Pictorial Shakespeare, 1880-1890 - eTheses Repository - University ...

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series of "efforts to interpret the heart and nature of woman,
as drawn by our master-poets" (Juliet, p.97). This suggests a
scheme similar to that of Anna Jameson's more systematic
Characteristics of //omen (1832 - a new edition appeared in
1879), wherein the plays furnish illustrations of "womanliness".
In Llrs Jameson f s work a generalised psychological theory lends
the dramatic presentations of femininity considerable unity:
in Helen Faucit, this unity ic assimilated to the interpreter's
own personality, and praise of the characters devolves on the
writer herself.
Thus, at the beginning of the first of two letters ori
Juliet, she asserts that, in dealing with 7'e8demona, Portia and
Ophelia, she spoke "as of beings outside, as it were, her own
personality"-
...but Juliet seems inwoven with my life. Of nil
characters, here is the one which I have found
the greatest difficulty, but also the greatest
delight, in acting.
-'he had acted the pert from the beginning of her career, but
never "v/ithout finding fresh cause to wonder at the genius
which created this child-w >nan, raised by love to heroism of
the highest type" (p.85). Given that her intention was "to
clothe oh happy nriviledre! - with form and motion the greatest
creations of poetical genius" (rulOl), assertions that the roi e c
are difficult become assertions that the actress rose to, or
surpassed, the task. Acting becomes a process of adding illustration
to the dramatist's words, arr' he becomes, b irrnlication,
a co-worker of Helen I?aucit. The CD cays are filled, legitimately,
with ror.iinoers of the interpreter's difficulties. In the first
balcony scene of Ho.neo and Juliet, for example:
As tlio whole scene ±L. the noblest paean to
Love ever written, r,o ic v;hat Juliet now says
C.II.2.C5-106J supreme in sublety of feeling
and oxorersion, v.here all is beautiful, '.vatch all
the fluctuations of emotion v.liicli pervrde it, and
you will understand \vhat a task is laid upon
the actress to interpret tliera, not in voice and
tone only, important as these are, but also in
manner and notion. / 119)