New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-11-01
THE DRAMA-MUSIC.
DEATH OF HELEN FAUCET.

Twelve days ago. when news OF the dangerous
Illness Of Helen Faucit arrived from England. some
account of that famous actress was pubhshed
October 2O). In this column Yesterday brought
the news Of her death. The theatre does not suffer
n bereavement in this sad occurrence, for Helen
Faucit had long retired from the stage. out the
close OF iustrous life and the final disappear
ance OF famous personality must always dinus~
n mournful impresson.-attesting. as they do. the
memorable ravages Of time and the evanescence OF
all worldly achievement and renown. Helen
Fauclt's latest London appearance was made at
the Lyceum Theatre. IN 1876. but three years later
In April. 1879 she participated in the performances
that sgnallzed the opening OF the Shakespeare
Memorial Theatre. at Stratford-upon-Avo and In
the following autumn she acted. for benefit. I'm
Manchester. She vas born on October II. 1917
and. accordingly. she has passed away In her
eighty year. Since her marriage in ISL
to Theodore Martin. her life has been mainly de-
voted to literature and society. Her thoughtful
and dlscrlminative book about "Shakespeares Fee
male Characters" appearing In 1887. heightened
her reputation with Shakespearlan students and
authenticated her fame. After her husband be-
came the bographer OF the Prince Consort and
the literary counsellor TO the Queen OF England
she. or course. moved in the highest circles OF
English society. II Is her theatrical career. how
ever that will be chiefly remembered and consld-
cred now Her first attempt made in 1888 but
the formal beginning OF her professional life was
January. 1896. She never took a formal farewell
Of the stage. but after her marriage her public APP
pearances were not az frequent rs before.
At all times Helen FAUCET maintained the dir
nifty Of her profession and she never acted % an
unworthy play. The characters that her husband
selected for especial commem oratlon. rs *
prossve OF her best powers and her finest achieve
ment. were Shakespeare imogcn. Rosalind. Juliet.
and Constance. and this choice. 10y well quail
fled to Judge Is close denotomont of her versa
tility and Of the rich resources OF her mind.
She gained her reputation actress at
a line when reputation was far less easily
gained than It at present. for she was
brought into professional association with men and
women of various and superb talent and OF high
and watchful. and eager ambtion.-presentng
plays Of the highest order-and she proved. and
maintained her equality with the best Of them.
Much will be written about her acting but the
great iuminative fact which ought especially 10 be
observed and remembered Is that was always
adequate all that is essentially noble In woman
like character-that she could greatly express "A
great and pure ideal This IL by no means a com
mon power. and at present the stage scarcely
shows a trace OF 1.-THE principal tragic creations
Of our time being such heroncs rs exhaust every
expedent OF bes:ia wlckedness. and at last sup
plement hideous sensuality with fantastic murder
sometimes welding a Ratchet and sometimes
hatpin The professional range Of Helen Faucit
extended from Ophelia to Lady Macbeth. but II
was in Imogen and In the line Of character typi-
fled By Imogen, that she gained her leadership and
established her renown. She could utter love, and
she could express beauty. and therefore her art
was blessing and the memory Of 1t Is precious
legacy to the world