B 425056
DUPL
The Life
of
Laura Keene
ARTES
1837
SCIENTIA
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OF THE
UNIVERSITY OF MICHIGAN
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THE
LIS
1st shelf
LIFE OF LAURA KEENE.
ACTRESS, ARTIST,
MANAGER AND SCHOLAR.
TOGETHER WITH
SOME INTERESTING REMINISCENCES OF HER DAUGHTERS.
BY
JOHN CREAHAN.
PHILADELPHIA:

THE RODGERS PUBLISHING COMPANY.

1897.

COPYRIGHTED, 1897,
BY
JOHN CREAHAN.
Dedication.
TO THE
SURVIVING PROFESSIONAL FRIENDS AND ASSOCIATES
OF
LAURA KEENE,
MANY OF WHOM
SHARED HER TRIALS AND TRIUMPHS DURING HER LIFE,
AND ALL OF WHOM,
NEARLY A QUARTER OF A CENTURY
AFTER HER DEATH,
HAVE ONLY LAURELS, KEPT FRAGRANT AND GREEN
BY THEIR TEARS AND LOVE,
TO STREW ON HER
PAST GREATNESS AND FUTURE MEMORY,
THIS WORK
IS AFFECTIONATELY DEDICATED.
JOHN CREAHAN.


370911

PREFACE.
IT
was the intention of Emma Taylor, had she lived, to
write the life of her mother. The thought that she
was not to be spared to do so, greatly increased the
suffering of the closing days of a woman whose life had
been such that, like her sister, she was but too anxious to
again be in the companionship of her mother, not in death,
but life, for what is life in this world compared with eter-
nity or the hereafter?
"It will perhaps be asked," says Gounod, in his "Mors
et Vita," "why, in the title, I have placed death before
life. It is because, in the order of eternal things, death
precedes life, although in the order of temporal things, life
precedes death. Death is only the end of that existence
which dies each day."
The present work is entirely the result of accident, and
not until late in December, 1894, did I for a moment
imagine that I should be called on to perform a duty
which to me has been largely a labor of love, entwined as
it has been with sad, pathetic and sorrowful memories.
Had it occurred to me during the life of Miss Keene's
daughters that this work would have been a possibility or
necessity, I might have received much information which
must now ever remain unknown, unwritten and untold.
Under the circumstances, I had but the knowledge of my sub-
ject to rely on, together with the information which has
been so generously given me by Miss Keene's professional
associates and friends, to whom I am more than indebted
for their proverbial courtesy and encouragement.

5
6
PREFACE.
I am also indebted to the public press, which is ever
generous and frequently magnanimous, even when the former
should not be looked for, or the latter expected. I was
conscious of but one thing from the first, that my subject
was a great one. Indeed, the life of Laura Keene would
be an interesting, if not a powerful topic for even a great
historian to handle. If the work on my part has been
unworthy of my subject, I can only say as did Samuel
Johnson, that I have done my best. More than this can-
not be expected from any one.
J. C.
"OUT, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more."
-MACBETH.
"COULD a map be made of the life of a human being whose career
has been marked by the commonest of commonplace incidents, and if
from that map a tale were woven, it would transcend in interest the most
eventful story that can be found in the wonder-world of fiction."-FARJEON.
"THERE's a special providence in the fall of a sparrow. If it be now,
'tis not to come; if it be not to come, it will be now; and if it be not now,
yet it will come; the readiness is all."-HAMLET.
"SOMETIMES even Kings did not think it beneath their Royal honors
to appear upon the stage, to entertain and charm their subjects."-LAURA
KEENE.
"IF this forlorn man could have been prophetically seen lying here, by
the mother at whose breast he nestled, a little child, with eyes upraised to
her loving face, and soft hand scarcely knowing how to close upon the
neck to which it crept, what an impossibility the vision would have seemed!
O, if, in brighter days, the now extinguished fire within him ever burned
for one woman who held him in her heart, where is she, while these ashes
are above the ground!"-BLEAK HOUSE.
"ON the willow the harp is suspended,
Oh, Salem! its sound should be free;
And the hour when thy glories were ended
But left me that token of thee;
And ne'er shall its soft tones be blended
With the voice of the spoiler by me!"
"SHE should have died hereafter;
-BYRON.
There would have been a time for such a word,
To-morrow and to-morrow, and to-morrow."
-MACBETH.
"ALL iniquity is like a two-edged sword; there is no remedy for the
evil thereof."-ECCLESIASTES.
7



CONTENTS.
CHAPTER I.
A MINOR CHORD
CHAPTER II.
PAGE
....
13
A CHILD OF ART-FIRST APPEARANCE ON THE STAGE-AS MANAGER
IN NEW YORK
·
CHAPTER III.
ASSASSINATION NIGHT IN WASHINGTON
CHAPTER IV.
AT THE CHESTNUT STREET THEATRE, PHILADELPHIA.
THE STAGE
. ...
CHAPTER V.
15
.
24
•
31
37
CHAPTER VI.
57
LAURA KEENE AND JOSEPH JEFFERSON
CHAPTER VII.
LAURA KEENE AND KATE REIGNOLDS
CHAPTER VIII.
LETTER TO JOSEPH JEFFERSON-A REPLY-THE "MCCARTHY"...
CHAPTER IX.
THE FINE ARTS.
CHAPTER X.
AS A LECTURER.
CHAPTER XI.
LAURA KEENE'S ART-STAGE CREATIONS
CHAPTER XII.
PROFESSIONAL TRIBUTES
65
65
73
77
92
. . . .
26

99

127
9

10
CONTENTS.
LAURA KEENE AS MANAGER.
CHAPTER XIII.
PAGE
142
CHAPTER XIV.

LAURA KEENE'S FAMILY
167
CHAPTER XV.
LAURA KEENE'S RELIGION
171
CHAPTER XVI.
CLARA STELLA TAYLOR
•
. . . . .
.. 177
CHAPTER XVII.
EMMA TAYLOR
CHAPTER XVIII.
RETROSPECTIVE
.. 217
245
LIST OF ILLUSTRATIONS.
LAURA KEENE.
.
.. Frontispiece
From a crayon picture owned by John Creahan.
LAURA KEENE AS MIRANDA IN "THE TEMPEST"
From a print owned by John Creahan.
FACING
19
LAURA KEENE AND J. W. WALLACK AS BEATRICE AND BENEDICK IN
"MUCH ADO ABOUT NOTHING"
From Barnum's Illustrated News, 1853.
LAURA KEENE AS PORTIA IN "THE MERCHANT OF VENICE"
38
·
.... 57
From a print owned by John Creahan.
LAURA KEENE AS BELTHAZAR (PORTIA) IN "THE MERCHANT OF
VENICE"
From a print owned by John Creahan.
.
76
LAURA KEENE AS PEG WOFFINGTON IN "MASKS AND FACES"
From a picture furnished by James S. Earle and Sons, Philadelphia.
95
LAURA KEENE
114
From a photograph owned by John Creahan.
LAURA KEENE
133
From a photograph owned by John Creahan.
CLARA STELLA TAYLOR .
.
From a photograph owned by W. H. Case.
CLARA STELLA TAYLOR
.
•
From a crayon picture owned by John Creahan.
EMMA TAYLOR
.
From a photograph owned by W. H. Case.
EMMA TAYLOR
.
From a photograph owned by John Creahan.
MRS. JANE KEENE, LAURA KEENE'S MOTHER
From a photograph owned by W. H. Case.
. 152
171
.. 190
209

228
LAURA KEENE'S TOMB.
...
•
...
248
From a photograph furnished by W. J. Bok.
11

THE LIFE OF LAURA KEENE.
CHAPTER I.
A MINOR CHORD.
What seest thou else in the dark backward, or abysm of time?"
-The Tempest.

