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Arkansas ladies' journal. (Little Rock, Ark.) 1884-1886, December 13, 1884, Image 11

Image and text provided by Arkansas State Archives

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn90050096/1884-12-13/ed-1/seq-11/

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MnF* MariOll Crawford ’
tf ,. re indebted to a friend of the Jour
"f„rlbe following extract from a Bos
ton paper- .
(tEar ly in the evening I was introduced
F Marion Crawford, whose novel,
'jlr. Isaacs, gave him so sudden a repute
ljon He is very tall, six feet two, with
broad shoulders, full brown beard, high
forehead and hazel eyes; his manners are
easy, but not free, he laughs heartily and
talks well. I engaged him in conversation
about his book. He said he had no inten
tion to write a novel, and did not think he
could, but returning from India, where he
had failed in an attempt to establish a
newspaper, he was in the habit of relating
his adventures in the East to an uncle,
who became so much interested that he
insisted upon his nephew turning them
into a novel, and Mr. Isaacs was the re
sult. The MSS was submitted to Mac
millan & Co. Nothing was heard from it
for three months, and Mr. Crawford began
to think it was forgotten, when he received
a letter from the publishers, offering to
issue the book upon the usual terms of ten
per cent. This was gladly accepted. The
novel was published, and Mr. Crawford,
like Byron, woke up one morning and
found himself famous. He bears his blush
ing honors meekly, and is rather astonished
at his own success. He said, however,
that he could not submit his MSS. to the
editor of the Century, or any magazine,
except the Atlantic, Mr. Aldrich being a
friend of his. He thinks he has estab
lished his Imputation, and editors should
buy without examining his work. Mr.
Crawford has unfortunately followed up
his first success too rapidly. Three novels
have already appeared since the publication
of Mr. Isaacs, eighteen months ago; and
he has just finished another. I do not
know whether Mr. Crawford should be
classed among American novelists. He
was born in Italy, where most of his life
as been passed; he speaks Italian more
uently than English, and often has to
translate his thoughts from the former to
the latter language.”
a }s solon, “To know and not have the
t fiy to perform is doubly unfortunate.”
18 is especially true when applied to the
Or who knows it all, but who cannot
Perform worth a cent.
L / Inee an d Bonaparte has written a
the I <l Ethnographic study of
n lans Surinam.” The work has
lette IlVate ty issued and is splendid in
P re ss, illustrations and binding.
We print the following noble little poem »
We trust it may stay some uncertain spirit
in the thought that what it is best to do is
right and that providence helps those who
rely upon God and themselves, without
sitting down to mourn over shattered hopes.
Work bravely in whatever thy hands find
to do, and God will in time bless that
By thine own soul’s law learn to live,
And if men thwart thee take no heed,
And if men hate thee have no care;
Sing thou thy song and do thy deed,
Hope thou thy hope and pray thy prayer,
And claim no crown they will not give,
Nor bays they grudge thee for thy hair.
Keep thou thy soul-sworn steadfast oath,
And to thy heart be true thy heart;
What thy soul teaches learn to know,
And play out thine appointed part;
And thou shalt reap as thou shalt sow,
Nor helped nor hindered in thy growth,
To thy full stature thou shalt grow.
[Packenham Beatty.
Booth at the Boston Museum.
Booth, the greatest living American
actor, is taking the breath away, almost,
from his Boston audiences, by his magnifi
cent powers and intellectual perceptions.
This is what a writer, one from the midst
of his fine audiences says of him:
In “Othello” Mr. Booth shows that com
manding and subtle intelligence for which
he is distinguished, quite as convincingly
as in any of his other parts. Nothing
could be finer than his exact estimate of his
own powers. Except in the few instances
where the part actually forces him to it,
he never gives way to the temptation to
make an effect by means which do not lie
within his scope. In passages which have
been indeliably stamped upon our memory
by Salvini’s grand outbursts of physical
passion, or the magnificent vocal cannonad
ing of Forrest, he wisely takes refuge in so
searching and beautiful a reading of the
lines as almost to make the poetry act for
him. It is only where a violent physical
expression of passion becomes absolutely
unavoidable that he has recourse to purely
physical means-—and fails. In moments
of intense pathos or profound sentiment—
th#. power of expressing, which has grown
in Mr. Booth more and more with advanc
ing age—he often rises to an exquisite
beauty of expressiveness. If his
“Oh, now, forever
Farewell the tranquil mind! farewell
seemed a thought artificial and voluntary,
nothing could have been more divinely
beautiful than his reading of the passage—
“If it were now to die,
’T were now to be most happy; for I fear,
My soul hath her content so absolute,
That not another comfmt like to this
Succeeds in unknown fate.”
It recalled the ineffaceable, solemn
beauty of his delivery of those greatest of
Hamlet’s lines. “If it be now, ’t is not to
come; if it be not to come, it will be now,
yet it will come: the readiness is all,” a
passage, by the way, in which Irving,
much to our surprise, made no adequate
In Mr. Booth’s conception of Othello
there was one thing which one still found
wanting, notably in the earlier scenes; he
gives no hint ofthe natural geniality, open
heartedness and simplicity of the Moor’s
character. From his very first scene on
ward, he appears sinister, forbidding,
almost haughty; as if there were more
locked up within him than he was willing
to show. The very austere simplicity ®f
his demeanor, combined with a certain
autocratic sternness and reservedness,
seemed to pose Othello’s character, as the
French say at the outset,* as a far more
intricate and complex one than it really ia.
There was nothing of that genial sponta
niety, that inevitable and immediate leap
of every emotion to the surface, which
marked Salvini’s Othello. In the scene
in the council chamber Mr. Booth showed
none of that spontaneous, rather florid
Oriental courtesy of manner which the
great Italian actor lent such infinite zeal;
he acted more like a man of high official
position who knew what was due to court
etiquette. In short, Mr. Booth’s Othello
is noted throughout for a total absence o
any attempt at character acting.
A lady residing in Erie, Pa., has in her
possession a perfume bottle that was once
the property of General Lafayette. It is
scarcely larger around than one's finger,
although seven inches in length. The
lady and her husband entertained General
Lafayette upon his last visit to this coun
try and upon leaving his room in the
morning he left the bottle upon the dresser
behind him. The lady immediately seized
upon the® article as a momenta, tying the
cork in with a bit of thread, and to this
day the remainder of the perfume and the
cork are in the bottle as the general left
——: —
“No ma’am!” exclaimed the pr yoked
young man to a young lady, who, on the
refusal of her favorite, had asked him to
accompany him to a party; “I don’t play
second fiddler to any one.” “No one asked
you to play second fiddle,” replied the girl
with a smile; “I only asked you to be my

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