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Hamlet has all the imagination and irresolution of the Northern nations, and the Princess Katharine is as entirely French as the heroine of Divorcons. Harry the Fifth is a pure Englishman, and Othello a true Moor.
They have accused her of lack of elegance in that supper scene of La Dame aux Camelias, for instance; taking for ill-breeding, in her Marguerite, that which is Italian merely and simple. Whether, again, Cyprienne, in Divorcons, can at all be considered a lady may be a question; but this is quite unquestionable that she is rather more a lady, and not less, when Signora Duse makes her a savage.
Both She Stoops to Conquer and The Rivals are good examples of the rapid working-out of an intrigue, engendered, developed, and resolved all within the frame of the picture. Single-adventure plays of a more modern type are the elder Dumas's Mademoiselle de Belle-Isle, the younger Dumas's Francillon, Sardou's Divorçons, Sir Arthur Pinero's Gay Lord Quex, Mr.
It runs up into the high notes of indifference, or, higher still, into those of ennui, as in the earlier scenes of Divorcons; or it grows sweet as summer with joy, or cracks and breaks outright, out of all music, and out of all control. Passion breaks it so for her. As for her inarticulate sounds, which are the more intimate and the truer words of her meaning, they, too, are Italian and natural.
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