THE
HE theatrical profession, if not largely, was very respect-
ably, represented in the Pocono Mountains of Pennsyl-
vania during the summer months of from 1858 to 1863,
the favorite resort for those toilers of the foot-lights being
the hamlet or village of Naglesville, the railroad station being
known as that of Tobyhanna. At that period, Nagles-
ville, or Tobyhanna, as it is now known, was practically the
only summer resort on the Delaware and Lackawanna Rail-
road, from the Water Gap to Scranton. A more beautiful
location for a season of recreation could probably not have
been chosen than this quiet little village. Located on the
very summit of the Pocono Mountains, its verdure-clad and
majestic forests during the day, and cool breezes at night,
defied competition in this respect, and it has long since
become familiar to all tourists, or those anxious for a brief
respite from the sweltering heat of city life.
At that time there was much in this particular location
to make it romantic and attractive to the nomadic instincts
of an actor. The vast wilderness which surrounded the
little village was strongly suggestive of the Forest of Arden.
Indeed it is a question if the fairest Rosalind known to
the American stage during the present century was not to be
found there, not, it is true, plucking the love-missives of
Orlando from the stately old oaks, but quietly resting by
the brook-side each day, or wandering amid the wilderness
13

14
THE LIFE OF LAURA KEENE.
and glories of nature, admiring, as only a child of art could,
the landscape painted by the greatest of all masters.
Wild game of all sort, such as might be expected, was more
than abundant there. The streams of water which seemed
to be bubbling up everywhere were laden with trout. The
nimble-footed deer would bound through the thicket when
least expected, and would frequently halt as if conscious of
the fact that his presence enhanced the beauty of his sur-
rounding. Wild pigeons were so numerous as to almost darken
or obscure the sky when flying over the village.
The feathery tribe, however, was not confined to the pic-
turesque and palatable pigeon, as almost every bush and tree
seemed to claim its own songster-the thrush and the bobo-
link, the bob-white, the diminutive peewee, the saucy but
admired robin red-breast, the cat-bird, the Baltimore oriole
arrayed in gorgeous plumage, the whip-poor-will, together with
the cuckoo, while an occasional hoot from the owl warned its
neighbors that they were not absolute owners of the forest.
The melody of these birds, together with the more than
profusion of wild flowers, the wild laurels, with their half
white and half pink-like blossoms; the majestic and gorgeous
rhododendrons, seemed to have a monopoly of the village,
while the delicate perfume of wild roses gave a charm to the
place for many a metropolitan artist whose fame was more
than national.
On a quiet summer afternoon, when even the birds seemed
to be taking a respite, and a minor chord had mingled with
the moaning of the wind through the forest, a child's funeral
was about to take place. The villagers were all assembled,
when, from the only hotel in the place, a very young girl-
too old to be a child and too young to be a girl-came,
with a guitar suspended minstrel-like from her neck and side.
As the diminutive little lady entered the room where the
dead child was, she seated herself by the side of the dead,
and, accompanying herself on the guitar, sang in a voice
which seemed to be full of bird-like melody, pathos, tender-
ness, gentleness and affection, "Under the Willow She's Gone
to Rest." The women present wept, while strong men, the
sons of the forest, marveled at the premature wisdom of the
THE LIFE OF LAURA KEENE.
15
young vocalist. The child that lay dead in the little white
coffin was the flaxen-haired little queen of the village-Flor-
ence Brewster. The scarcely more than child who accom-
panied herself on the guitar was Clara Taylor, the youngest
daughter of Laura Keene.
CHAPTER II.
A CHILD OF ART-FIRST APPEARANCE ON THE STAGE-AS
MANAGER IN NEW YORK.
RAMATIC historians do not agree on the year of the
DR
birth of Laura Keene. Joseph N. Ireland, in his
"Records of the New York Stage," states that she was
born in 1820. Colonel T. Alston Brown, in his "History of
the American Stage," places the time at 1830. "Laura Keene,"
says William Winter, in his "Life and Art of Joseph Jeffer-
son," page 240, "was born in 1820. She died at Montclair,
N. J., on November 4, 1873, in her fifty-fourth year," page
242. If Ireland is correct Brown is wrong by ten years. If
Brown is correct Ireland is in error. If Winter's state-
ment is accurate, that she was born in 1820 and died in '73,
she could not have been fifty-four years at the time of her
death. The truth is, Laura Keene was born in London in
1826. This information I have from Emma Taylor Rawson,
one of the two daughters of Laura Keene. In a conversa-
tion with Emma Taylor, shortly after the death of her mother,
the subject of her age was referred to. My mother," said
Emma Taylor,
was forty-seven years old at the time of her
death. It seems as if the members of our family who should
have lived longest were fated to die sooner than they should.
My mother had a brother in the British Navy who died before
he had scarcely attained the age of manhood. My mother
was still young in years, full of hope and ambition for the
future; while my aunt, Mrs. Stuart, who is an invalid now
and has been for years past a burden to herself and a sorrow
to all of us, continues to remain as such," and indeed did for
nearly twenty years after the death of her sister, Miss Keene.
The premature death, however, of Laura Keene and her

