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A DRAMATIC CRITIC " as easy " with him as his knowledge of " what were good to do " is clear; that if abundance, brilliancy, clearness and refine- ment of thought, artistic insight, definite- ness of purpose, sincerity of feeling, and intensity of devotion were all that is needed in a player, he would be easily first among the actors of our time; that, since the highest end of acting is not to refresh and stimulate the mind, to refine and gratify the taste, or to charm the fancy, but strongly to move the spirit and pro- foundly to stir the heart, his claim to a place among the greatest masters of his craft is not as yet made out. After all is said, I find there is a certain charm in his performance which has not been accounted for, which defies analysis, and refuses even to be described, but which is strangely potent upon the imagination of the spec- tator. That his existence in the dramatic profession, even as he is, with all his im- perfections on his head, is an inestimable [ 228 ]
HENRY IRVING boon to the stage of England and America seems to me quite clear, inasmuch as it is impossible that his peculiar faults should find many imitators. And, looking at Mr. Irving, the most advanced English student of the drama may find one obvious com- pensation for the absence of a conservatory like that of Paris, and of a theatre like the Fran9ais: for in the destruction of his mannerisms, which must have made a part of Mr. Irving's pupilage, the artist himself would surely have perished, as the hero- ine of Hawthorne's most fanciful story died under the process of obliterating the birthmark from her cheek. To Mr. Ir- ving's marvelous skill in setting and adorn- ing his stage, and in guiding his supporting performers, — a skill which seems to amount almost to genius, — I can make only this brief allusion. Our public are not likely to forget that the}^ owe to him representations of Shakespeare which have done more to educate the community, and [ 229 ]
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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
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ADELAIDE NEILSON " False to his bed
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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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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 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: HENRY IRVING regal action in mounti
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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