragic poetry. But the knowledge he had acquired when a painter, and the ability thereby gained of better appreciating the whole scope of art were of the greatest value to him as a dramatist. Through all his great tragedies he is constantly viewing things with a painter's eye, which gives to them a greater unity and a higher artistic merit. All of the dramas of Euripides, with one exception, were composed after the completion...
...Atlantic Monthly for May contains a great variety of articles. In the serials the first installment of "The Begum's Daughter" by E. L. Bynner. replaces "Passe Rose," and Mr. James continues "The Tragic Muse. There are several thoughtful essays on political subjects, notably "Temperance Legislation; Uses and Limits" by C. W. Clark and the "Lawyer in National Politics" by Frank G. Cook. Mr. John Fiske contributes another paper on the battles of the revolution, the subject of which is "Brandywine, Germantown and Saratoga." A very interesting article is "Reflections after a Wandering Life in Austrarlsia,' by Professor John Royce...
...addition to the principal actors, "mute persons" could be brought on the stage. On account of their wearing masks, the actors could not use facial expressions, but relied utterly upon action to enforce the meaning. The costuming lacked the variety of the modern stage. The dress of the tragic actor was always the same, and in comedy there was not much more variety...