but to heighten the dramatic interest, was conspicuously apparent. In plays of this class, moreover, fulness of scenic illustration is appropriate, and in skilful hands it will never be allowed to place the actors at a disadvantage. But, as a rule, it seems to me that in dramas of "high action and high passion," such things ought to be sparingly applied. Surely the aim should be, while keeping scenic accessories in stern subordination, to economise neither pains nor money in getting every character acted with all the finish that trained ability and conscientious care can give.
Foremost of all, care should be taken that the actors of all grades shall have been trained to speak blank verse correctly, – to know the laws of its construction, – and while giving the meaning, to give the music of it also. It is sad to see the reckless ignorance on all these points which now prevails, and to note to what a level of feebleness and commonplace the representation of Shakespeare has, with some notable exceptions, been reduced by that nerveless and colourless thing, mistakenly called "natural acting." Thus it is that Shakespeare's plays are continually being reproduced; and yet their very essence is left out, unheeded by the actors, and, alas! as much unheeded by the audience. Of what account is elaborate scenery, or dresses that will satisfy the most squeamish archæologist, if those who wear the one or move about in the other are untrue to the characters they profess to represent, and dead to the significance and the beauty of the language they have to speak?
The interest I know you, dear Mr Ruskin, feel in these questions must be my excuse for touching upon them in this letter. May I hope that my views in regard to them, as well as my estimate of the character of Beatrice, are in harmony with yours; and that you will not think I have kept you too long "listening with all your heart" to what I have to say? – Believe me always, with sincere esteem, most truly yours,
HELENA FAUCIT MARTIN.
31 ONSLOW SQUARE,
6th January 1885.
