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Updated: May 26, 2025
Similarly, in Paul Heyse's Mary of Magdala, the supreme person who guides and controls the souls of all the struggling characters is never introduced upon the scene, but is suggested merely through his effect on Mary, Judas, and the other visible figures in the action. One of the easiest means of emphasis is the use of repetition; and this is a favorite device with Henrik Ibsen.
Sometimes he came out with decidedly rash expressions of opinion, conclusively dismissing a question, for instance, with severe verdicts over Danish music, Heyse's excepted, judgments which were not supported by sufficient knowledge of the subject at issue. But much of what he said revealed the intellectual ruler, whose self- confidence might now and again irritate, but at bottom was justified.
She stopped for nothing but to eat in the woods when the weather was fair and in her room when it rained, she studied words, words, words! And she made amazing progress while Thyrsis was wrestling with his angels she read Grimm's fairy tales, and some of Heyse's "Novellen," and "Hermann and Dorothea," and "Wilhelm Tell." But these were children's tasks, and her pilgrimage was one of despair.
The dance on the hands is a detail from Flaubert, a detail which Tissot followed in his painting of Salome.... From the later chapters it is possible that Paul Heyse filched an idea. The turning point of his drama, Maria von Magdala, hinges on Judas's love for Mary and his jealousy of Jesus. Saltus develops exactly this situation. Heyse's play appeared in 1899, eight years after Saltus's novel.
Fiske's production of Paul Heyse's 'Mary of Magdala' was after night had fallen, and when the betrayer knocked at the door of Caiaphas, who came forth with a lantern and cast its rays full on the contorted face of the villain, that face being the sole object visible on the darkened stage, as the High Priest hissed forth the single word, "Judas!"
Forbes-Robertson is reading a poorly-written part, it is hard to hear that the lines are, in themselves, not musical. Literary style is, even for accomplished critics, very difficult to judge in the theatre. Some years ago, Mrs. Fiske presented in New York an English adaptation of Paul Heyse's Mary of Magdala.
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