Manual The Critics Canon: Standards of Theatrical Reviewing in America (Great American Orators,)

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He has laid aside his cigar, and smiles often with a curious and amused expression of face. Irving and his friends go forward; Miss Terry is aft, in charge of Mr. The interviewers are again busily engaged with Mr. He is once more the centre of an interested group of men.

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Not one of them takes a note. They seem to be putting all he says down in their minds. They are accustomed to tax their memories. One catches, in the expression of their faces, evidence of something like an inter-vision. They seem to be ticking off, in their minds, the points as the speaker makes them; for Irving now appears to be talking as much for his own amusement as for the public instruction.

He finds that he has a quick, intelligent, and attentive audience, and the absence of note-books and anything like a show of machinery for recording his words puts him thoroughly at his ease. And what is more delightful to hear than experts on their own work?

The King review: a Shakespeare-mangling, death-march trudge

An actor needs applause. It is his life and soul when he is on the stage. The enthusiasm of the audience reacts upon him. He gives them back heat for heat. If they are cordial he is encouraged; if they are excited so is he; as they respond to his efforts he tightens his grip upon their imagination and emotions. You have no pit in your American theatres, as we have; that is, your stalls, or [57] parquet, cover the entire floor. It is to the quick feelings and heartiness of the pit and gallery that an actor looks for encouragement during his great scenes in England.

Our stalls are appreciative, but not demonstrative.

What is “baroque,” and when was the Baroque period?

Our pit and gallery are both. Irving, when particularly moved, likes to tramp about. Whenever the situation allows it he does so upon the stage. Probably recalling the way in which pit and gallery rose at him—and stalls and dress-circle, too, for that matter—on his farewell night at the Lyceum, he paces about the deck, all the interviewers making rapid mental note of his gait, and watching for some startling peculiarity that does not manifest itself.

I have heard strange stories about Mr. Vanderbilt having had a wonderful mirror of this kind constructed for my use, so that I may pose before it in all my loveliest attitudes. Something of the kind has been said, eh?

Harvard Orator Eunice Alison Nyang’or Mwabe - Harvard Commencement 2019

Irving, for your courtesy and information. Ahead the towers and spires of New York stand out in a picturesque outline against the sky. On either hand the water-line is fringed with the spars of ships and steamers.

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On the left stretches far away the low-lying shore of New Jersey; on the right, Brooklyn can be seen, rising upwards, a broken line of roofs and steeples. I think we would like to ask her a few questions; will you introduce us? I do the honors of this presentation. Miss Terry is too much under the influence of the wonderful scene that meets her gaze to receive the reporters with calmness. And, oh, what a river!

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So different to the Thames! And to think that I am in New York!

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It does not seem possible. I cannot realize it. I know my eyes are red, and this is not the sort of face to go into New York with, is it? If not you can hardly realize my sensations. Not that I have any fears about my reception. No, it is not that; the Americans on the ship were so kind to me, and you are so very considerate, that I am sure everybody ashore will be friendly. Sufficient for the day is the Lyceum thereof. There is no chance of my ever desiring to change. I am devoted to the Lyceum, and to Mr.

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No one admires him more than I do; no one knows better, I think, how much he has done for our art; no one dreams of how much more he will yet do if he is spared. Charles Kean,—that his performances and mounting of plays were perfect in their way. But look at Mr. I am sure you will be delighted with him.

A few minutes later she slips alongside the wharf at the foot of Canal street. The reporters take their leave, raising their hats to Miss Terry, many of them shaking hands with Mr. Carriages are in waiting for Mr. Barrett and [62] his party. A small crowd, learning who the new-comers were, give them a cheer of welcome, and Henry Irving and Ellen Terry stand upon American soil.

The New Yorkers, I believe, were very much amused at that.

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They have a keen sense of fun. Where are we going now? A scene of bustle and excitement is developing just as we are permitted to depart. A famous politician is on board.

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There is a procession, with a band of music, to meet him. Imposing equipages are here to carry off the rich and prosperous travellers. Friends are greeting friends. Children are being hugged by fathers and mothers. The expressman, jingling his brass checks, is looking for business; his carts are fighting their way among the attendant carriages and more ponderous wagons. A line of Custom-House men form in line, a living cord of blue and silver, across the roadway exit of the wharf.

There is a smell of tar and coffee and baked peanuts in the atmosphere, together with the sound of many voices; and the bustle repeats itself outside in the rattle of arriving and departing carts and carriages. Above all one hears the pleasant music of distant car-bells.

We dash along, over level crossings, past very continental-looking riverside cabarets and rum-shops, under elevated railroads, and up streets that recall Holland, France, Brighton, and Liverpool, until we reach Washington square. The dead leaves of autumn are beginning to hide the fading grass; but the sun is shining gloriously away up in a blue sky.

Irving is impressed with the beauty of the city as we enter Fifth avenue, its many spires marking the long line of street as far as the eye can see.