Mimic Life: Or, Before and Behind the Curtain. A Series of Narratives - Anna Cora Ogden Mowatt Ritchie - Google Libros

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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. --

Lost Consciousness,

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.

149
CHAPTER IX.

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,

220
CHAPTER III.

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,

289
CHAPTER VII.

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

Prompter's Victory,

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,

B

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