Mr. Fitzgerald says, that her present success was owing to the absence "of the restraint from the patronizing instruction of Garrick," or any other exterior circumstance. The change had come from within, not from without. Hers was essentially a genius of tardy growth, both physically and mentally she did not reach her full development until the time when most actresses have enjoyed seven or eight years' success. She had worked, and, like all other workers, had reaped her reward; though, unlike the common run of workers, having genius to back her, the reward she reaped was not only a temporary success, but fame. The memory of this night has been handed down to us in company with Garrick's first appearance in Richard III. and Edmund Kean's in Shylock in 1814.
The critics next day were unanimous in her praise. Some found the voice a little harsh, the passion a little too "restless and fluttering," but all were agreed that a great event had occurred in the dramatic world. It is of little use repeating the praise and criticism, all that can be done in a reviewal of her artistic life; we are more interested in the personal history of the woman who had thus stirred up the waters that had threatened to become stagnant since the retirement of Garrick. It is natural for us rather to like to hear personal anecdotes of those who appear publicly before us than pages of hackneyed verbiage on their acting and appearance.
She wrote to Dr. Whalley one of those genuine, spontaneous letters that show how she was misunderstood by those who thought her hard and reserved:— "My dear, dear friend, the trying moment is passed, and I am crowned with a success which far exceeds even my hopes. God be praised! I am extremely hurried,
