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The Weight of New Responsibility. - Fate of Public Idols.
Shakspeare at the Toilet. - Mental Aliment. Rehearsal of
Desdemona. Mr. Oakland's Analytical Criticisms. The Sec-
ond Night behind the Scenes. --- Floy.-- The Ballet-Girl's Re-
quest. Stella's Dreams of Future Power. - Perdita, and her
Senatorial Parent. The Call-Boy's Rebuke of the Novice. -
Return of Stage Fright. A Blustering Othello. --- Desdemo-
na's Entrance in the Council-Chamber. Stella's Conception
of the Character, - Evidences of Genius. - Unfortunate Em-
brace of the Moor and Lady, - Meeting of the Sublime and
Absurd. Stella's Fall from Poetic Heights. An Awkward
Predicament. -Tinely Advice of Mrs. Fairfax. Stella again
surrenders herself to the Magic of Personation. Powers of
the Young Actress Unfolded. Salient Points. The Spell
accidentally dissolved by a Well-meaning Friend. Fifth Act.
- Unanticipated Violence of the Tragedian. Desdemona's
Suffocation, -Kind Assistance of Mrs. Fairfax. The Picture.
Gradually increasing Tortures of Desdemona's Position. --
An Energizing Will conquering Physical Prostration. - Tho
Actor's Private Sufferings set aside. Rehearsal of Lady of
Lyons. - Mystery that enveloped Mrs. Pottle's Straying into
the Profession. --- Her Peculiar Attainments. --- Amusing Ec-
centricities. Literal Translation of the Eminent Tragedian's
Command. - Merriment of the Actors. Wrath of Mr. Ten-
nent. Mrs. Pottle's Efforts to “ Back Up.” - Fisk's Ex-
uberant Delight. Company assembled in Green-Room for
Reading of New Play. Murmurs. The Author's Entrance.
The Reading. -- Disrespectful Treatment of Mr. Percy by
his Auditors. Distribution of Parts. Mrs. Pottle's Queen-
ly Honors. Mr. Percy's Discomposure. -- Disparaging Re-
marks and Complaints. -- Perdita redeems her Promise.
The Young Ballet-Girl's View of Life and Death. - Rainy
Evening. — Skyey Influences. - The Fictitious Bouquet.
The Tragedian's Abstraction. Involuntary Asides of
Claude. - Mr. Martin. Mind over Matter. Which is Vic-
torious in an Actor's Life.—Stella's Personation of the Lady
Inevitable Shortcomings of a Novice. The
Press aroused. Inconstancy of the Public. -- A New Idol
lifted to Lydia Talbot's Pedestal. --- Honeyed Poison. -- In-
gratitude the Consequence of Sudden Brilliant Success.
Cast of Evadne. - Miss Doran. - Thunder and Pap. - Jeal-
First Rehearsal of the New Play. - The Youthful
Author and Actress. - A Strange Phase of Professional Life.
- Pegasus Struggling with the Plough. -- Ruthless Suppres-
sion of Poetic Gems. Miss Doran's Comments upon the Ne-
ophytes. First Entrance of Angry Passions into a Gentle
Heart. A Decree of Providence, and its Object. -- Repre-
sentation of Evadne. — Miss Doran's Persecutions of the
Novice. - Grand Climax of the Play. Miss Doran in the
Hall of Statues. Her Cruel Plot. Bitterness of the Rival
Actresses. - The Poem. - Revery of the Young Actress.
Unconscious Betrayal of a Dawning Sentiment. Night
Vigils. — Palms of Honor for the Young Poet from the Hands
of the Actress, - Last Rehearsal of New Play. --A Stronger
Hope weighed against the Ambition of the Dramatist. Con-
spiracy of the Actors. The Wreath of White Roses. The
New Drama performed. Action of the Play. The Author
behind the Scenes. The Play's Success in Peril. Saved for
a time by Stella and Miss Doran. — Reëndangered by the
Troubled Tragedian. Mrs. Pottle's Representation of Maj-
esty. — Evidence of her Laudable Pursuits in the Green-
Room. —- Boisterous Merriment of the Audience. — Inquiry
of a Wag. - Vagaries of Crestfallen Royalty. - Agonies of
the Author. Mr. Doran's Admonition to his Daughter.
Mrs. Pottle's Conflagration. Panic and General Confusion.
Queries of the Manager. A Ludicrous Discovery. - Un-
fortunate Mrs. Pottle. The Play's Unanticipated Termina-
tion. -- A Friend's Advice to the Author. His Flight. - The
Young Actress at her Chamber Window. A Recognition,. 129
Second Performance of Virginia. - Jealousy of Miss Doran.
