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A DRAMATIC CRITIC had entered her soul, she began to look at him with a gaze as direct as unhesitating, and as maidenly as full moonlight. At great moments the concentration and sim- plicity of her style exactly fulfilled the difficult conditions of the part ; the shud- der with which she caught and held her breath when Launcelot kissed her fore- head, the gasping pain of the sequent words, " Mercy, my lord," and the dry despair of her " Of all this will I nothing," will be long and deservedly remembered. Few more beautiful scenes have been shown upon the stage than the fifth tableau, which reproduced a famous picture, and exhibited the barge, draped in black samite, bearing the body of the maiden — pale as the lily which her right hand held, the " dead oar'd by the dumb " old servitor — upward with the flood. [ 184 ]
XIX An American Theatre Privately Endowed MY last word may well bear my message of desire and hope for the theatre in America. Some fourteen years ago, I began to contend in public for the establishment in one of our largest cities of a playhouse which should be supported or " backed " by the munifi- cence of two or more men of great wealth and proportionate intelligence, — even as the Symphony Orchestra in Boston is maintained by one public-spirited gentle- man. It is to be a theatre libre in that it is to be absolutely absolved from slavery to its patrons and box office. As a place of edification, it is not to be a kindergarten for infants who still suck their sustenance [ 185 ]
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UNIVERSITY OF CA RIVERSIDE, LIBRARY
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Bit
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COPYRIGHT, 1902, BY HENRY AUSTIN CL
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NOTE The reader is informed of what
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CONTENTS XVII. ADELAIDE NEILSON 1 5
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REMINISCENCES OF A DRAMATIC CRITIC
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INTRODUCTION and fascinating folk,
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INTRODUCTION My equipment for my ta
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II Spectacle, Farce, Melodrama, and
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THE STAGE FIFTY YEARS AGO But what
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THE STAGE FIFTY YEARS AGO men had c
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THE STAGE FIFTY YEARS AGO with two
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THE STAGE FIFTY YEARS AGO of the tr
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THE STAGE FIFTY YEARS AGO a man of
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THE STAGE FIFTY YEARS AGO bill of f
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Ill The Worth and Impotence of Free
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IMPOTENCE OF FREE CRITICISM hinting
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IMPOTENCE OF FREE CRITICISM applaud
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I IV Some Early Experiences and Mis
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EXPERIENCES AND MISTAKES quent appl
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EXPERIENCES AND MISTAKES outspoken
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V Selwyn's Theatre and the Robert-
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SELWYN'S THEATRE Sargent Curtis ; a
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SELWYN'S THEATRE Colorado and the t
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SELWYN'S THEATRE that of the life o
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VI The Ephemeral Drama and the Endu
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THE EPHEMERAL DRAMA culiar to their
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THE EPHEMERAL DRAMA have no essenti
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VII The Great Dramatic QyiNQiJENNiU
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DRAMATIC Q_UINQ.UENNIUM ton : first
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DRAMATIC CtUINQ^UENNIUM — by clos
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VIII William Warren, Comedian BOSTO
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WILLIAM WARREN presented in the dra
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WILLIAM WARREN Apropos of the large
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WILLIAM WARREN must submit to a rec
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WILLIAM WARREN voiced organ. There
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WILLIAM WARREN depth and suggestive
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WILLIAM WARREN through a vast galle
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WILLIAM WARREN Senator from Massach
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TRAINING FOR THE STAGE any other th
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TRAINING FOR THE STAGE actors, and
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TRAINING FOR THE STAGE not brought
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TRAINING FOR THE STAGE rade;" Mr. M
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TOOLE AND MATHEWS Mrs. Rousby, who
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TOOLE AND MATHEWS rapidity against
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TOOLE AND MATHEWS finesse, and dext
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CHARLOTTE CUSHMAN figure and homely
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CHARLOTTE CUSHMAN was great, the ac
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CHARLOTTE CUSHMAN act, has been dis
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CHARLOTTE CUSHMAN be so pronounced
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CHARLOTTE CUSHMAN mendations " and
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THE XII E. A. SOTHERN, Sr. most not
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E. A. SOTHERN, SR. inverted as in a
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E. A. SOTHERN, SR effective for mir
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E. A. SOTHERN, SR. thrown completel
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E. A. SOTHERN, SR traordinary were
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E. A. SOTHERN, SR. Tragedian, a dra
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E. A. SOTHERN, SR sought or seeking
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THE ISOLATION OF ACTORS plish. Behi
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THE ISOLATION OF ACTORS fictive mat
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THE ISOLATION OF ACTORS rary life w
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DURING XIV Charles Fechter the seas
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CHARLES FECHTER holding the lease o
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CHARLES FECHTER psychic scheme, but
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CHARLES FECHTER man, treasure, pabu
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CHARLES FECHTER clouds, where Shake
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CHARLES FECHTER and in his final dy
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CHARLES FECHTER Glavis, there was a
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CHARLES FECHTER on lines already in
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CHARLES FECHTER internal discords,
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THERE is XV Edwin Booth no occasion
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EDWIN BOOTH A famous nomen I called
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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 and 188: ADELAIDE NEILSON failing health, sh
Page 189 and 190: ADELAIDE NEILSON to be much remembe
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: MEMORABLE EXPERIENCES George P. Lat
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
Page 239 and 240: HENRY IRVING on the stage to the la
Page 241 and 242: HENRY IRVING superstition, which it
Page 243 and 244: HENRY IRVING movement of the hands
Page 245 and 246: HENRY IRVING faculty which is like
Page 247 and 248: HENRY IRVING that madness with whic
Page 249 and 250: HENRY IRVING and method to which I
Page 251 and 252: HENRY IRVING it is the source of th
Page 253 and 254: HENRY IRVING with beautiful softnes
Page 255 and 256: HENRY IRVING regal action in mounti
Page 257 and 258: HENRY IRVING boon to the stage of E
Page 259 and 260: HENRY IRVING tual with the spectato
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HENRY IRVING courage. Nearly all th
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HENRY IRVING own powers is the chie
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INDEX
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Enchanted Beauty, The, 9. Enchanted
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ElectrotyPed and printed by H. O. H
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