Loyola University Maryland - Evergreen / Green and Gray Yearbook (Baltimore, MD)

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6 THE LOYOLA ANNUAL vests the role with a profound melancholy. He has the ease of a gentleman, the dignity of a prince, symmetry of features, and flexibility of voice. His eyes were large, brilliant, and penetrating. His action and gesticulation, though extremely easy and natural, were generally quick, energetic, and very earnest. His voice, when raised, did not become harsh and dissonant ; it was charming, musical, undulating. In the strictly declamatory portions of the character, Mr. Mantell seemed ‘‘ to have inspired the soul of ‘ Hamlet,’ its intel- lectuality and sensitiveness were wrought into transparent prominency. ' ’ Yet, Mr. Mantell’s “Hamlet,” though it en- raptured some, is not greeted by the audiences with as much enthusiasm as some of his other parts. “ Richard the Third ” is one of Mr. Mantell’s most popu- lar and invariably attractive parts. “ Shylock ” is another role in which Mr. Mantell is well received. His “ Shylock ” is an almost perfect presentation of this most difficult of all comedy parts. It has often been said that though the triumphs of the actor are immediate, they are not lasting. The result of his efforts is quickly gathered. He is conscious of and hears the thunder of applauding multitudes, while he is yet before the stage, but it is short lived as it is loud. The fame which re- wards the author, the painter, the sculptor, the poet, and the statesman, slowly ripens until it blossoms forth never to fade. Not so with the actor. When we say actor, we do not mean the ordinary run of men who are on the stage and are representa- tives of merely nothing. But the fame of a really great actor is not evanescent. Roscia is not forgotten; Garrick’s fame will survive memory; Kean and Kemble have a name written indelibly in time; Booth and Forrest have been immortalized. Tradition will preserve the names of Sir Henry Irving and Richard Mansfield. In every truly polished age, people learn- ed and those not so well informed, have taken great interest

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THE LOYOLA ANNUAL ,5 features are fully chiselled, and this together with a natural conformation of head, throat and chest, enabled Mr. Mantell to present a remarkable specimen of the type of Macbeth. He is true to nature in “ Macbeth,” and, consequently, cannot help but be successful. There have been several productions of “ Othello ” in our city during the past few years ; but in our opinion the portrayal of the Moor by Mr. Mantell far eclipses that of the other actors. He conceives the character of “ Othello,” not as an Ethiopian, but as a Moor; not as black, but as tawny. He meets all the requirements for the part of the Moor, because of his stalwart appearance, and a deep, resonant voice. These two essentials, linked with his subtle forethought, all combine to make his im- personation of the Moor a wonderful one. Mr. Mantell alter- nates the parts of “ lago ” and “ Othello,” but his delineation of the character of “ Othello ” is considered far superior to that of the Ancient. From the view-point of deep Shakes- pearean students, “ lago ” is usually conceived as a slender, graceful figure, with dark eyes and sinister smile; his step is cat-like, stealthy, serpentine and malevolent. Now Mr. Man- tell does not fulfil these requirements perfectly. His produc- tion of “ lago ” has a number of points of merit, particularly the humor, for ‘‘ lago ” enjoys his own malignity ; and the sardonic malevolence of the scenes with “ Rhoderigo ” and some of those with “ Othello” himself, were well conveyed. Mr. Mantell’s presentation of “ the melancholy Dane ” may be considered deserving of great praise. We have become fully convinced of the truth of what Schlegel says of the character of “ Hamlet,” namely, “ many of his traits are too nice and too delicate for the stage, and can only be seized by a great actor and understood by an acute audience.” “ Hamlet” is the most philosophical of all the plays of Shakespeare. The role of Hamlet is characterized by dig- nity, intelligence and melancholy. Indeed, Mr. Mantell in-

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THE LOYOLA ANNUAL 7 in the reminiscences of the great actors. They condole with him in his disappointments and misfortunes ; they rejoice at his triumphs. Could Shakespeare return to this world and see how his plays were being performed, he would say, “ I see in Robert Mantell and Louis James the best exponents of several of the most difficult, yet delightful, characters that have trod the stage since my bones were laid to rest.” In years to come, when death has touched many of our readers, old gentlemen will say to the Shakespearean student and play-goer : “ I saw Mantell in ‘ Lear sir, he was the greatest Lear that the stage has ever had.” And when years have elapsed, we can safely say that the dramatic critic will de- clare that the true Lear passed with the passing of Mantell. L. Frank O ' Brien, ’08. MtUUh. How so othes the silence of the stars. When no profaning noise My soul’s rapt stillness mars! Anon, the swimming eye of tears Sees, — past the sight it blurs — The hushed dead love of years. Joseph B. Jacobi, ’01.