Daily globe. [volume] (St. Paul, Minn.) 1878-1884, 1882-10-24
wv FAMOUS M
Mrs Lan0tsy and Fanny KeMble-POints
If Resemblance and Difference Betsceen

Mrs LGn0tsy and Fanny KeMble-POints
IF Resemblance aud Difference BetsceeM
Them.
[G. w. Curtis in Harper's magazine.
The coming of Mrs. Langtry will be diff
ferent from the coming of Fanny Kemble
Yet Fanny Kemble was a beautiful woman
and a striking person apart from bel
genius as an actress and the interest of hel
association with what a reviewer of he1
| recent memoirs calls 'the late reignina
family of the English stage" Mrs. KEN.
| BILE has always retained a natural pride in
her family distinction, touched possibly
| with a little feeling of defiance arising
| from a consciousness of q certain social
| ostracism of actors in England, notwith-
| standing the ''great matches" which they
sometimes make.
81 BELONG TO HER MAJEsTY's PLAYERS"
| she once said, with a proud and arch humil.
| ity, and she said it in a circle of dis
tinguished persons, in which she brilliant.
~ led and monopolized the conversation
But in her earlier journal in America
| as in the memoirs published a few years
since, there is a little trace of pride and
pleasure in the actual practice of her pro-
fession. Descent from a great and famous
family of actors may have charmed her
imagination, as the familiar and stately
words of Hooker describing the law may
be proudly quoted by the young attorney.
But when he comes to the police court it is
less evident to him that of law there can
be no less acknowledged than that her
seat is the bosom of God. From her &C.
count of her W acting it is evident that,
as with Rachel, Fanny Kemble preserved
her self-possession, and was not herself in
volved and swept along by the hurricanes
of passion which she simulated. That is
to say, she was
AN ARTIST IN THE SENSE.
Even of Shakespeare Charles Emerson
said that she brooded pensive and alone
above the hundred-handed play of his i'm
agination." 1t is probably essential to the
best effects oil the actors art that he
should never forget that he is acting, and
for the same reason the painter must not
gid the gold in his picture, nor the sculp-
tor color the cheek of his marble Helen.
The tradition of Fanny Kemble's coming
to this country still survives. She was in
all the bloom of her beautiful youth and
the freshness of her fame. Fortunately,
also, Talfourd's article describing her first
appearance in London is yet accessible.
She took the town. It was a sudden and
prodigious but merited triumph, and it
was the greater because the tradition of
Mrs. Siddons had not passed away, and
there would be the natural depreciatory
doubt and inevitable comparison between
the acknowledged Muse of Tragedy and
the young aspirant. But it is the quality
of genius to dissolve that kind of depre-
citation Its effect is unique and indispu-
table. How can you compare a ruby with
a rose? The America that is reflected in
Fanny Kemble's journal, and which the
gilded youth of nearly half a century ago
repember, was a little coy country, so to
speak, compared with that to which Mrs.
Langtry comes. When New York still
went to the play and opera at the Park
theater, opposite the Astor house OF to-
day, it is plain that it was a manageable
city. But the New Yorker who would see
Mrs. Langtry as Rosalind must go by the
street car OF the elevated railroad two or
three miles from the Astor house..
If he may trust the reports, he will not
see a Fanny Kemble, but
VERY CHARMING WOMAN,
nevertheless-a woman who among "pro-
fessional beauties is distinguished by
something more than a Grecian contour
and an exquisite complexion. The success
of her appearance upon the stage is prob
ably due to a decided talent, and not to her
career as a famous London beauty. The
latter, indeed, would perhaps interfere
with success upon the boards unless the
talent was un~questionable, and then the
social prestige would be serviceable. A
reporter of the indefatigabIe Herald re-
Gently interviewed" Mrs. Langtry at Not
tingham, and says that before calling upon
her he went to see her at the theater, and
was surprised at the excellence of her per-
Torrance of Kate Hardcastle. That ex-
preston probably furnishes
THE KEY TO HER SUCCESS.
The natural feeling would be chat q pretty
woman, with her head turned by the noto-
riety of her social triumphs, had deter
mined to extend her conquest, but would
find that on the stage something more is
necessary than a pretty face. Indeed, it
might be supposed that many persons for
many reasons might be glad to see her
"taken down." But the event proved this
expectation to be unfounded. She was
more than a pretty woman; she was an OK
cellent actress.
When Fanny Kemble was "the rage,' all
kinds of h~aberdashery were named for her.
Kemble ties and Kemble hats, Kemble
capes and Kemble cuffs and collars, ap-
peared on all sides. The dark-eyed Juliet
looked at the youth from all the windows,
and he was happy who had seen and hap
pier who had spoken with
THE GODDESS OF THE HouR.
This kind of fashion Mrs. Langtry knew
before she went upon the stage. With
great plainness of speech she said to the
reporter, II lave never set myself up for
a beauty" But Mr.. J. E. Millais, the artist,
saw her at the theater, and begged her to
sit for her portrait, which Prince Leopold
bought, and SO made her the fashion.
Dukes and duchesses and all the nobility
welcomed her. The painters and phctog-
raphers multiplied her portraits. The pa
pers celebrated her charms. People stood
on chairs in the street to see her pass.
woman Of cloud and of fire,
1t is she-it is Helen of Tyre.
IT COSTS MONEY TO BE A FASHIONABLE BEAUTY.
Retrenchment, economy, became necessary,
but money was very desirable. The hus-
band seems to nave been of no profession,
| and the enthusiastic Mr.. Millais proposed
the stage. Surprise, apprehension, doubt,
Il do4orm:nof;or fo11orro1 Tho cfoDo ~