The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-02-23

there before us to the life.
Next comes Nancy. Readers of the old
editions Of "Oliver Twist will doubtless re-
collect how desperately difficult IL was to fght
against the dreadful impression which Mr..
George CruilSshank's picture Of Nancy left
npon the mind, and how it required all the
assistance OF the authors genius to preserve
interest in the stuuted, squab, round faced
trull whom the artist had depicted.
Accurately delneating every other charac-
ter 10 the book, and eXcelling all his previous
and subsequent productions in his etching of
'Fsgin in the Condemned Cell" Mr.. Cruik-
shank not merely did not convey the right
idea OF Nancy, which would have been bad
enough, but conveyed the wrong one, which
was worse. No such ill-favored girl would
have found protector in Skies, who amongst
his set and III his profession was man of
mark. We all know Nancy's position; but
just because we know it, we are certain she
must have had some amount of personal
eomeliness, which Mr.. Cruikshank has en-
tiTely denied her. In the reading we get none
of the common side of her character, which
peeps forth occasionally in the earlier volumes.
She is the heroine, dong evil that good may
come OF 1t, breaking the trust reposed in her
that the man she loves and they amongst
whom she has lived may be brought to better
lives. With the dread shadow OF impending
death upon her, she is thrillingly earnest
almost prophetic. Thus in accordance
with a favorite custom of the author
during the interview on the steps al
London bridge, not only does the girls
! language rise from the tone of Everyday life
and become imbued with dramatic imagery
and fervor but that eminently prosaic old
! person, Mr.. Brownlow, becomes affected in
the same manner, saying, "bsfore this river
wakes to life" and indulging in other romantic
types and metaphors. This may be scarcely
hfe-like, but it is very effective in the reading,
| anChalplnp n ba aud
forming fine contrast to the simple pathos
| OF the dialogue in the murder-scene, every
word OF which is in the highest degree natural
and well-placed. 1t is here, of course, that
the excitement Of the audience is wrought to
! its highest pitch, and that the acme of the
actors art is reached. The raised hands, the
bent back head, are good; but shut your eyes,
and the illusion is more complete. Then the
! cries for mercy, the "Bill dear Bill for dear
! Gods sake ~ uttered in tones in which the
! agony of fear prevails even over the earnest
ness OF the prayer, the dead, dull voice as
hope departs, are intensely real. When the
pleading ceases, you open your eyes in relief,
i'll time to see the impersonaton of the muir
derer seizing heavy club, and striking his
victim to the ground.
would have the reading end here. I would
have the curtain descend, as it were, upon
that deed of blood. / would have no moressof
'Sikes," nothing of the pleasant humor of
'Mrs. Camp" l know that thu British public
likes to see justice overtaking the wicked.
have been warned scores of times by kind
friends, known and unknown, that people de-
light in "a happy ending" to books and
plays but am yet of the old fashioned opin-
ion that the artist should consult his art rather
than his public, and l feel certain that artis-
tically speaking, the story of 'Sikes'' and
Nancy ends at the point have indicated,
at the private reading opinions differed as
to this. On the first public reading
l heard no discussion; but l am con-
vinced that l am rightly interpreting the feel
ings of the majority of the audience. There
is always less shutfing of feet, coughing, etc.,
at MIR. Dickens readings than at any other
public entertainment. Throughout the enlire
scene of the murder, from the entrance of
"Sikes' into the house until the catastrophe,
the silence was intense; the old phrase "a
pin might have been heard to drop" might
have been legitimately employed. 1t was a
great study to watch the faces of the people
eager, excited, intent-permitted for once
in lifetime to be natural, forgetting to be
British, and cynical and unimpassioned. The
great strength OF this feeling did not last into
the concluding five minutes. The people were
earnest and attentive but the wild excitement
so seldom seen amongst us died as "Nancy'
; died, and the rest was somewhat OF an anti
climax.
No one who appreciates great acting should
miss this scene. 1t will be a treat such al
they have not had for long time, such as
from all appearances, they are not likely tt
have soon again. To them the earnestness
and force, the subtlety, the nuanceS, the deli
cate lights and shades of the great dramatic
art, will be exhibited by one of the first,
not the first, of its living masters; whil
those of far less intellectual calibre viii
understand the vigor of the entire perform
anoe and be especially amused at the facia
and vocal deXterity by which the craft,
"Fagin" is instsntaneously changed into tn
ohuokle-headed "Noah Claypole."