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Updated: June 11, 2025
'Member what Duse said as I was the greatest artist, an 'member how Sarah Bernhardt sent me roses in Frisco an' says, 'To a fellow artist'? Yes, suh, they can't do mo' than walk out on me. An' ah's been walked out on befo'. All right, professor. Tha's it. Now I'll stick my hand inside the door and wiggle mah fingers kind o' slow like. Jes' like that. An' I'll come on slow.
You hain't tended eny of their meetings, and they conclude you air agin them. An' then you wouldn't discharge your Nigger." Schults' eyes flashed. He locked his hands and brought them down upon the show case hard enough to break it. "What I keers fer der black lisdt, eh? I dondt keers whadt dey duse mid Schults. Before I vould hep dem ter harm dese kullod peeples py dams I suffers ter be kilt.
There are the animals, fastened to branches of the trees. Why they are separated from the remainder of the herd is not explained. Sir Lionel never looks a gift of fortune in the face, but when his eyes fall upon the four miserable worn-out hacks which have thus fallen to their share, he grits his teeth, and Philander is puzzled to understand what he just catches: "Duse take the bloody heathen!
But to see her after the Santuzza of Duse, in Verga's "Cavalleria Rusticana," is to realise the difference between this art of the animal and Duse's art of the soul. And if one thinks of Réjane's "Sapho," the difference is hardly less, though of another kind.
On what may be called neutral ground, such as Ibsen plays, we have held our own very well against any performances in London by Continental players; Miss Janet Achurch was a more characteristic Nora than Duse or Réjane; nor have we seen a Mrs Linden, Hedda Gabler or Hilda Wangle comparable with that of Miss Elizabeth Robins. There is no need to multiply instances.
We have seen it still later in our own times, in that strange and half-repulsive story in which the Italian novelist and poet, Gabriele d'Annunzio, under a very thin disguise, revealed his relations with the famous actress, Eleanora Duse.
When I heard the "Don Juan," which I had heard twice before, and liked less the second time than the first, I realised finally the whole strain, pretence, and emptiness of the thing. Played with this earnest attention to the meaning of every note, it was like a trivial drama when Duse acts it; it went to pieces through being taken at its own word.
Don't you see what I mean?" she would say. "In the first place, it's hard to remember. And it lacks force. Or maybe rhythm. It doesn't clink. It sort of humps in the middle. A name should flow. Take a name like Barrymore or Bernhardt or Duse you can't forget them. Oh, I'm not comparing myself to them. Don't be funny. I just mean why, take Harrietta alone. It's deadly.
And, as in "Fédora," Duse comes into the play resolved to do what the author has not done. Does she deliberately choose the plays most obviously not written for her in order to extort a triumph out of her enemies? Once more she acts consciously, openly, making every moment of an unreal thing real, by concentrating herself upon every moment as if it were the only one.
Be dad, Duse, he's gone beyant!" An ineffectual search was made among barrels and boxes, and up the old chimney. "Did ye see him?" inquired Dunn, of a yellow man that had been watching the affray at the door, while Dusenberry continued to poke with his stick among the boxes and barrels. "Why, massa, I sees him when he lef de doo, but I no watch him 'till 'e done gone," said the man.
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