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 kindness rendered a separation necessary. Mrs. Glover has had the sole charge of rearing and educating her eight children, and has performed her maternal duties in an exemplary manner. One of her sons is distinguished as a popular musical composer, and another is a clever tragedian, as well as a good amateur painter; her daughter Phyllis came out at the Haymarket, and gave great promise, but she died young. "Looking back," says a contemporary reviewer, "upon Mrs. Glover's long and brilliant career on the stage, we may pronounce her one of the most extraordinary women and accomplished actresses that ever graced the profession of the drama."  GLYN, MISS ISABELLA, for her great and versatile talent as an actress, was born In Edinburgh, in 1828; her parents were strict presbyterians, and strongly opposed her inclination for the stage; but from this decided bent of her genius she was not to be turned; and having, when on a visit to England, been solicited to undertake the leading female character in a performance got up at St. James' Theatre, by a company of amateurs, she made so successful a debût, that it decided her future path in life. After this she went to Paris, and studied for a while under M. Michelot, of the Conservatoire, but circumstances obliged her to return home in 1846, and she then determined to devote herself entirely to the English drama. Her growing reputation attracted the attention of Charles Kemble, who interested himself in her advancement, aided her in the study of Shakspere, and finally procured for her a hearing at the Theatre Royal, Manchester: this was in 1847, the character being that of Lady Constance, in King John. This successful representation obtained for her an engagement at the Olympic, where she appeared as Lady Macbeth; and Juliana, in "The Honeymoon."

In 1848, we find her at Sadlers Wells Theatre, taking the leading tragic characters; and she continued adding to her reputation by each fresh performance. Her progressive steps of characterization were Volumnia, in "Coiolanus;" Hermoinc, Belvidera, Queen Catharine, Margaret of Anjou, and Portia; Isabella, in "Measure for Measure;" Emilia, in "Othello;" Julia, in "The Hunchback;" Isabella, in Southern's tragedy, one of the greatest tests to which the powers of an actress can be put; Bianca, in "Fazio;" and Webster's Duchess of Malfi; in her performance of which, in 1852, she is said to have "put the crowning point to her professional fame."

For majesty of deportment, and purity as well as power of tragic expression. Miss Glyn now stands unrivalled; she is a worthy pupil of the Kemble school, and her private life is irreproachable. If all actresses were like her, the drama might be, and would be indeed a great moral teacher; as influential for good as it, alas I too often is now for evil.  GODDARD, ARABELLA, born of English parents at St. Malo, in France, in 1836. Her marvellous talent for music manifested itself at a very early age; when only four years and a half old she performed in public a fantasia on themes from Mozart's "Don Juan." She was placed under the instruction first of the celebrated pianist and composer Kalkbrenna, of Paris, and afterwards of Mrs. Anderson, pianist to the