From this December day forward, Henry Irving watched her; it was in 1878, on the last day but one of the year, that the partnership at the Lyceum began. And it was to go on, with the completeness of perfection, for. 24 full years, till the great actor's own retirement made it inevitable that it should end—in a blaze of triumph, Whether as Ophelia, Desdemons Portia, or Lady Macbeth; as Oh Beatrice, Marguerite, or—stupendously—as Nance Oldfield, it mattered nothing. Ellen Terry was incomparable. In Shakespeare's plays especially, it is truth that she ard Henry Irving made the playwright's somme a sacred, thing 'Theis ely rel in this time was on the ques-fon of whether one' could, mi thou profanity comma from his text, or put one in.
Irving saw it was duty to his art to work with Ellen Terry for as long as they should.both be spared." He chose those plays precisely in which he knew that Ellen Terry could show herself most wonderful. And neither ever failed the other. To America they went and worked, together, To Ireland together. Before the Queen (Victoria) and King Edward, at Sandringham and Windsor—together. lat charity performances, which they gave without thought or reckoning, it was the same. They were, "coupled and inseparable" in as grand and, as irre-prerichable an association as Art has ever looked back upon. Between them they lifted their calling a plane on which the hosts of its followers never dreamed of seeing it. They aimed sublimely, and achieved their ai The Secret of her Success Of Ellen Terry herself, the grace, the beauty and the charm arg of a classic piece with, Truth. She possessed the secret of that force which binds the actor to the audience in a sympathy that consumes and overwhelms. And she used her secret well that the spell would remain in the mind long after her acting had) become a memory. That has been, her glory; that and the fact that she, was a woman so womanly as to be pure fabric for the making of an actress.
There was never in her that cnreal femininity, or the masculine complex, or the ache for empty renown which must always, mar the great majority and turn them into imitators. She had no exaggerations; she despised the artificial, yet never made her contempt for it apparent. And for this she was loved. She wanted flowers, real flowers, and loseed, whenever it was possible, on ha them with her upon the stage. She loved her books, and reverenced the particular masters whom it had been privilege to interpret. She rest ed naturally. Physical rest und quiet were her afternoon prescrip-
It was a familiar confession of!
Ellen Terry's that she could with the utmost ease make herself turn deadly pale before " looking-glass: and that she worked for years to master her greatest difficulty, the management of the hands upon the stage. She added work, and always work, to those accomplishments which, in part, she had inherited; and thus it was that it fell to her lot to bp the bright particular star in a family firmament. Her father and her mother spent-the greater part of their lives in "stock" companies. That was the beginning.—Kate, Marion and Florence, her three sisters, each left their definite impression on the stage; Charles Terry, too; and her more famous brother, Fred Terry. Here, then, with her star-like self in the foreground, was} the second generation. And the} third, with "Minnie, daughter of Charles, Mabel Terry-Lewis, daughter of Kate, and Phyllis Neilson-Terry (daughter of Fred and his; equally famous wife, Julia Neilson)
one of corresponding Among these last representatives should be included Ellen Terry's own children: Edith (Ailsa) Craig and Gordon Craig, both of whom are associated with the high calling of the Terry family, though Jess directly.
Text read from the printed page and cleaned; old type leaves the occasional error.