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A DRAMATIC CRITIC pleasant in quality, had many unrefined nasal intonations; and in the interpretation of her text she frequently missed delicate opportunities, sometimes squarely blun- dered. It happened that she did not re- appear in Boston till 1880, and connois- seurs of acting were then permitted to note the effect upon her of seven 3'ears of the experience and culture of the stage. The change was remarkable : she had gained greatly in vivacity and power, al- most equally in breadth and suavity of style. Her voice had acquired an absolute clarity, with no loss of richness of tones. An extraordinary advance had been made in the finish of her work, which now exhib- ited, at almost every point and in almost every detail, an exquisite precision that testified to the operation of a clear and highly cultivated intelligence. The evening of February 16, 1880, when, after the long absence referred to, she was once more seen in Boston, was an evening [ ^62 ]
ADELAIDE NEILSON to be much remembered by every star- long-suffering critic. At last a Juliet had appeared whose st}^le was as large as it was passionate and sweet, — a Juliet who did not color the words "Art thou not Romeo and a Montague ? " with hostilit}^, sincere or affected; who did not fall into a twenty seconds' ecstasy of terror because the orchard walls were high and hard to climb, and the place death to Romeo, con- sidering who he was, if any of her kinsmen found him under her window; who did not get out of temper with her nurse, and emit her " By and by I come " like a blow from an angry fist; who did not rush on from "Dost thou love me ? " to "I know thou wilt say a}'," as if she were mortally afraid that Romeo would say no, and proposed to stop his tongue in time; who did not exhibit all the symptoms of a blue funk of terror while the friar was describing the conse- quences of her drinking his potion. These betises, and many others like unto them, [ 163 ]
- 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
- Page 169 and 170: TOMMASO SALVINI the past fifty year
- Page 171 and 172: TOMMASO SALVINI ing Shakespeare and
- Page 173 and 174: TOMMASO SALVINI of rare delicacy be
- Page 175 and 176: TOMMASO SALVINI interpretation of K
- Page 177 and 178: TOMMASO SALVINI Every phase of the
- Page 179 and 180: TOMMASO SALVINI and sobbing; strong
- Page 181 and 182: TOMMASO SALVINI fresh and unconvent
- Page 183 and 184: XVII Adelaide Neilson NO player in
- Page 187: ADELAIDE NEILSON failing health, sh
- Page 191 and 192: ADELAIDE NEILSON ing interview with
- Page 193 and 194: ADELAIDE NEILSON " False to his bed
- Page 195 and 196: ADELAIDE NEILSON remember the beaut
- Page 197 and 198: ADELAIDE NEILSON belongs, and at th
- Page 199 and 200: XVIII Memorable Experiences of Sing
- Page 201 and 202: MEMORABLE EXPERIENCES carded, and t
- Page 203 and 204: MEMORABLE EXPERIENCES mon touch as
- Page 205 and 206: MEMORABLE EXPERIENCES worked less s
- Page 207 and 208: MEMORABLE EXPERIENCES under the nam
- Page 209 and 210: MEMORABLE EXPERIENCES George P. Lat
- Page 211 and 212: XIX An American Theatre Privately E
- Page 213 and 214: AN ENDOWED THEATRE and let the expe
- Page 215 and 216: AN ENDOWED THEATRE for histrionic s
- Page 217 and 218: AN ENDOWED THEATRE direction. I saw
- Page 219 and 220: AN ENDOWED THEATRE will not always
- Page 223 and 224: HENRY IRVING against any lively dis
- Page 225 and 226: HENRY IRVING greatest actor of his
- Page 227 and 228: HENRY IRVING at least to reflect an
- Page 229 and 230: HENRY IRVING have said that he hope
- Page 231 and 232: HENRY IRVING ficial and unessential
- Page 233 and 234: HENRY IRVING the subject of wonder
- Page 235 and 236: HENRY IRVING face is found to be si
- Page 237 and 238: HENRY IRVING grip which he at once
A DRAMATIC CRITIC<br />
pleasant in quality, had many unrefined<br />
nasal intonations; and in the interpretation<br />
of her text she frequently missed delicate<br />
opportunities, sometimes squarely blun-<br />
dered. It happened that she did not re-<br />
appear in Boston till 1880, and connois-<br />
seurs of acting were then permitted to<br />
note the effect upon her of seven 3'ears of<br />
the experience and culture of the stage.<br />
The change was remarkable : she had<br />
gained greatly in vivacity and power, al-<br />
most equally in breadth and suavity of<br />
style. Her voice had acquired an absolute<br />
clarity, with no loss of richness of tones.<br />
An extraordinary advance had been made<br />
in the finish of her work, which now exhib-<br />
ited, at almost every point and in almost<br />
every detail, an exquisite precision that<br />
testified to the operation of a clear and<br />
highly cultivated intelligence.<br />
The evening of February 16, 1880, when,<br />
after the long absence referred to, she was<br />
once more seen in Boston, was an evening<br />
[ ^62 ]
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