66
66

16
THE LIFE OF LAURA KEENE.
brother was not confined to them alone, as the lives of Emma
and Clara Taylor will show later on.
The incidents of an actor's life, though they often carry
them over a wide extent of flood and field, and even into
some adventures outside of their profession, are not generally
more romantic nor more interesting than those of other
people. Their lives are for the most part limited to the prac-
tice of their art, and albeit the mimic sovereignty, the extremes
of poverty and misfortune, and the tyranny of heroism, eccen-
tricity or pathos of their simulated characters invest them
with romantic attributes, they really lead very commonplace
lives. From one town or city to another, from their dwelling
to the theatre, study, rehearsal and performance, with the
alternations of hard work and leisure not always voluntary-
such is the current of the actor's life.
To this Laura Keene formed no exception, except that she
had seen more variety; had gone over a wider range of travel,
and had undergone more of the vicissitudes and anxieties
than is usual. Her career was not confined to acting.
She was also one of the most noted and foremost mana-
gers of her day, in which latter capacity the responsibilities
of the profession are largely increased, but too often without
the adequate reward which is fairly and honestly earned.
Laura Keene was essentially a child of art. Her first years
were spent in and about the picture gallery of her uncle
Taylor, in St. James' street, not far from St. James' Palace,
and what was more important, very near to the St. James'
Theatre. Here, while yet a girl, she heard something of
Rachel, then in the very zenith of her fame, and from the
open side-windows of the theatre the sonorous voice of the
French tragic muse was audible to the neighboring houses.
Laura Keene often reverted to this with enthusiasm, as help-
ing to determine a passion for dramatic pursuits, although
Rachel's example had no influence in creating or forming her
style. Another circumstance of her girlhood on which she
was accustomed to dwell was her child intimacy with Turner,
the celebrated painter. She would tell very amusingly how
the old man would chat with her, and how on one occasion
he took up a palette, with the wet colors yet on it, and with
THE LIFE OF LAURA KEENE.
17
his finger formed on the palette one of his marvelous chro-
matic effects, while holding forth, half in conversation, half in
wandering monologue, talking to himself rather than to his
listeners, on the mystery of color or the purposes and limita-
tions of art. This constant familiarity with artists and
artists' work, old and new, gave her mind a tendency toward a
loving appreciation of art in all its aspects, and so continued
to the end, as her last appearance at the Academy of Music,
Philadelphia, in December, 1872, was devoted to a series of
lectures on "The Fine Arts."
Miss Keene's first experience of stage life was with Madame
Vestris, then, or subsequently, Mrs. Charles Mathews.
Madame Vestris was famous both as actress and manager.
She was not, perhaps, the best mentor for a young and very
pretty debutante. It is not uncharitable to say that the
Vestris' reputation had not been of the best, although, as is
frequently the case, it was much worse than she really
deserved.
The stage at that day was not as reputable as it has since
become. Indeed, the manners of that whole generation,
of which Vestris was a survivor, had been extremely coarse
and licentious. Society had been modeled after the excesses
of the Georgian princes. There was no reason for supposing
that under Madame Vestris' management there was any more
than the average morality. Professionals, however, were free
to live reputably if they felt so disposed. In Laura Keene's
case, she had a home, and the happiness of maternal affection
and solicitude, and the harmony of the little household and
the devotion of the young girl, were themes on which her
venerable mother loved to enlarge up to the time of her
death, which occurred on December 11, 1872, in the seventy-
fifth year of her age, at Miss Keene's home in Bond street,
New York.
Madame Vestris was a rather hard disciplinarian and severe
teacher, not sparing of words, and, at times, enforcing her
argument with a sharp slap on the face or the bare shoulder.
66
After a time Laura Keene appeared as Pauline in the
"Lady of Lyons," at the Olympic Theatre, London. It was
during this engagement that Miss Keene met the elder Wal-
box

2

18
THE LIFE OF LAURA KEENE.
lack, a man who was as famous for his beauty as for his
effective acting, and it was, no doubt, mainly due to his
acquaintance that Miss Keene subsequently came to this
country, accompanied by her two children and her mother.
On September 20, 1852, Miss Keene made her first
American appearance at Wallack's Theatre, New York, as
Albino Mandeville in "The Will," in which role she was
very successful, as also she was in a round of characters.
She subsequently, under the persuasion of well-meaning but
injudicious friends, quitted Mr. Wallack's friendly patronage
and went to Baltimore, where she opened a theatre, Leaving
Wallack's was a step she always deprecated as a foolish act
of youthful independence. From Baltimore Miss Keene
started on a tour, which may almost be said to have extended
round the world.
While roughing it in California and Australia, in comedy
and tragedy alike, she made for herself a name fully equal
to any actress of her day. Returning in 1855 to New York,
she, late in the fall of that year, began her career as manager
by opening the then Metropolitan Theatre, opposite Bond
street, which was subsequently remodeled for Dion Boucicault,
and called the Winter Garden; naming it Laura Keene's
Varieties. Here she produced a series of light comedies and
dramas, and for some time the theatre was nightly filled with
fashionable and appreciative audiences.
During the following summer, Mr. Burton, who had dis-
covered that his Chambers Street Theatre was too far down
town, coveted Miss Keene's Theatre, and, by some flaw in Miss
Keene's lease, or breach of contract on the part of the owner, the
theatre passed from Miss Keene's hands, which left her without
a house. Making an appeal to the public, a new theatre was at
once proposed, when, with but little delay, the property at 622
and 624 Broadway was secured, and a new theatre rapidly con-
structed, which, on the night of November 18, 1856, was opened
to the public. At that time it was the handsomest and best
arranged theatre in New York. The opening play was " As
You Like It," and although it may have been better played
since, it never had been previously equalled in this country.
It was followed in rapid succession by "My Wife's Mirror,"

LAURA KEENE
AS MIRANDA in "The Tempest."
PHOTOTYPE
PHILA


THE LIFE OF LAURA KEENE.
19
66
66
Young New York," and "Second Love." In the latter
play Miss Keene appeared as Eleanor, the blind girl, which
was one of the finest simulations of that terrible mis-
fortune ever seen on any stage. This was followed by
Camille," which was then in the zenith of its fame; and as
an almost natural sequence, was followed by "The Marble
Heart," with George Jordan, Charles Wheatleigh, T. B.
Johnson, Julia Manners, Mrs. Allyn, and Miss Keene in the
cast, the latter of course playing Marco, in which character
she was without a rival.
As a contrast to the cold and heartless Marco, Miss Keene
produced that exquisite little domestic play entitled "I Dine
with My Mother." Next came Miss Keene's first burlesque,
entitled "Young Bacchus," with Laura as the rosy god;
while in rapid succession were produced "Rachel the Reaper"
(with Miss Keene as Rachel and Charles Wheatleigh as
Corporal Patrick), "Masks and Faces" (with Miss Keene as
Peg Woffington and Wheatleigh as Triplet), "Mary's Birth-
day," and "Money" (with Miss Keene as Clara Douglas). Soon
after this, Thomas Johnson took his benefit, playing Uriah
Heep in "David Copperfield," with Miss Keene as Martha.
"She Stoops to Conquer," in which Miss Keene had no rival
or equal as Miss Hardcastle, was next produced, and was
followed by a dramatization of "Faust," with Laura Keene
as Marguerite, Charles Wheatleigh as Faust, and George
Jordan as Mephistopheles, and which enjoyed a long run for
that time. The season was brought to a close by a series of
revivals of the most successful plays of the season.
In September of 1857 the season began with the fine old
comedy of "The-Heir-at-Law," in which Charlotte Thompson
and Joseph Jefferson first appeared under Miss Keene's
management, Miss Keene appearing as Cecily Homespun.
Next followed the "Husband For An Hour" and "Birds of
Prey," which in turn gave way for "The Sea of Ice," Miss
Keene appearing as Louise De Lascours and Ogarita, George
Jordan being Carlos. It may almost be said that the pro-
duction of this play was the basis of the fortune that Miss/
Keene afterwards made, although during its rehearsal she
was greatly pressed for money. The fall of 1857 was one of


