Question. Speaking of American actors, Colonel, I believe you are greatly interested in the playing of Miss Marlowe, and have given your opinion of her as Parthenia; what do you think of her Julia and Viola?
Answer. A little while ago I saw Miss Marlowe as Julia, in "The Hunchback." We must remember the limitations of the play. Nothing can excel the simplicity, the joyous content of the first scene. Nothing could be more natural than the excitement produced by the idea of leaving what you feel to be simple and yet good, for what you think is magnificent, brilliant and intoxicating. It is only in youth that we are willing to make this exchange. One does not see so clearly in the morning of life when the sun shines in his eyes. In the afternoon, when the sun is behind him, he sees better —he is no longer dazzled. In old age we are not only willing, but anxious, to exchange wealth and fame and glory and magnificence, for simplicity. All the palaces are nothing compared with our little cabin, and all the flowers of the world are naught to the wild rose that climbs and blossoms by the lowly window of content.
Happiness dwells in the valleys with the shadows.
The moment Julia is brought in contact with wealth, she longs for the simple—for the true love of one true man. Wealth and station are mockeries. These feelings, these emotions, Miss Marlowe rendered not only with look and voice and gesture, but with every pose of her body; and when assured that her nuptials with the Earl could be avoided, the only question in her mind was as to the absolute preservation of her honor—not simply in fact, but in appearance, so that even hatred could not see a speck upon the shining shield of her perfect truth. In this scene she was perfect—everything was forgotten except the desire to be absolutely true.
So in the scene with Master Walter, when he upbraids her for forgetting that she is about to meet her father, when excusing her forgetfulness on the ground that he has been to her a father. Nothing could exceed the delicacy and tenderness of this passage. Every attitude expressed love, gentleness, and a devotion even unto death. One felt that there could be no love left for the father she expected to meet—Master Walter had it all.
A greater Julia was never on the stage—one in whom so much passion mingled with so much purity. Miss Marlowe never "o'ersteps the modesty of nature." She maintains proportion. The river of her art flows even with the banks.
In Viola, we must remember the character—a girl just rescued from the sea—disguised as a boy—employed by the Duke, whom she instantly loves—sent as his messenger to woo another for him—Olivia enamored of the messenger—forced to a duel—mistaken for her brother by the Captain, and her brother taken for herself by Olivia—and yet, in the midst of these complications and disguises, she remains a pure and perfect girl—these circumstances having no more real effect upon her passionate and subtle self than clouds on stars.
When Malvolio follows and returns the ring the whole truth flashes upon her. She is in love with Orsino—this she knows. Olivia, she believes, is in love with her. The edge of the situation, the dawn of this entanglement, excites her mirth. In this scene she becomes charming—an impersonation of Spring. Her laughter is as natural and musical as the song of a brook. So, in the scene with Olivia in which she cries, "Make me a willow cabin at your gate!" she is the embodiment of grace, and her voice is as musical as the words, and as rich in tone as they are in thought.
In the duel with Sir Andrew she shows the difference between the delicacy of woman and the cowardice of man. She does the little that she can, not for her own sake, but for the sake of her disguise —she feels that she owes something to her clothes.
But I have said enough about this actress to give you an idea of one who is destined to stand first in her profession.