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An actor without mannerisms, like the late Adolf von Sonnenthal, is able to make a more immediate appeal. At the first night of Mr. E.H. Sothern's Hamlet, in the fall of 1900, I had just settled back in my chair to listen to the reading of the soliloquy on suicide, when a woman behind me whispered to her neighbor, "Oh look! There are two fireplaces in the room!"
Had it not been for Fraulein Sonnenthal, she would more than once have thoroughly overworked herself; and indeed as it was, the strain of that two years told severely on her strength.
There was such terrible anguish in her tearless eyes that little Ninette shrunk away from her in alarm. Mme. Lemercier, who in the time of the siege had seen great suffering, had never seen anything like this; even Thekla Sonnenthal realized that for the time she was beyond the reach of human comfort. Before long the farewells were over.
She lay motionless on her little white bed, her eyes fixed on the wooden cross on the opposite wall, or from time to time glancing at Fraulein Sonnenthal, who, with little Ninette to help, was busily packing her trunk. And all the while she said again and again the words which summed up her sorrow: "Mother is dead! Mother is dead!"
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