Impertinent Advances of Mr. Swain. Sabbath. - Stella's
First Recognition of its Blessedness. Accidental Meeting
with Mr. Percy. -- Kindred Spirits. The Young Author's
Dream. - Rehearsal of Much Ado about Nothing. Omission
of Offensive Lines. — Miss Doran's Consequent Derision.
Stella's Failure in the Personation of the Sparkling Beatrice.
Miss Doran's Triumph as Hero. -- A Night of Torment.
The Merciless Critique. - Bitter Reflections of the Novice
upon the Life she has entered. Second Performance of
Evadne. Another Frightful Night. — Rehearsal of Juliet.
- Singular Change in Stella's Demeanor. — Alarm of Mrs.
Fairfax. The Friendly Actress determined to snatch Stella
from her Perilous Situation. Sudden Bursts of Hilarity and
Fits of Gloom. Perdita in Grief.- Stella's Thrilling Person-
ation of Juliet. The Audience and the Ballet-Girl. Close
of the Fourth Act. — A Horrible Accident. — Sudden Death.
The Stage-Manager's Cold-blooded Orders. Stella's En-
tire Loss of Self-Control. - The Manager's Visit to Stella's
Dressing-Room. --- An apparently Inhuman Request. — Juli-
et's Tomb. Terror of the Young Actress. Mrs. Fairfax
concealed in the Sepulchral Vault of the Capulets. -- A Novel
Conclusion of the Tragedy. - The Suffering Actress before
the Foot-Lights. - State in which she is taken Home. Mr.
The Watcher, - Orphan Mourners. - Perdita's Consolations.
The Ballet-Girl's Sorrows poured into the Bosom of the High-
bred Maiden. Rehearsal. Mr. Tennent's Reprimand of the
Novice. Stella's Strangeness of Manner. Performance of
Hamlet. Stella's Unusual Conduct behind the Scenes, Her
Interview with Mr. Martin in the Green-Room. -- A Chango
in Fisk. - Stella's Personation of Ophelia Painfully Real.
Ophelia's Distribution of the Flowers. Her Last Scene.
Last Iinpressive Words. — Unexpected Occurrences. - Edwin
Percy among the Audience. His Vain Appeals to the Door-
Keeper. Excited Imagination and Over-tasked Brain.
Consultation of the Manager with Mrs. Fairfax and Mattie.
Stella removed to her Home. Maternal Anguish. - De-
votion of Mrs. Fairfax. Her Power over Stella. Ravings.
- Arrival of Ernest. - The Group beside the Bed of tho
Young Actress one Fortnight after the Night of her Débût.
Restored Consciousness. Recognitions. Farewells.-Con-
clusion, An Open Book. — A Voice from the Invisible
THE PROMPTER'S DAUGHTER.
Property-Room of a Theatre. — Its Contents.
Cradle and its Occupant. — Robin and Susan. A Prompter's
Trials. - History of the “ General Utility.
“ Asking in Church." Wedding of the
Hunchbacked · Prompter and the “General Utility.” The
Bride at Rehearsal. - Tina. The Cricket on the Hearth.
Dot's Baby. — Tina's Débût. - A Touch of Nature. - The
Infantile “ Hit." Susan's Prayer in the old Property-
Time and his Wonderful Works. “The Seasons Dramatically
Represented. Time and his Symbols. - Rough Treatment
of the Infant. Maternal Fears. - Melting of a Stern Heart.
- Tina in Fairy Pageants. -- Evenings at Home. Rehearsal
of Pizarro. Tina as Cora's Child.
at Rehearsal. — - Comparative Value of a Child's Arm and a
Tragedian's Point, in the Estimation of Mr. Upton.— Inter-
ference of Mr. Higgins. Subserviency of Mr. Tuttle, the
Stage-Manager. - Virtue of a Leathern Girdle. - Tina and a
Stray Sunbeam. The Sphere of Childhood. Its Effect in
the Theatre. - Tina and her Father. ---Gold and Silver Rain.
- The Temptation. -- Performance of Pizarro,
Precocious Mental Development. -- Religious Training. - The
Young Sunday-school Teacher. Miss Amory's Proposition.
- Building the Mansion in which we shall dwell in the Great
Hereafter. The Child-Actress at Sunday-School. - Miss
Amory's Horror of a Theatre. — Miss Haughtonville's Recog-
nition of Tina. -- The Discovery. - A Scene in Sunday-
School. Robin's Disclosure to his Child. —- Life's First Bitter
Lesson. — Change in Tina. - Juvenile Persecutions, , .
