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 able to utter, to be hardly audible, even to her fellow-performers. The applause excited by her beauty, figure, and dress, only added to her embarrassment. She with difficulty kept to her post, and finished her first scene with complete self-discontent. Elinor, who watched her throughout it, lost all admiration of her exterior attractions, from contempt of her feeble performance.

But her second scene exhibited her in another point of view; her self-displeasure worked her up to exertions that brought forth the happiest effects; and her evident success produced ease, by inspiring courage. From this time, her performance acquired a wholly new character: it seemed the essence of gay intelligence, of well bred animation, and of lively variety. The grace of her motions made not only every step but every turn of her head remarkable. Her voice modulated into all the changes that vivacity, carelesness, pride, pleasure, indifference, or alarm demanded. Every