20
THE LIFE OF LAURA KEENE.
panic in the financial world, and but little money could be
spared for amusements.
Half salaries and other reductions were the order of the day,
and in later years Miss Keene often referred to the circum-
stances of how that play was produced; its makeshifts, etc.;
the long and serious conversations that were held as to whether
the illuminated bills, which the city-New York-was billed
with, announcing "The Sea of Ice," should be ordered. These
bills were rather expensive, and cost the fair manageress $5
each. They were printed in Cincinnati, and sent to New York
by Adams Express, C. O. D., and it was not until the day of
the production of the play that money enough could be spared
from the treasury to get them from the express office.
The play hit popular favor at once, and kept the boards until
the middle of December, when the "Corsican Brothers" was
produced. It was a failure, but strengthened with a Christmas
pantomime called "Harlequin and Blue Beard," held the
boards until after New Year's. The next play of importance
was that of Tom Taylor's "Unequal Match," with Jordan as
Harry Arncliff and Laura Keene as Hester Grazebrook, which
in time was followed by Wilkie Collins' "Light House" and
a play called "White Lies," the latter being produced on the
evening of January 30, 1858, for Miss Keene's benefit. As
might be expected, the occasion was an ovation, the lady being
presented with a handsome diamond brooch.
66
About the same time the burlesque of the "Lady of Lyons"
was produced, with Jefferson and Julia Manners as the love-
sick couple. Next came Polly Marshall in the "Unprotected
Female," which in turn was followed by "The Heir-at-Law,"
"Green Bushes," "Flowers of the Forest," "The Elves,"
"Plot and Passion," and other old plays, which brought the
season to a close in May. So successful had the season been
that Miss Keene strengthened her company for the next season
in more ways than one; the opening bill being "The Willow
Copse," Couldock appearing as Luke Fielding, Miss Keene as
Rose, and Sothern as Sir Richard Vaughn. On the 6th of
September "The Rivals" was produced, with Mr. and Mrs.
W. R. Blake and Dolly Davenport in the cast; which was
followed by "Louis the Eleventh" and "Road to Ruin," with


THE LIFE OF LAURA KEENE.
16
21
Blake as Old Dornton, Sothern as Harry Dornton, and Jeffer-
son as Goldfinch.
On the 18th of September the "School for Scandal" was
presented with Miss Keene as Lady Teazle and Blake as Sir
Peter. Next came "Old Heads and Young Hearts," with
Blake as Jesse Rural, and "London Assurance," with Blake
as Mark Meddle and Miss Keene as Lady Gay Spanker. On
October 19th "Our American Cousin" was first presented;
and although but little was expected of it, the excellence of
its cast at once established its popularity, and it has since
become famous on every English-speaking stage. It was pro-
duced with Jefferson as Asa Trenchard, Sothern as Lord
Dundreary, Couldock as Abel Murcott, Burnett as Coyle,
Peters as Binney, Miss Keene appearing as Florence Trench-
ard, Sarah Stephens as Mary Meredith, Mary Wells as Mrs.
Mountchessington, Effie Germon as Augusta, and Mrs. Sothern
as Georgiana. This play held the stage to good business until
the third week of March, 1859, when it was performed on
alternate nights with "She Stoops to Conquer" and "The
Road to Ruin." On the 25th of April "A Midsummer
Night's Dream was produced in magnificent style, with
Blake as Bottom and Miss Keene as Puck. The play ran
successfully until well into June, when the season was brought
to an end, and the house closed for a few nights. The then
popular actresses, Adelaide and Joey Goughenheim, opened
the house for a summer season, producing "Court and Stage,"
which Miss Keene had first made popular under the name of
"The King's Rival," at the old Metropolitan.
On the 5th of the following September the regular season
of 1859-60 began with Tom Taylor's "House or Home," with
a company consisting of Laura Keene, Ada Clifton, Marion
Macarty, Mary Wells, Annie Deland, Mrs. Mark Smith, George
Jordan, Mark Smith, Charles Wheatleigh, J. G. Burnett, F.
A. Vincent, H. F. Daly, Charles Peters and others. Follow-
ing "House or Home" came "Nine Points of the Law," "The
World and Stage," and "The Sea of Ice," and on the 17th of
October a revival of "A Midsummer Night's Dream," with
Mark Smith as Bottom, which in turn was followed by Tom
Taylor's comedy of "Election," "The Marble Heart," and

22
THE LIFE OF LAURA KEENE.
"The Wife's Secret;" the latter being followed each night by
a burlesque of "Norma," in which Mark Smith appeared as
the Priestess. This burlesque was also given during the
Christmas holidays as an afterpiece to the "Unequal Match"
and "Distant Relations."
In January Mr. Dion Boucicault and his wife, Agnes
Robertson, who had been engaged all the Fall at the Winter
Garden, where "The Octoroon" had just been produced, left
the company, owing to some feminine quarrel between Mrs.
John Wood and Mrs. Boucicault. They at once joined Miss
Keene's Company, who, on the 16th of January, produced
"The Heart of Mid-Lothian" with one of the strongest casts
that drama was ever produced with, Agnes Robertson appear-
ing as Jennie Deans, Miss Keene as Effie Deans, Mary Wells
as Meg Murdockson, Marion McCarthy as Madge Wildfire,
Annie Deland as the Queen, Charles Fisher as David Deans,
Leeson as Dumbiedikes, Daly as George, and Boucicault as
Counsel for the prisoner. The play was magnificently put upon
the stage, the trial scene and the storming of the Talbooth
being fine pieces of stage realism.
On the 18th of March, another play, by Boucicault, was
given, entitled "Vanity Fair," which was a poor, trashy affair,
and quickly gave way to a revival of "The Heart of Mid-
Lothian," which in turn was shelved for "The Colleen Bawn,"
which was produced on March 29, 1860, with Charles Wheat-
leigh as Danny Mann, Boucicault as Myles Na Coppaleen,
Leeson as Father Tom, Fisher as Kyrl Daly, Daly as Hardress
Cregan, Agnes Robertson as Eily, and Miss Keene as Ann
Chute. The play held the stage until the 18th of May,
when the season ended with Miss Keene's benefit.
During the summer season Joseph Jefferson and Mrs. John
Wood took the theatre, producing "The Invisible Prince,'
"Our American Cousin," and other plays, the company con-
sisting of Mrs. Chanfrau, Cornelia Jefferson, Mrs. Vining,
Mrs. J. B. Howe, J. G. Burnett, J. H. Stoddart, J. Sim-
monds, and Charles Thorne, Jr. On the 18th of September
Miss Keene again assumed the managerial reins, producing an
adaptation from the French called "The Monkey Boy," which
was followed by "Aileen Aroon," in which Mrs. J. H. Allen,

