The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1902-08-31
uthor of "The Great Diamond Robbery,

she care to. resort to Ristori's art to pro-
duce an illusion. She could not make up
Elizabeth or Mary Stuart with the pains
taking assiduity and marvellous historic
and pictorial accuracy of Ristori. but in all
those crises where histrionism of the elder
, kind could assert itself in defamation and
action she eXcelled Ristori in the force and
sublimity of her tragic power.
At the end of her frs, American sea
son she had won for herself a secure and
almost unique position upon our boards.
Nine. Janauschek returned to this country
for three successive seasons. each time i'm
proving her company according to her own
standard and all the time enlarging her
repertoire. In 1871 she appeared al the Acad-
envy of Music, under the management of
Mr.. Augustin DAILY. TO play Deporah in
English. she having ass%iduOusly studied the
language for that purpose. the experiment
having unexpected results. In the first
place. the performance was an artistic sur
prise and triumph to the American audi
ence that had assembled at the beck OF Mir,
/ DAILY.
Never before had it know he possibiIi-
ties OF that awful curse scene. Miss Bate
man had not touched its depths or scaled
its Hebraic heights, and here came the
first storm of recognition. The audience
stood upon the seats and applauded. Four
times was Mime. Janauschek brought back
to have the plaudits heaped upon her. But
Tor some reason her former German pai-
rons seemed to regard this abandonment os
the language of Schiller as in some way A
recreancy, and they never again gave her
that enthusiastic support which she had
received when they packed the immense
Stadt Theater. in the Bowery. and sat out
the original versions of Schiller at the
Academy with a heroism almost equal TO
her own. She was now between the upper
and the neither miIlstones.
Played Dual Role in
DramatiZatiOn of BLEAK Housan
Her accent gave her English a distinct
flavor, and her abandonment Of the Ger
man was resented.
In this dilemma she made ND her mind
to appeal to the English-speaking public in
plays that she believed would interest them
much more quickly than the classic drama.
1t was with this view that she had a YER
sion OF Dickens's BLEAK House" made.
which she called "Chesney Void" and in
which she played a dual role. She per
formed this play all over the United States,
with the varying success OF most travelling
stars. now making money and row losing
II, suffering continually from bad manage
ment and her inability to adapt herself to
the methods of the American pres and adj
vance agent and the demands Of the local
managers.
1t was this mistaken attempt to meet the
wishes of the American public that led her
to the production of My Life and T h
Harvest Moon and to listen to Salmi
Morse, the author of the Ill fated Passion
Play" who tried TO persuade her that the
heroic drama was dead and that the psy-
choloric must take its place, in evidence of
which he furnished her with a most re-
markable drama, called THE Doctor OF
Lima" which she produced at the Union
Square Theater, and in which she sank a
good deal of money. But it is not in these
incidental experiments that Janauschek will
be best remembered.
She had played Lady Macbeth with Ed
win Booth in Boston and a~fterward with
Walter Montgomery at the New York
Academy of Music, and she continued to
give Mary Stuart and Brunhilde whenever
the opportunity offered. In these plays,
especially the latter, there was no one to
dispute her supremacy. Edwin Booth said
of her Lady Macbeth that it was a mag
nificent mausoleum in which a dead his
trionism was preserved. She had played
the part In German TO his English Macbeth,
and his encomium may have had some ref
erence to that fact, but the truth is thai