Genius. — Sensations of the Youthful Actress. - Tina's Persona
ation of the Young Duke of York. — Jealousy of Richard's
Representative. - Tina's First Call before the Foot-Lights.
Sudden Deafness of Mr. Tuttle. - Mr. Higgins' Command and
Motives. The Hunchbacked Prompter's Delight. — Duke of
York metamorphosed. - Merriment of the Audience. Ru-
mors heard by Mr. Higgins. - Robin bound by a Contract.
Discovery that he has been Over-reached. - Tina as Prince
Arthur. Falling from the Wall. Mr. Upton softened.
William Tell. - Tina as Albert. - A Tragedian's Generosity.
-The Hunchback's Gratitude,
Tina's Musical Gift. Mr. Higgins' Ideas of a Theatrical Es-
tablishment. The Tempest.
Spurious Edition. Tina
« cast" as Ariel. Discussion between the Manager and
Stage-Manager. – Exultation of Susan and Robin on reading
the Cast. Excitement in the Theatre. — Miss Mellen's Sar-
casm. - Night of Performance. — The Prompter's Nook.
Ariel's Appearance. -Tina's Delineation. -- Fifth Act.
Ariel Flying. -- Entangled Wires. - A Mother's Terror.
General Confusion. - Frightful Catastrophe. ---Robin's Pres.
ence of Mind. - The Rescue. - Night-Watchers in the Green
Room. — Bearing Tina Home. Incidents by the Way..
The Child's Answer to her Father,
A Mother's Vigils. - Mr. Higgins' Rule concerning Invalids.
- Sympathy of the Charitable. -- Visit of the Sunday-school
Teacher The Mother's Pang of Jealousy. — Reticence.
Convalescence. Susan's Return to the Theatre. First
Glance at the Place of Peril. - Tina at Kew Gardens. The
Child's First Recognition of Nature. -A Relapse. The
Hunchback's Fears for his Wife. Two Minds in One. The
Seasons of Love,
Ill Effects of Mental Precocity. Preparation for Christmas
Pantomime. - Mr. Higgins' Visit and Proposition.
Resuming her Profession. --- “ Boxing Night.” - The Fairy
Queen. - The Pantomime. The Child's Power of Will.
Last Night of the Pantomime. -- The Last Painful Effort.
The Old Property-Room. -- The Adieus. Mr. Higgins and
the Young Actress. — Stage Clothes laid aside for the Last
King John. The Prompter's Agony. Blistered
Pages of the Prompt-Book. - Susan forced to enact Patience
in Henry the Eighth. Toilet made by the Bedside of her
Child. The Young Sunday-school Teacher helping to robe
the Actress. — Hymn Sung by Patience to Queen Katharine,
as she dies. The Mother's Return Home. -— Singing the
same Hymn to her Child. Robin's Entrance. --The Last
Hymn. Tina's Release. — The Mother's Last Offices. -- Un- .
natural Strength giving way. Robin's Parting Declaration.
- Reünion of Mother and Child. Self-Renunciation. The
THE UNKNOWN TRAGEDIAN.
A Medical Decision. - An Aged Pair. Singular Fact in Dra-
matic History, - Mr. and Mrs. Ruthven. The Stage Villain
and First Old Woman of the Theatre. - Elma. Filial Devo-
tion. The Unknown Tragedian. — Correspondence. — Mys-
terious Eccentricities. Attachment. - The Arrival. Re.
hearsal of the Valedictory. —- Mortimer's Powers of Captiva-
tion. - Interview with Elma. Painful Position of the Young
Girl. - Farewell Benefit of the Aged Actress. - Peculiarities
of a Dublin Audience. Damon and Pythias. — Acting of the
Great Tragedian. — Elma's Scenic Talents. - Exotics and
Violets. --- A Suspicion. --- The Venerable Actress as Mrs.
Malaprop. - Incidents. -- An Expiring Flame. - The Un-
spoken Adieu. --Touching Close of a Long Career. The
Curtain and Pall,
Elma's Attributes. Divine Providence. A Trustful Spirit.
The Death-Bed and Betrothal. The Box of Mementos.
A Confidence Postponed. - Mortimer's Departure.
Violets. — Change in the Stage Villain. - Expiring Faculties.
An Irish Absentee. - Lord Oranmore and Leonard Edmon-
ton. - Their Visit to Elma. - Discussion between the Noble-
man and Student of Divinity, - The Portrait. Elma's
Titled Suitor. An Offer. - Reply of the Actress,