THE LIFE OF LAURA KEENE.
23
Polly Marshall and Leeson showed to much advantage.
After which "The Beggar's Opera" was produced, and an
adaptation of Moliere's "Malade Imaginaire," called "Physic
and Fancy." Both were short-lived and were quickly with-
drawn. The season had, so far, been a poor one. The public
were busy in President-making, and politics had commanded
the attention of almost everybody. Lincoln had just been
elected, and the Southern States were already threatening
secession. As well played comedies and dramas had failed to
attract, Miss Keene at once determined to give spectacular
trash, the result being that, on the 26th of November, the
"Seven Sisters" was produced in magnificent style, its
final scene, by Roberts, being the first of the grand trans-
formation scenes which have since been made so popular by
"The Black Crook," "The White Fawn," and plays of a
similar character. "The Seven Sisters" held the stage for
170 or 180 nights, during which its prominent features were
frequently changed. At first it was decidedly Southern in
character, and nightly during the spring of 1861 were the
audiences divided in the approbation of the speeches and
songs that Burnett, as the negro, Pompey, would make or
sing as the occasion demanded. After the actual commence-
ment of hostilities, these speeches were considerably modified,
but still the theatre was an attractive resort for the secession
element of New York.
After the "Seven Sisters" came the "Seven Sons," which,
with some revivals of old plays, kept the boards until the
summer of 1863, when, becoming tired of the duties of man-
agement, Miss Keene relinquished the house to Mrs. John
Wood, who re-christened it the Olympic.
As a star Miss Keene was very popular, but in the spring
of 1865 her unfortunate engagement at Ford's Theatre, Wash-
ington, D. C., brought her unpleasantly prominent before the
nation as the only person who identified John Wilkes Booth,
and caused her subsequent arrest and detention by order of
the Provost Marshal in Harrisburg, Pa. She continued to
star, interspersed with several long rests, until 1868, when
she visited England.

24
THE LIFE OF LAURA KEENE.
CHAPTER III.
ASSASSINATION NIGHT IN WASHINGTON.
THE one tragic episode in the life of Laura Keene was her
ill-fated engagement at Ford's Theatre, Washington,
THE
D. C., when President Lincoln was assassinated on Good
Friday night, April 14, 1865, by John Wilkes Booth. It
has been suggested to the writer that the greatest part of this
biography should be devoted to this, the most calamitous deed
or crime in the history of our country. This suggestion is
entirely too suggestive of the sensational journalism of our
day.
What good can be accomplished by republishing the history
of a crime which must ever cause all right-thinking men
to recur to it only with mingled sorrow and horror? A
crime which is republished every few months in the public
press of this country, in the most glowing, vivid and lurid
colors. History, unfortunately, has been called on to furnish
the world with the details of a tragedy, such as God, in His
all-wise providence, may spare this country from ever again
seeing its like.
That, however, is not all. Are the innocent but unfortunate
relatives of the conspirators in this "murder most foul" enti-
tled to no consideration? The criminals have long since paid
the penalty of their crime; but the unfortunate relatives, who
are as innocent of any wrong as the unborn babe, are they
forever to be tortured in consequence of the political fanaticism
of one man or many? Are the wounds of these innocent but
hapless people ever to be newly torn asunder just as they
are about to heal, and as time and oblivion would gladly have
them forget the past record of such a crime? He must be a
hard-hearted historian indeed, and sadly in want of bread,
who would purchase it with the wages of such work, and at
the expense of the relatives of those who assassinated President
Lincoln.
Laura Keene was essentially, by nature and instinct, a


THE LIFE OF LAURA KEENE.
47
27
Hen.
MISS LAURA KEENE'S STATEMENT.
"Prominent among those mentioned in connection with the
incidents of the late tragical death of our worthy President is
the name of Miss Laura Keene, the actress. In order to place
her right in the history the following facts will suffice: Miss
Keene was behind the scenes at the precise time of the shoot-
ing, waiting to come on the stage. She was near the place
theatrically known as the tormentor. She was on the north-
ern side of the theatre, while the President's box was on the
southern side. Miss Keene's position was near the prompter's
desk; but as that official was absent calling some of the
actors she placed herself near the point where she could more
readily enter upon her part. She was at the time expecting
to see the ingress of Mr. Spear, whose part was at hand, and
prepared herself to break his fall as he entered in a drunken
scene; but instead of receiving Mr. Spear, Mr. Booth pushed
his way suddenly through the side scene, striking Miss Keene
on the hand with his own, in which he held a dagger. She
for a second looked at him and saw it was another person from
the one she expected, and instantaneously she heard the cry
that the President was shot. The cry was spontaneous among
the audience, and many of them were making for the stage.
She then knew something was occurring, as women were
screaming, men hallooing and children crying, as if a fire
panic had taken place. Miss Keene went to the front of the
stage, and, addressing the bewildered audience, said: "For
God's sake, have presence of mind and keep your places, and
all will be well.'
"Notwithstanding this appeal the audience were boisterous,
and while all seemed willing to detect the perpetrator of the
great crime, but one made a move to this end. Scarcely had
the perpetrator of the crime jumped from the President's box
to the stage, than he was followed by Mr. Stewart, one of the
auditors. As Mr. Booth crossed the stage he met and struck
at the carpenter with the dagger he held, and instantaneously
made his exit to the rear of the theatre, where his horse was
in readiness, and thence made his escape. Miss Keene, after
momentarily arresting the panic and consternation in the


28
THE LIFE OF LAURA KEENE.
Herv.
audience, heard the cry of Miss Harris, saying, 'Miss Keene,
bring some water!' Miss Keene responded to the call, made
her way, which was rather circuitous, through the dress circle
to the President's box, and got there a few moments after the
occurrence. There she saw Mrs. Lincoln, in the agony of a
devoted wife, uttering the most piteous cries. Miss Keene
attempted to pacify her, at the same time offering the good
offices in her power; but she was convinced from her obser-
vation that human help was in vain. Miss Keene remained
with the President until he was taken from the theatre."-
New York Herald, April 15, 1865.
"On the evening of April 14, 1865, a few minutes after
ten o'clock, I was in company with a friend walking on Penn-
sylvania avenue, when a man running down 10th street
approached us, wildly exclaiming: 'My God, the President is
killed in Ford's Theatre!' Calling to my friend to follow
me, I ran to the theatre, two blocks away, perceiving as I
neared it increasing evidence of the wildest excitement,
which reached its climax in the auditorium. How it was
that I worked my way through the shouting crowd that
filled the house, and found myself over the footlights and on
the stage, I am unable to describe.
"I was told that Laura Keene, immediately after the shot
was fired, had left the stage and gone to the assistance of
Mrs. Lincoln, and I soon caught a glimpse of that unhappy
lady, who had apparently arisen from her husband's side.
She stood in view for a moment, when, throwing up her arms
with a mournful cry, she disappeared from sight of the stage.
"I now made my way towards the box exit to await the
descent of Miss Keene, hoping to learn from her the Presi-
dent's condition. I met her at the foot of the staircase lead-
ing from the box, and alone. Making a motion to arrest her
progress, I begged her to tell me if Mr. Lincoln was still
alive. 'God only knows!' she gasped, stopping for a
moment's rest. 'The memory of that apparition will never
leave me.' Attired, as I had so often seen her, in the costume
of her part in 'Our American Cousin,' her hair and dress
were in disorder, and not only was her gown soaked in Lin-


