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A DRAMATIC CRITIC out such conceptions to their just extent, or with a large grasp of their compHcated parts, and the relations and proportions of the same. I have said bluntly that in ro- mantic characters, such as the two which have been selected for special comment, he much excelled our leading American actor. But it is impossible to conceive of Mr. Fechter as interpreting King Lear or lago or Macbeth with any approach to adequacy. His playing was almost perfect in its order, but the order was not the first. I deem it worth while to record a curi- ous passage in one of the very few talks I had with Mr. Fechter, because the quoted words will furnish a good illustration of the certainty that a player who is using a foreign language will make some grievous blunder in handling a clas- sic of that language, in spite of his pains and industry. I was so foolish as to get into an argument with the actor concern- ing his theory of Hamlet, which I attacked [ 126 ]
CHARLES FECHTER on lines already indicated. Mr. Fechter %^^ t^i- 0(.a^n defended his conception, and declared that ^ .^ ,/^ J^ ^ the prince did not procrastinate, but pur- sued his task with vigor. Quotations CL/-' p flowed freely, and I was about to clinch my argument by citing the words of the k Ghost at his second appearance to Ham- " " • ^^'^'^f let, when the actor interrupted me. 6i^d^4miftW
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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
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 and 118: E. A. SOTHERN, SR effective for mir
Page 119 and 120: E. A. SOTHERN, SR. thrown completel
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: CHARLES FECHTER Glavis, there was a
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 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
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ADELAIDE NEILSON belongs, and at th
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XVIII Memorable Experiences of Sing
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MEMORABLE EXPERIENCES carded, and t
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MEMORABLE EXPERIENCES mon touch as
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MEMORABLE EXPERIENCES worked less s
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MEMORABLE EXPERIENCES under the nam
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MEMORABLE EXPERIENCES George P. Lat
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XIX An American Theatre Privately E
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AN ENDOWED THEATRE and let the expe
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AN ENDOWED THEATRE for histrionic s
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AN ENDOWED THEATRE direction. I saw
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AN ENDOWED THEATRE will not always
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HENRY IRVING against any lively dis
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HENRY IRVING greatest actor of his
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HENRY IRVING at least to reflect an
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HENRY IRVING have said that he hope
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HENRY IRVING ficial and unessential
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HENRY IRVING the subject of wonder
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HENRY IRVING face is found to be si
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HENRY IRVING grip which he at once
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HENRY IRVING on the stage to the la
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HENRY IRVING superstition, which it
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HENRY IRVING movement of the hands
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HENRY IRVING faculty which is like
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HENRY IRVING that madness with whic
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HENRY IRVING and method to which I
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HENRY IRVING it is the source of th
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HENRY IRVING with beautiful softnes
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HENRY IRVING regal action in mounti
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HENRY IRVING boon to the stage of E
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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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