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228 conclude, let me say a word as to my last. It was at Stratford-upon-Avon, on the opening, on 23d of April 1879 (Shakespeare's birthday), of the Shakespeare Memorial Theatre. I had watched with much interest the completion of this most appropriate tribute to the memory of our supreme poet. The local enthusiasm, which would not rest until it had placed upon the banks of his native stream a building in which his best plays might be from time to time presented, commanded my warm sympathy. It is a beautiful building; and when, standing beside it, I looked upon the church wherein all that was mortal of the poet is laid, and, on the other hand, my eyes rested on the site of New Place, where he died, a feeling even more earnest, more reverential, came over me than I ever experienced in Westminster Abbey, or in Santa Croce, or in any other resting-place of the mighty dead. It was a deep delight to me to be the first to interpret on that spot one of my great master's brightest creations. Everything conspired to make the occasion happy. From every side of Shakespeare's county, from London, from remote provinces, came people to witness that performance. The characters were all well supported, and the fact that we were acting in Shakespeare's birthplace, and to inaugurate his memorial theatre, seemed to inspire us all. I found my own delight doubled by the sensitive sympathy of my audience. Every turn of playful humour, every flash of wit, every burst of strong feeling told; and it is a great pleasure to me to think, that on that spot and on that occasion I made my last essay to present a living portraiture of the Lady Beatrice.

The success of this performance was aided by the very judicious care which had been bestowed upon all the accessories of the scene. The stage, being of moderate size, admitted of no elaborate display. But the scenes were appropriate and well painted, the dresses were well chosen, and the general effect was harmonious – satisfying the eye, without distracting the spectator's mind from the dialogue and the play of character. It was thus possible for the actors to secure the close attention of the audience, and to keep it. This consideration seems to me to be now too frequently overlooked.

The moment the bounds of what is sufficient for scenic illustration are overleaped, a serious wrong is, in my opinion, done to the actor, and, as a necessary consequence, to the spectator also. With all good plays this must in some measure be the case, but where Shakespeare is concerned, it is so in a far greater degree. How can actor or actress hope to gain that hold upon the attention of an audience by which it shall be led to watch, step by step, from the first scene to the last, the development of a complex yet harmonious character, or the links of a finely adjusted plot, if the eye and ear are being overfed with gorgeous scenery, with dresses extravagant in cost, and not unfrequently quaint even to grotesqueness in style, or by the bustle and din of crowds of people, whose movements unsettle the mind and disturb that mood of continuous observation of dialogue and expression, without which the poet's purpose can neither be developed by the performer nor appreciated by his audience?

For myself, I can truly say I would rather that the mise-en-scène should fall short of being sufficient, than that it should be overloaded.