THE LIFE OF LAURA KEENE.
29
coln's blood, but her hands, and even her cheeks where her
fingers had strayed, were bedaubed with the sorry stains!
But lately the central figure in the scene of comedy, she now
appeared the incarnation of tragedy.
Preparations
were now being made to remove the President to the neigh-
boring house, where he breathed his last about seven o'clock
the next morning, and the theatre was soon cleared and left
in possession of the troops which had arrived. . . "

66
Commenting on the death of Booth, the writer continues:
During this time, on the deck above was being performed
the autopsy, the ghastly results of which met my sight when
I ascended. It was the first post-mortem' I had ever seen,
and the only one of which a personal acquaintance has been
the subject. And what a shocking change was there before
me, to find life, health, manly beauty and brave attire replaced
by death, mutilated bone and viscera, and travel-worn, blood-
stained rags! Even then I could fancy the relic-hunter ply-
ing his vocation, and imbruing his ready handkerchief in the
clotted blood, that he might preserve, exhibit and mayhap
peddle his gruesome trophy! I have lately seen in print an
account of the preservation and partition of the blood-stained
dress of Laura Keene, of which I have made previous men-
tion of seeing in the theatre."-Seaton Munroe, in the North
American Review, April, 1896.
anter.
"I consider Laura Keene,' says Stuart Robson, 'to have
been in many respects the most able woman connected with
the stage of her time. Her best impersonation was perhaps
Peg Woffington, in 'Masks and Faces.' I never realized
how much a clever woman could do with a comparatively
unimportant part until I was associated with her in 'The
Rivals,' more than thirty years ago, in which she played
Lydia Languish. W. R. Blake, the best old man of the period,
was the Sir Anthony; John Brougham, Sir Lucius; Walcot,
Captain Absolute; J. H. Stoddart, David, and your humble
servant, Bob Acres. Miss Keene's performance clearly out-
classed most of the others, and even Blake himself had a
struggle to hold his own."

Herr.
"The life of this gifted lady was strangely unhappy, owing
30
THE LIFE OF LAURA KEENE.
mainly to continuous ill-health. The shocking death of
President Lincoln was perhaps the primary cause of her death.
A few minutes after the shot was fired that carried away the
life of the nation's martyr' she ran from the stage to the box,
and, while his wife and friends were too panic-stricken to
render any assistance, placed the President's head in her lap,
and while his life's blood was flowing from the ghastly wound,
soothed his dying moments with tender care.
99
"From the horror of this 'great dramatic situation' Miss
Keene never recovered. She died shortly afterwards. The
President's memory will live forever. The actress is even now
forgotten, save by a few friends and associates who knew her
great talents and lovely character."
"Miss Laura Keene, the actress, proved herself in this awful
time as equal to sustain a part in real tragedy as to interpret
that of the stage. Pausing one moment before the footlights
to entreat the audience to be calm, she ascended the stairs in
the rear of Mr. Lincoln's box, entered it, took the dying
President's head in her lap, bathed it with water she had
brought, and endeavored to force some of the liquid through
the insensible lips. The locality of the wound was at first
supposed to be in the breast. It was not until after the neck and
shoulders had been bared, and no mark discovered, that the
dress of Miss Keene, stained with blood, revealed where the
ball had penetrated."
"This moment gave the most impressive episode in the
history of the continent."

99
The Chief Magistrate of 30,000,000 of people-beloved,
honored, revered-lay in the pent-up closet of a play-house,
dabbling with his sacred blood the robes of an actress."
George Alfred Townsend's "Life, Crime and Capture of John
Wilkes Booth," page 16.
THE LIFE OF LAURA KEENE.
31
A
CHAPTER IV.
AT THE CHESTNUT STREET THEATRE, PHILADELPHIA.
FTER starring in all parts of the country until 1869,
Miss Keene leased the Chestnut Street Theatre, Phila-
delphia, which was named Laura Keene's Chestnut
Street Theatre. This theatre, which, up to this time, had
been known in professional circles as "The Morgue," was
entirely reconstructed in every department, combining all
the modern American and European improvements-a new
auditorium with perfect view of the stage and audience,
private boxes, orchestra, orchestra stalls and dress circle
chairs, decorated with crimson velvet and satin and uphol-
stered with patent elastic sponge. The seats were the largest
in America. New chandeliers, with crystal hangings, crayon
pictures, pendant shells, trailing vines, natural flowers and
ferns gave an air of beauty, refinement and home-like comfort
to the house, rarely if ever before known in any American
theatre. The leader of the orchestra was Mark Hassler;
Vining Bowers, stage manager; O. F. Savage, property man;
stage machinist, Thomas P. Blackwood; costumer, G. Stanton;
business agent and treasurer, John T. Donnelly.
The following is a list of Miss Keene's Chestnut Street
Theatre Company: Vining Bowers, W. E. Sheridan, Charles
McManus, George Holland, Jr. J. H. Jack, W. H. Wallis,
F. O. Savage, T. N. Drew, H. Archer, E. F. Nagle, J. D.
Thompson, Frank Mordaunt, B. McNulty, W. H. Otis, W. B.
Laurens, W. J. Stanton, John Costello, T. A. Creese, W. C.
Raymond, W. A. Booth and George Gilbert, May Howard,
Mary Carr, Mrs. T. A. Creese, Miss Viola Alexander, Miss S.
Price, Miss F. Graham, Miss C. Cross, Miss R. Sidney, Miss
Fanny Erwin, Miss Minnie Jackson, Miss Jennie Anderson,
Miss Josephine Laurens and Miss Julia Porter.
It is a question if any other English-speaking theatre in the
world had so strong a stock company then, or has had since.


