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By Root 16148 0

distinction. She has done well, wonderfully well, both in tragedy and comedy; but if she knew her own strength she would confine herself nearly altogether to the depicting (in letters not less than on the stage) the more gentle sentiments and the most profound passions. Her sympathy with the latter is evidently intense. In the utterance of the truly generous, of the really noble, of the unaffectedly passionate, we see her bosom heave, her cheek grow pale, her limbs tremble, her lip quiver, and nature’s own tear rush impetuously to the eye. It is this freshness of the heart which will provide for her the greenest laurels. It is this enthusiasm, this well of deep feeling, ­which should be made to prove for her an inexhaustible source of fame. As an actress, it is to her a mine of wealth worth all the dawdling instruction in the world. Mrs. Mowatt, on her first appearance as Pauline, was quite as able to give lessons in stage routine to any actor or actress in America, as was any actor or actress to give lessons to her. Now, at least, she should throw all “support” to the winds, trust proudly to her own sense of art, her own rich and natural elocution, her beauty, which is unusual, her grace, which is queenly, and be assured that these qualities, as she now possesses them, are all sufficient to render her a great actress, when considered simply as the means by which the end of natural acting is to be attained, as the mere instruments by which she may effectively and unimpededly lay bare to the audience the movements of her own passionate heart.

Indeed, the great charm of her manner is its naturalness. She looks, speaks and moves, with a well-controlled impulsiveness, as different as can be conceived from the customary rant and cant, the hack conventionality of the stage. Her voice is rich and voluminous, and although by no means powerful, is so well managed as to seem so. Her utterance is singularly distinct, its sole blemish being an occasional Anglicism of accent, adopted probably from her instructor, Mr. Crisp. Her reading could scarcely be improved. Her action is distinguished by an ease and self-possession which would do credit to a veteran. Her step is the perfection of grace. Often have I watched her for hours with the closest scrutiny, yet never for an instant did I observe her in an attitude of the least awkwardness or even constraint, while many of her seemingly impulsive gestures spoke in loud terms of the woman of genius, of the poet imbued with the profoundest sentiment of the beautiful in motion.

Her figure is slight, even fragile. Her face is a remarkably fine one, and of that precise character best adapted to the stage. The forehead is, perhaps, the least prepossessing feature, although it is by no means an unintellectual one. Hair light auburn, in rich profusion, and always arranged with exquisite taste. The eyes are gray, brilliant and expressive, without being full. The nose is well formed, with the Roman curve, and indicative of energy. This quality is also shown in the somewhat excessive ­prominence of the chin. The mouth is large, with brilliant and even teeth and flexible lips, capable of the most instantaneous and effective variations of expression. A more radiantly beautiful smile it is quite impossible to conceive.

GEORGE B. CHEEVER.

THE REVEREND GEORGE B. CHEEVER created at one time something of an excitement by the publication of a little brochure entitled “Deacon Giles’ Distillery.” He is much better known, however, as the editor of “The Commonplace Book of American Poetry,” a work which has at least the merit of not belying its title, and is exceedingly commonplace. I am ashamed to say that for several years this compilation afforded to Europeans the only material from which it was possible to form an estimate of the poetical ability of Americans. The selections appear to me exceedingly injudicious, and have all a marked leaning to the didactic. Dr. Cheever is not without a certain sort of negative ability as critic, but works of this character should be undertaken by poets or not at