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A DRAMATIC CRITIC face resemblance of things. Life was a muddle by reason of these recurring like- nesses, and language was a pitfall or a labyrinth. It was a genuine grief and trial to him, though very amusing to the specta- tors, when he came upon another of " those things that no fellah can find out." His weakness was carried to the point of farci- cal extravagance, but there was something to sympathize with when he was most ridic- ulous, and one had new visions both of the inherent weakness and the latent capacities of our language when he said, with eager hitches and emphatic bursts, to Lieutenant Vernon : " Of course you can pass your examination ; what I want to know is, can you go through it ? " Closely allied to this mental infirmity, and another important ele- ment in the humor of the conception, was Dundreary's absolute incapacity to cherish more than one idea at a time. A single thought, whether great or small, brimmed his brain, and his cerebral machinery was C 9S ]
E. A. SOTHERN, SR. thrown completely out of gear by the in- trusion of another idea. The rhythmic mo- tion of Asa Trenchard's foot made it impos- sible for him to remember the words of his song ; the accidental view of a split hair in his whiskers caused him to be oblivious of Georgina's narrative j a sudden discov- ery of her chignon, when her back was modestly turned, and the train of conse- quent meditation, broke him off in the midst of an offer of marriage. The funniest and most highly illustra- tive incident of this sort was the famous passage in which his search for his mis- placed trousers pocket passed from a usual automatic act to a mind-absorbing effort, and— with a perfect parallelism of effect at every stage — at first left his words un- checked, then gradually slowed his tongue, then stopped his speech altogether, finally required the united devotion of hand, eyes, and brain to discover the missing recep- tacle. Dundreary's mind had — to change [ 99 ]
- Page 67 and 68: DRAMATIC Q_UINQ.UENNIUM ton : first
- Page 69 and 70: DRAMATIC CtUINQ^UENNIUM — by clos
- Page 71 and 72: VIII William Warren, Comedian BOSTO
- Page 73 and 74: WILLIAM WARREN presented in the dra
- Page 75 and 76: WILLIAM WARREN Apropos of the large
- Page 77 and 78: WILLIAM WARREN must submit to a rec
- Page 79 and 80: WILLIAM WARREN voiced organ. There
- Page 81 and 82: WILLIAM WARREN depth and suggestive
- Page 83 and 84: WILLIAM WARREN through a vast galle
- Page 85 and 86: WILLIAM WARREN Senator from Massach
- Page 87 and 88: TRAINING FOR THE STAGE any other th
- Page 89 and 90: TRAINING FOR THE STAGE actors, and
- Page 91 and 92: TRAINING FOR THE STAGE not brought
- Page 93 and 94: TRAINING FOR THE STAGE rade;" Mr. M
- Page 95 and 96: TOOLE AND MATHEWS Mrs. Rousby, who
- Page 97 and 98: TOOLE AND MATHEWS rapidity against
- Page 99 and 100: TOOLE AND MATHEWS finesse, and dext
- Page 103 and 104: CHARLOTTE CUSHMAN figure and homely
- Page 105 and 106: CHARLOTTE CUSHMAN was great, the ac
- Page 107 and 108: CHARLOTTE CUSHMAN act, has been dis
- Page 109 and 110: CHARLOTTE CUSHMAN be so pronounced
- Page 111 and 112: CHARLOTTE CUSHMAN mendations " and
- Page 113 and 114: THE XII E. A. SOTHERN, Sr. most not
- Page 115 and 116: E. A. SOTHERN, SR. inverted as in a
- Page 117: E. A. SOTHERN, SR effective for mir
- Page 121 and 122: E. A. SOTHERN, SR traordinary were
- Page 123 and 124: E. A. SOTHERN, SR. Tragedian, a dra
- Page 125 and 126: E. A. SOTHERN, SR sought or seeking
- Page 127 and 128: THE ISOLATION OF ACTORS plish. Behi
- Page 129 and 130: THE ISOLATION OF ACTORS fictive mat
- Page 131 and 132: THE ISOLATION OF ACTORS rary life w
- Page 133 and 134: DURING XIV Charles Fechter the seas
- Page 135 and 136: CHARLES FECHTER holding the lease o
- Page 137 and 138: CHARLES FECHTER psychic scheme, but
- Page 139 and 140: CHARLES FECHTER man, treasure, pabu
- Page 141 and 142: CHARLES FECHTER clouds, where Shake
- Page 143 and 144: CHARLES FECHTER and in his final dy
- Page 145 and 146: CHARLES FECHTER Glavis, there was a
- Page 147 and 148: CHARLES FECHTER on lines already in
- Page 149 and 150: CHARLES FECHTER internal discords,
- Page 151 and 152: THERE is XV Edwin Booth no occasion
- Page 155 and 156: EDWIN BOOTH A famous nomen I called
- Page 157 and 158: EDWIN BOOTH creations, because of t
- Page 159 and 160: EDWIN BOOTH ated with his name. Tha
- Page 161 and 162: EDWIN BOOTH gance and distinction o
- Page 163 and 164: EDWIN BOOTH thus to distinguish the
- Page 167 and 168: TOMMASO SALVINI combination tolerab
E. A. SOTHERN, SR.<br />
thrown completely out of gear by the in-<br />
trusion of another idea. The rhythmic mo-<br />
tion of Asa Trenchard's foot made it impos-<br />
sible for him to remember the words of his<br />
song ; the accidental view of a split hair<br />
in his whiskers caused him to be oblivious<br />
of Georgina's narrative j<br />
a sudden discov-<br />
ery of her chignon, when her back was<br />
modestly turned, and the train of conse-<br />
quent meditation, broke him off in the<br />
midst of an offer of marriage.<br />
The funniest and most highly illustra-<br />
tive incident of this sort was the famous<br />
passage in which his search for his mis-<br />
placed trousers pocket passed from a usual<br />
automatic act to a mind-absorbing effort,<br />
and— with a perfect parallelism of effect<br />
at every stage — at first left his words un-<br />
checked, then gradually slowed his tongue,<br />
then stopped his speech altogether, finally<br />
required the united devotion of hand, eyes,<br />
and brain to discover the missing recep-<br />
tacle. Dundreary's mind had — to change<br />
[ 99 ]
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