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always a peculiar dash and vigour in it； like the fresh atmosphere of the
story whereof it is a part。 When he is on the stage； it seems to me as
though the story were transpiring before me for the first and last time。
Thus there is a fervour in his love…makinga suffusion of his whole being
with the rapture of his passionthat sheds a glory on its object； and raises
her； before the eyes of the audience； into the light in which he sees her。 It
was this remarkable power that took Paris by storm when he became
famous in the lover's part in the Dame aux Camelias。 It is a short part；
really comprised in two scenes； but； as he acted it （he was its original
representative）； it left its poetic and exalting influence on the heroine
throughout the play。 A woman who could be so lovedwho could be so
devotedly and romantically adoredhad a hold upon the general sympathy
with which nothing less absorbing and complete could have invested her。
When I first saw this play and this actor； I could not in forming my lenient
judgment of the heroine； forget that she had been the inspiration of a
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passion of which I had beheld such profound and affecting marks。 I said
to myself； as a child might have said： 〃A bad woman could not have
been the object of that wonderful tenderness； could not have so subdued
that worshipping heart； could not have drawn such tears from such a
lover〃。 I am persuaded that the same effect was wrought upon the
Parisian audiences； both consciously and unconsciously； to a very great
extent； and that what was morally disagreeable in the Dame aux Camelias
first got lost in this brilliant halo of romance。 I have seen the same play
with the same part otherwise acted； and in exact degree as the love became
dull and earthy； the heroine descended from her pedestal。
In Ruy Blas； in the Master of Ravenswood； and in the Lady of Lyons
three dramas in which Mr。 Fechter especially shines as a lover； but notably
in the firstthis remarkable power of surrounding the beloved creature； in
the eyes of the audience； with the fascination that she has for him； is
strikingly displayed。 That observer must be cold indeed who does not
feel； when Ruy Blas stands in the presence of the young unwedded Queen
of Spain； that the air is enchanted； or； when she bends over him； laying her
tender touch upon his bloody breast； that it is better so to die than to live
apart from her； and that she is worthy to be so died for。 When the Master
of Ravenswood declares his love to Lucy Ashton； and she hers to him； and
when in a burst of rapture； he kisses the skirt of her dress； we feel as
though we touched it with our lips to stay our goddess from soaring away
into the very heavens。 And when they plight their troth and break the
piece of gold； it is wenot Edgarwho quickly exchange our half for the
half she was about to hang about her neck； solely because the latter has for
an instant touched the bosom we so dearly love。 Again； in the Lady of
Lyons： the picture on the easel in the poor cottage studio is not the
unfinished portrait of a vain and arrogant girl； but becomes the sketch of a
Soul's high ambition and aspiration here and hereafter。
Picturesqueness is a quality above all others pervading Mr。 Fechter's
assumptions。 Himself a skilled painter and sculptor； learned in the
history of costume； and informing those accomplishments and that
knowledge with a similar infusion of romance （for romance is inseparable
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from the man）； he is always a picture；always a picture in its right place in
the group； always in true composition with the background of the scene。
For picturesqueness of manner； note so trivial a thing as the turn of his
hand in beckoning from a window； in Ruy Blas； to a personage down in an
outer courtyard to come up； or his assumption of the Duke's livery in the
same scene； or his writing a letter from dictation。 In the last scene of
Victor Hugo's noble drama； his bearing becomes positively inspired； and
his sudden assumption of the attitude of the headsman； in his denunciation
of the Duke and threat to be his executioner； is； so far as I know； one of the
most ferociously picturesque things conceivable on the stage。
The foregoing use of the word 〃ferociously〃 reminds me to remark
that this artist is a master of passionate vehemence； in which aspect he
appears to me to represent； perhaps more than in any other； an interesting
union of characteristics of two great nations；the French and the Anglo…
Saxon。 Born in London of a French mother； by a German father； but
reared entirely in England and in France； there is； in his fury； a
combination of French suddenness and impressibility with our more
slowly demonstrative Anglo…Saxon way when we get； as we say； 〃our
blood up〃； that produces an intensely fiery result。 The fusion of two
races is in it； and one cannot decidedly say that it belongs to either； but
one can most decidedly say that it belongs to a powerful concentration of
human passion and emotion； and to human nature。
Mr。 Fechter has been in the main more accustomed to speak French
than to speak English； and therefore he speaks our language with a French
accent。 But whosoever should suppose that he does not speak English
fluently； plainly； distinctly； and with a perfect understanding of the
meaning； weight； and value of every word； would be greatly mistaken。
Not only is his knowledge of English extending to the most subtle idiom；
or the most recondite cant phrasemore extensive than that of many of us
who have English for our mother…tongue； but his delivery of Shakespeare's
blank verse is remarkably facile； musical； and intelligent。 To be in a sort
of pain for him； as one sometimes is for a foreigner speaking English； or to
be in any doubt of his having twenty synonymes at his tongue's end if he
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should want one； is out of the question after having been of his audience。
A few words on two of his Shakespearian impersonations； and I shall
have indicated enough； in advance of Mr。 Fechter's presentation of himself。
That quality of picturesqueness； on which I have already laid stress； is
strikingly developed in his Iago； and yet it is so judiciously governed that
his Iago is not in the least picturesque according to the conventional ways
of frowning； sneering； diabolically grinning； and elaborately doing
everything else that would induce Othello to run him through the body
very early in the play。 Mr。 Fechter's is the Iago who could； and did； make
friends； who could dissect his master's soul； without flourishing his scalpel
as if it were a walking…stick； who could overpower Emilia by other arts
than a sign…of…the…Saracen's…Head grimness； who could be a boon
companion without ipso facto warning all beholders off by the portentous
phenomenon； who could sing a song and clink a can naturally enough； and
stab men really in the dark；not in a transparent notification of himself as
going about seeking whom to stab。 Mr。 Fechter's Iago is no more in the
conventional psychological mode than in the conventional hussar
pantaloons and boots； and you shall see the picturesqueness of his wearing
borne out in his bearing all through the tragedy down to the moment when
he becomes invincibly and consistently dumb。
Perhaps no innovation in Art was ever accepted with so much favour
by so many intellectual persons pre…committed to； and preoccupied by；
another system； as Mr。 Fechter's Hamlet。 I take this to have been the case
（as it unquestionably was in London）； not because of its picturesqueness；
not because of its novelty； not because of its many scattered beauties； but
because of its