The Birmingham age-herald., 1915-10-09
Mrs. Patrick Campbell Tells Dolly American
 Audiences Are Very Clever And Discusses That
 Azptul Word, Bloody Which Mr. Shay Use
By DOLLY DALRYMPLE

In the former class, I unhesitatinglJ
 place Mrs. Patrick Campbell the noted English actress.
 Pages might be written just about her beauty alone.
 1 It would begin with comparison be-
 tween the classical and the modern ideal
 of loveliness-the urbanity, the repose and the balanced serenity of the open air Greek woman; the passion-etched mo- bllity of the modern feminine counte-
 nance. with its lines of disillusion, in-
 sight and sophisticated frankness.
 While the older ideal seems more sim pie, the younger seems more striking
 classic beauty is art, modern beauty | is arresting; Mrs. Campbell is a happy combination of both, for she is a modern
 beauty cut on the classical mooei
 Unlike the American women. whose countenances are chiseled, Mrs. Camp bells, like the typical English woman's, Is molded.
 I Nearly every one is familiar with the way she, whether from the heaven scaling posters of the billboards and pictures in the daily papers, or from see- ing her on the stage itself. It was none other than Clement Scott, I believe, who once wrote of her: She fascinates like serpent with love- ly eyes,.
 Now, she isn't bit of the serpentine type, and, personally, I don't believe she ever has been, although some of her most famous roles, 'The Second Mrs Tan 1 queray,' 'The Notorious Mrs. Ebbsmth, ' and The Sorceress," demand such a I type.
 l Clement Scott, as we all know, was an ! Wfnl tor of oriftca1 al 1 'whoppers," and while we admit the love 1 ly eyes, deep, dark, and fascinating, 1 they are friendly, too, and gain even 1 more beauty from the heavy, lustrous black hair that comes down so caressing l ly above the pretty temples, and the won derful coloring that she gets from an Ital- Han mother.
 There is a real glare" about Mrs Campbells beauty, so to speak; her skin is like nacre, her lips like petunia petals, and ones first impression of her is, that if souls had "color," hers would be all pink and white and orchid tinted like the rose colored gown she wore that rose and fell with each pulsation of her love- ly bosom, as moth sways with flower.
 She comes of Lilith, rather than Eve, and she is adorable.
 Gnterruption; period; full stop; soft pedal)
 Futher attempts to place Mrs Camp bells beauty in the setting of the proper century, were ruthlessly brought to a finale just here by the appearance of her decorative and very attractive husband, Col. George Corvallis West.
 Now, here was l. to talk about Shaw and "Pygmalion," the exotic Eliza Doolit- tie of this wonderful play, and the erudite professor" and his 'phonetics,' Amer ican audiences. and half a dozen other i'm portant things, when suddenly I found mXsalf diverted n tha tion of these two charming people and their marital happiness, their sort of "conjugal irritation" as it were, for they seem to have reached that Nirvana which unhap- ply few "marrieds' tespecialy on the stage) ever achieve, where each is de- voted to the other, and each enjoys the perfect confidence Of the other as all couples do, who are and have, or aren't and haven't Chats bit complicated. but you know what l mean) and bit of gos- sij on this subject about important peo- pie always makes excellent copy in itself
 But. soon regained my composure, and in an effort to save myself from terrible faux pas, I plunged vigorously into in quiring of Mrs. Campbell IT London takes Mir Shaw seriously--its own, dear, dar- ing, delightful, fun-poking, outrageously clever. iconoclastic "G. B. S.'' of whom some facetious wag has said
 tTCm EOpnOcleS Snelley, poets ana prosists have canted about incest and vice, but none has ever dared to intersperse 1t with wit, except Shaw"
 In her pretty. whimsical way Mrs. Campbell said:
 Not everything he says. When he tells us on the platform that he married his wife for money and took precious good care that she made nice settlement on him in advance, of course we don't credit SliCl statement biIf accept bis wit and humor as you do in America. Pygmalion, of course appeared differently to London from what 1t does here. The first half hour of the cockney dialog Is almost beyond understanding to the American people; 1t needs a gloss ary; but all at once they catch on to 1t, as you say over here, and, oh! they laugh so deliciously over it."
 Then you think American audiences ap- preciative?" I asked.
 "Yes, and very. very clever When they laugh it isn't so much the amount of laughter that they indulge in but the quality of it. It is such clever laugh ter"
 Mrs. Campbell as the subject of pho netic experiments in "Pygmalion,~ of classifying the different grades of society by their speech, has probably attuned her ear more sensitively than the majority of people. hence the "clever laughter"
 <AiHericdHS slSulIy Dy tne1r laughter, Mrs. Campbell resumed, that they get the real, subtle, Shaw humor and enjoy 1t to the utmost and that is what pleases me tremendously, while in London the first impression of the play was amaze ment at single word that the author used"
 This brought me to the question that had been dying to ask:
 What is the psychology of that dread full word bloody that to us is so harm- less and to the English so dreadful?"
 Mrs. Campbell considered:
 Tt Is a word that is used by the very lowest class of people in England" she said, presently. ''The man who gets so sodden drunk that he can't see and goes home and beats his wife, shrieks at her. I'll smash your bloody head! I suppose the rest of us shrink from it for that reason"
 Nothing would please Mr. Shaw more than an argument over that word-or any other-just so it was an argument Mrs Campbell said. 'He adores an argument When Pygmalion' was ready to be pro- duced more than year ago, and you Know 1t isn't the kind of play that Mr. Shaw talks about checking your brains with your hat and coat and running in to see,' but really quite a wonderful play In many ways. Well, he and Sir Beerbohm Tree and myself argued for eight weeks about it. Instead of re- hearsals we had arguments. Wed meet for rehearsals and the affair would end in talk that lasted all day and most of the night. Then we'd go home and each would write long letters to the other about the play, thus continuing the argu-