The Savannah morning news., 1904-02-14

made by Mrs. Lippincott to the bo,
of Charles Kemble. the English acto 1le
The passage says: O''
She thought it behooved be-
manifest her good taste and dan+b 70
feeling by going into mysteries ~ ~
nnally fainting away upon the Aoo,
Hereupon Charles KembIe loole5 "
from his book and addressed hjTseIs
to her sternly and severely. 49,
said he, this won't do Ma'am vo,
disturb the company! Ma'am. Won -
pose yourself!' This last hit had -
desired effect, for poor Grace probabI's
thought that her drapery had not al
Justed itself as it ought. and r..
perhaps she was really exposing mo-.
OF her charms than were good to hs
impaired 10 mixed company. g.
came to herself in a hurry; ana att
few hutterings subsidized into a do
corous listener" ue
Mrs. Lippincott declares that III.
statement is quite as false as it W.
! disgusting, and in all her life she bas
never been so hurt as by this public
ton.
Mrs. Lippincott says that she ar.
met Mr.. Kemble in 1852, when no ~
over 80 years old, at a reception give,
by his daughter Mrs. Adelaide Kar,
Die Sartoris, the English prima. do,
ma. In the course of the season NJ
Kemble invited her to a quiet Iitti.
dinner at his house, Offering to res
for her some scenes from Lear" In,
pressive from the first, the ras5
ing became extremely pathetic I'm
at the close of the fourth act, the ola
actor himself became profoundly AZ
fected and actually broke down. nusb
ed aside the book of the play, Iais
his head down on the table, and sob
bed out, Il cannot read any more bn,
l long to act Lear again and to d.
on the stage"
Mrs. Lippincott says that the sight o,
the emotion of that white haired ola
man was so magnetic in it's path.
that she, too, broke down and cried
heartily, but she did not faint or fan
on the floor. She did not leave bo-
seat until she departed with the ras,
of the company at the close of tbs
evening. She did not disgrace herself
in any way, yet she expressed regret
to her host for weeping, and he. smn.
ing kindly, replied: Pray. do ''i no,
apologize. You have paid me verv
high compliment" and his French
guest added: mo, mademoiselle M
apologies. /, too, cried
Ellen Glasgow's new book. The De-
liverance," is doomed to decentralization
There is no alternative, 1t is a strong
SlOII several lHOuSdnQ copies of
have been printed-and sold; people are
talking about it. therefore. it must he
dramatized. And many worse stories
have been carpentered and staged, with
more or less success. The best a sim
cere adnirer of the book can wish
then, is that it shall fall into competent
hands: into the hands of a stage car
penter who has taste for symmetry
and real beauty rather than mere
eye for garish situations. Above all
1t is to be hoped that the dramatizer
will not fall under the influence of some
critics of the book who have written
the longest and most fulsome notices
about it. The author calls it a story
of the Virginia tobacco fields; there
fore these critics have made their crit
tcismS reek of tobacco: they have col
ored, and scented. and favored with
tobacco. AS matter of fact there is
much less influence Of tobacco than
whisky in the narrative The leading
figure hates the sight, taste and smell Of
the weed, but he is not averse to dash
ing off glass of ardent spirits, and
eventually his revenge upon his coarse
enemy is accomplished indirectly by
means of whisky. The tobacco field
was made merely a green background
for the picture, that is all. Tobacco
cuts no other figure. But to return to
the prospective GENERALIZATION, which
must eventuate by the time of the
opening of the next theatrical season;
the leading characters are so excellent
ly drawn that there should be little
difficulty in staging them with high
(and money making) effect. There art
relatively few essential characters. but
those that come into prominent view
are potential personages. No more Sc
renely sweet representative of past
era could be imagined than the blind
and paralyzed mother. and no more
self-sacrificing heireSs of ill-fortune
than the mature sister. of the hero.
The manned uncle reminds one strong
ly, too, of Tristham Shandy's Uncle
Toby, who was with the army in Elan
ders: not for his oaths. but for his
philosophy. These, of course, are not
the leading characters. concerning
whom the prospective dramatist's press
agent may be expected to speak at
length.
Kipling is now writing PAROLES on
the earlier English poets, copying as
fas as he can their quaint style and
quainter photography. And he is hav-
ing about as much success as some Of
the modern poets who have been par