32
THE LIFE OF LAURA KEENE.
The opening night of the Chestnut Street Theatre, under
Miss Keene's management, was Monday, September 20, 1869.
The play was the "Marble Heart," with Laura Keene as
Marco; W. E. Sheridan, probably one of the best leading
men then before the public, as Raphael the Sculptor; Frank
Mordaunt, Charles McManus, W. H. Wallis, May Howard,
Mary Carr, and the full strength of Miss Keene's great com-
pany in the cast. The play was magnificently staged, while
Miss Keene's reception was no less than an ovation.
"Marble Heart" had less than a two weeks' run.
Yet, the
On September 27th "Rachel the Reaper" was produced,
with the same attention to details, Miss Keene being Rachel,
John Jack, W. E. Sheridan, Vining Bowers, Frank Mordaunt,
W. H. Wallis, and Mary Carr being in the cast.
66
It is the London season! Come into the country! It is
hot and dusty and muddy here, and the opening of all the
drains, which is to bridle all the disorders by-and by poison-
ing us dead, meanwhile. O! Board of Health! Come into
the country!"
"She" (Rachel) "was so cold and sad, her beauty did not
strike the eye all at once, but when you came to know her,
she was so modest and so gentle, you thought her more than
beautiful."
On October 4th Miss Keene produced "Our American
Cousin," with Laura Keene as Florence Trenchard, Vining
Bowers, Sheridan, Jack, Otis, Wallis, Mrs. Creese, Mary Carr,
and Josephine Laurens in the cast.
On October 11th Robertson's comedy of "Ours" was given
by Miss Keene's company, Sheridan, Mordaunt, Jack, Otis,
Drew, May Howard, Josephine Laurens and Mrs. Creese being

in the cast.
Laura Keene reappeared on the 18th of October as Mary
Leigh in Boucicault's play of "Hunted Down," Frank Mor-
daunt, Jack, Otis, McManus, McNulty, May Howard and
Mary Carr taking part.
Tom Taylor's "Unequal Match was given on November
1st and 2d, with Miss Keene as Hester Grazebrook, together
with Sheridan, Jack, Wallis and the full strength of the
company.

THE LIFE OF LAURA KEENE.
33
Next came "Masks and Faces," with Miss Keene as Peg
Woffington, and on November 8th a new play called "Bogus'
was presented. It was the general opinion of the critics that
this play was strongly suggestive of its name, yet it is a fact
that it had about as prosperous a run, if not more so, than
many of the classical productions of Miss Keene.
"Bogus
was followed by Robertson's comedy of "School," with Miss
Keene as Naomi Tighe. Sheridan, Wallis, Mordaunt, Jack,
Otis and Mary Carr were in the cast.
On November 29th "The Saucy Housemaid" was given
for, if we are not in error, the first time in Philadelphia,
Miss Keene's Toinette receiving the highest praise from the
press of the city.
The children of Philadelphia were now furnished with
"Bold Jack the Giant-Killer," which was given at matinees
on special days.
On December 7th an original Irish drama by Colonel Thomas
Fitzgerald, called "Patrice, or the White Lady of Wicklow."
This drama was magnificently staged and mounted, Miss
Keene appearing as Patrice, with Mordaunt, Wallis, Otis, Jack,
Vining Bowers, Harry Hawk, and Mary Carr in the cast.
Patrice had a good run until the Christmas holidays, when
Charles Dickens' Christmas carol of "Christmas Eve, or the
Miser's Dream," was given, with Laura Keene as Little Tom.
On January 3, 1870, a new five-act play called "Champagne,
or Step by Step," by Laura Keene and Matilda Heron, was
produced, with Miss Keene as Milly, together with Mordaunt,
Wallis, Jack, Harry Hawk, Mary Carr, Emma Taylor, and the
full strength of the company in the cast.
On January 10th H. J. Byron's "Blow for Blow," and
"Two Can Play at That Game," were given, Miss Keene
appearing as Mercy.
On January 14th three plays, all new to the present season,
were given. They were Halgrave Simpson's drama of "Is
She Mad?" the comedy of "Matrimony," and "The Actress
by Daylight."
Susan Galton and her English Opera Company and Frank
Mayo played engagements at the Chestnut until March 14th,
Miss Keene during that time having engagements in the South.

3
34
THE LIFE OF LAURA KEENE.
On March 14th Miss Keene made her reappearance as Gil-
berte in "Frou-Frou," with Mordaunt, Otis, Wallis, Hawk,
May Howard, and Mary Carr in the cast.
On March 25th Miss Keene made her last appearance at
the Chestnut, on which occasion she had a farewell benefit,
appearing as Miss Hardcastle in "She Stoops to Conquer."
"Miss Keene's appearance was the signal for long and
rapturous applause. Philadelphia acknowledged in that hearty
welcome her power to charm and rule."-Philadelphia Press,
September 21, 1869.
"Under Miss Keene's management the Chestnut, now one
of the most beautiful theatres in America, has become the
resort of our best people. The lady is determined to make it
in all respects worthy of patronage."-Philadelphia Press,
September 29, 1869.
"Miss Laura Keene's version of Tom Taylor's comedy,
"Our American Cousin,' as now produced at the Chestnut
Street Theatre, differs in many respects from that usually
played. The text of the piece is somewhat different, and
while the wine-cellar scene, very seldom given, never before
in this city if we remember correctly, is done by Miss Keene's
company, other scenes appear to have been shortened. We
have not the space this morning to speak at length of the per-
formance last evening. The theatre was thronged; the audi
ence being composed of our most fashionable people. The
comedy is as laugh-provoking as ever, and was admirably
rendered. The Lord Dundreary of Mr. Otis is not an imita-
tion of Sothern, but is on the contrary a quite successful
attempt at an original impersonation of the character. Miss
Keene was of course charming as Florence Trenchard. In-
deed, with the exception of Binney, we have never seen the
piece better done. Our American Cousin' could well hold
the stage for many nights, but Miss Keene is determined upon
novelty, and it will shortly be withdrawn. Secure seats early,
therefore, for this evening. The audience was kept in good
humor from rise to fall of the curtain and heartily enjoyed the
entertainment, if we are to judge from the laughter and
applause."-Philadelphia Press, October 2, 1869.

THE LIFE OF LAURA KEENE.
35
"After a short but joyous and successful run, Tom Taylor's
comedy, 'Our American Cousin,' gives way this evening to
'Masks and Faces,' a comedy by the same author and Charles
Reade. Masks and Faces,' though without doubt one of the
best comedies ever written, is seldom played, for the reason
that but few of our actresses care or dare to undertake the
difficult part of Peg Woffington. The role is a great favorite
with Mrs. Jean Lander, and the comedy was, we believe, last
acted in this city during the engagement of that lady some
years ago at the Arch Street Theatre. Miss Laura Keene does
well in presenting this piece. She is admirably suited to the
ably drawn character of the beautiful, spirited, kind-hearted
actress, Margaret Woffington. That the other roles of the
play will be well managed by the stock company we have
every reason to believe. Robertson's comedy, Home,' is to
be produced at this theatre Monday evening. Miss Keene's
selection of plays shows that the lady is determined to make
the Chestnut Street Theatre the resort of the true lovers of
the drama, and for that reason she is entitled to the support
of the people. We hear that Robertson's last comedy, 'Pro-
gress,' is in preparation, and that his comedy, 'Dreams,' may
also be given during the season."-Phila. Press, Oct. 8, 1869.


