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A DRAMATIC CRITIC of the Grecian Fates, sometimes a fierce old nurse bereft of her nursling. At moments she was merely a picturesque gypsy hag, with a grim sense of humor; anon, in speech with Harry Bertram, her crooning, brooding tenderness and yearn- ing were more than maternal, and were poignantly pathetic ; at the height of her passion she was a terrible being, glaring or glowering with eyes that reflected the past and penetrated the future, a weird presence dominating the dark woods and the cavernous hills, an inspired Prophetess and an avenging Fury. The wonder of wonders was that the performance was absolutely convincing. It was impossible to laugh at it at any point, even in its most fantastic aspects; impossible to with- hold from it either full credit or entire sympathy. In it Miss Cushman, by the magic of her art, compelled the natural and the supernatural to fuse. Her interpretation of Lady Macbeth [ S4 ]
CHARLOTTE CUSHMAN was great, the actress attempting nothing novel or eccentric in her conception of the character. The lines in the perform- ance which have fastened themselves with hooks of steel upon my inemory are the four of Lady Macbeth's soliloquy near the opening of the second scene of the third act of the tragedy — : " Nought's had, all 's spent, Where our desire is got without content 'T is safer to be that which we destroy Than by destruction dwell in doubtful joy." I never knew a voice so capable as Miss Cushman's of saturation with an- guish; and in no other text do I remem- ber her equally to have used her gift in this kind. The words were accompanied by the wringing of her hands; and through the first couplet, as she gave it, the listener was made to gaze into the depths of a soul, soon to enter the night of madness, already enduring the torments of hell. In the same scene, the affectionate solici- [ S5 ] :
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A DRAMATIC CRITIC<br />
of the Grecian Fates, sometimes a fierce<br />
old nurse bereft of her nursling. At<br />
moments she was merely a picturesque<br />
gypsy hag, with a grim sense of humor;<br />
anon, in speech with Harry Bertram, her<br />
crooning, brooding tenderness and yearn-<br />
ing were more than maternal, and were<br />
poignantly pathetic ; at the height of her<br />
passion she was a terrible being, glaring<br />
or glowering with eyes that reflected the<br />
past and penetrated the future, a weird<br />
presence dominating the dark woods and<br />
the cavernous hills, an inspired Prophetess<br />
and an avenging Fury. The wonder of<br />
wonders was that the performance was<br />
absolutely convincing. It was impossible<br />
to laugh at it at any point, even in its<br />
most fantastic aspects; impossible to with-<br />
hold from it either full credit or entire<br />
sympathy. In it Miss Cushman, by the<br />
magic of her art, compelled the natural<br />
and the supernatural to fuse.<br />
Her interpretation of Lady Macbeth<br />
[ S4 ]