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A DRAMATIC CRITIC Booth and Madame Ristori holding the po- sitions next in honor. It is an old axiom of the dramatic art that temperament is of the first, second, and third conse- quence in the actor. Mr. Irving does not shake my faith in this truth, but I admit that his career goes far to show that, in exceptional cases, the intellect may suc- cessfully take upon itself a considerable part of the burden which is usually borne by other portions of the artistic nature. It makes, of course, the greatest difference what kind of a mind is in question, for much more than mere mental strength will be required. Mr. Irving's intelligence seems to be of remarkable power, breadth, subtilty, and keenness; it is morally sup- plemented by a fine patience and devoted persistence; it includes a genuine inventive faculty; it is enriched by careful cultiva- tion. The highest dramatic temperaments conceive and represent character through the exercise of a reproductive and creative [ 216 ]
HENRY IRVING faculty which is like the poet's. Similar results may be reached through the de- liberate, cumulative work of the mind, which first analyzes the character, and then, piece by piece, fabricates an imita- tion; and the mental gifts required for such a process of analysis and simulation are of a rare and varied sort. That there is an immense delight in encountering such an intelligence as this upon the stage, no one will deny. Its noblest and loftiest exercise must inevitably be had in the pre- sentation of Shakespeare; and here Mr. Irving's work becomes, in every matter where pure intellect and refined scholar- ship can avail, a subject for the profound- est satisfaction. His skill in arrano^inor the scenes and in cutting the dialogue is admirably good, and his reverent regard for the accepted text is scarcely less excellent than his brilliant ingenuity in varying the text of doubtful passages. In playing Hamlet, his mental power and [ 217 ]
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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
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EDWIN BOOTH ated with his name. Tha
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EDWIN BOOTH gance and distinction o
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EDWIN BOOTH thus to distinguish the
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TOMMASO SALVINI combination tolerab
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TOMMASO SALVINI the past fifty year
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TOMMASO SALVINI ing Shakespeare and
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TOMMASO SALVINI of rare delicacy be
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TOMMASO SALVINI interpretation of K
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TOMMASO SALVINI Every phase of the
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TOMMASO SALVINI and sobbing; strong
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TOMMASO SALVINI fresh and unconvent
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XVII Adelaide Neilson NO player in
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ADELAIDE NEILSON failing health, sh
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ADELAIDE NEILSON to be much remembe
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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
Page 239 and 240: HENRY IRVING on the stage to the la
Page 241 and 242: HENRY IRVING superstition, which it
Page 243: HENRY IRVING movement of the hands
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
Page 261 and 262: HENRY IRVING courage. Nearly all th
Page 263 and 264: HENRY IRVING own powers is the chie
Page 265: INDEX
Page 268 and 269: Enchanted Beauty, The, 9. Enchanted
Page 270: ElectrotyPed and printed by H. O. H
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