"Laura Keene is part of the dramatic history of America.
She is among the best managers in the art world. Who is
her superior? Let her go where she will and the drama
springs up like magic under her wand. In perseverance and
industry she is a very heroine. Her genius marks every de-
tail of the boards, and creates a unity, a completeness about
her renditions which is almost inimitable. Who ever knew her
to produce anything badly? Her earnestness and conscientious
devotion to art rank her name among the permanent ones of the
stage, and it is not too much to say that her record must be
remembered with pride and respect while our stage has a tra-
dition. Her stock move with her generally in such harmony
that the completeness of her plays puzzles one to tell exactly
where to place the laurel among her performers. To this must
be added that she herself is among our very best actresses;
which is remarkable when the labors of her management are
36
THE LIFE OF LAURA KEENE.
considered. Laura Keene is an extraordinary woman, worthy
of all encouragement. And she will succeed if she retains
her old energy-for she will do it. This artist illustrated,
when almost a child in years, features of Madam Vestris'
management, and was the rising star of the elder Wallack's
New York revival. On his stage she was the most sprightly,
natural and popular of the American comediennes. Thence
she assumed the direction of the late Winter Garden, whence
she took control of the well-known Laura Keene's Theatre.
Her industry, ability and thrift have brought her, as we are
glad to hear, a handsome competence, which she has earned
by downright art labor; no weeds have prospered in her
garden. She has played under flinty difficulties and turned
them over from the bottom; of a less established artiste we
should be slow to speak in this emphatic language. In Miss
Keene's case so to write is critical duty. She is yet in the
prime of her strength and attractions; our public have ad-
judged and approved her. If they want a well-established
theatre which shall be a pride to us, they will continue their
present fostering patronage at the Chestnut."-Philadelphia
Press, October 13, 1869.
"At no former season has the standard drama been better
rendered than at the new Chestnut, under Laura Keene, and
the Walnut, under Edwin Booth. To-night at the first we
have the sterling modern comedy, 'Our American Cousin,'
and at the Walnut, Howard Payne's noble American tragedy
of 'Brutus.' At the Walnut, Booth is the central figure who
attracts all eyes; while at the Chestnut, Laura Keene,
herself a star of brilliant lustre, is supported by as fine a
stock company as ever trod the boards. Both these houses
are in fine condition-clean, well-ordered, and well-aired-
and the Chestnut is almost a fairy scene."-Philadelphia Press,
October 5, 1869.
"We have often spoken of Laura Keene. She is making
a brave and successful effort to revive the best days of the
Chestnut Street Theatre. Her management is admirable.
Refinement and genius, discipline and completeness in detail
are conspicuous in all that she does. Miss Keene is herself

THE LIFE OF LAURA KEENE.
37
one of the most capable of living actresses, and her large
experience, unrelaxing industry, her wealth of dramatic
knowledge and conspicuous common-sense, fit her to rank
with any theatrical manager of to-day. We believe that she
will make the Chestnut an ornament to Philadelphia; and,
unless we much mistake her, no questionable play will be
countenanced on her boards."-Phila. Press, October 11, 1869.
The current number of the New York Clipper has the
following card :-
Laura Keene's Chestnut Street Theatre, Philadelphia: To the ladies and
gentlemen who have expressed a wish to be under my management, I
desire to present my thanks, and to state that my company is complete.
To the stars, I can receive but a few. These must be of the highest order
of talent.
LAURA KEENE.
66
"W
CHAPTER V.
THE STAGE.
HEN we make a feature of the 'stage' in the columns
of The Press, we do so in the high endeavor to ally the
drama with such thoughts and criticisms as befit the
aim of that grand reformer who rose in the Elizabethan period,
and who lives for all time. He who vindicated its claims to
deathless honor, whose name is a household word, and whose
magnetism increases as the world rolls on, saw fit to make the
stage the vehicle of his mighty philosophical and philanthropic
teachings; to people it with such beings as cannot be for-
gotten; to clothe it in awe, in poetic loveliness and winning
beauty, in healthful mirth; and to send forth through its
ministers lessons to the prince, to the warrior, to the states-
man, to the publicist, to the teeming body of the state, to our
nearest and loveliest ones about the home altar, that they may
the more sweetly and nobly perform woman's part in this real
life of ours; and through his dramatis persona to speak to all
ranks and conditions of men the golden and timely words of
morality, religion, warning, solace, encouragement, which his
'myriad-peopled mind' has fixed in all literature, only to
perish with the stars in heaven."



38
THE LIFE OF LAURA KEENE.
"In this exalted Shakespearean sense, it is hardly possible
to overrate art. That which comes betwixt it and the infinite
in the human soul is revelation itself. No man can degrade
such art. As well seek to degrade religion. However base
may be its ministers (and the private record of many of these
is by no means unclouded), art is undefiled. Such counter-
feits do not debase the issues of the royal mint. Art, in the
sense in which we speak, is invulnerable against the leprosy
and plague of the apostates who sully themselves in her
temple. We make these reflections because our aims in art
matters are serious. We do not write on this subject to dis-
play what we can of pedantry or wit, or slashing satire, nor
to amuse merely. Our purpose is practical. We hope to
point the moral. What we say complimentary, in passing,
of the performers on the stage, will not be said to bepraise
them in any other sense than as we laud the author who
makes his mark in literature, or as we speak of public people
of whatever calling. And right here is a most difficult point,
viz., how to speak of the actors. We are heartily sick of see-
ing them treated like sensuous things, like dolls and children,
as if they were only a part of the tinsel and pasteboard of
the scene, or of its spectacular paintings-as so many children
who live only on shining words, which, in order to be happy,
they must see in the gazetteer-as so many toys to play with,
that they shall be stimulated into life and sustained in their
efforts. Talfourd thought that without this diet actors
would perish.
"So long has it been theirs that a column on leading per-
formers, ungarnished with many adverbs and adjectives,
would appear like a French dinner without the entrees.
Like all the rest of creation, the dramatic world moves on.
Its professors are more real than was their wont. From the
dark period of mountebankism and priestcraft; from the days
when they were legalized as vagrants, when they marched
under the lash of censorship; when players were like gypsies,
polygamous, anomalous and almost outlaws; through the
times when their highest social aim seemed to be to amuse
the 'great' at suppers, and to fawn about the doors of patrons,
we have come to a point when actors are taking a very differ-




LAURA KEENE AND J. W. WALLACK
As BEATRICE and BENEDICK in "Much Ado About Nothing.
99



THE LIFE OF LAURA KEENE.
39
ent social rank. Shall not criticism concerning them there-
fore assume a less personal type? By which we mean, shall it
not be like the criticisms which are ventured on all public
people? To preserve this medium is difficult work for an
honest critic. To see a good play well played is to awaken
in us all of the ideal. The heart writes for the brain; as the
mimic scene goes on, a sort of illegible shorthand creates the
impression to which the drama of the night is entitled.
What shall the honest critic do with this impression? Shall
his cold judgment stifle it? Shall his head not honestly
translate his heart when he comes to write his record of the
play? If the critic do not thus inform his page, has he dealt
justly by those creatures of tradition who live only as he
makes their history, and as they float in the memory of the
fleeting present? The painter, sculptor, poet, dramatist,
novelist, lives in his work.
"We can see these over and over again; we can peruse and
reperuse them. But the actor goes out with his exit. He
may or may not repeat himself; he may fail to-morrow night
who so entranced us yesterday eve. But grant him what we
will of uniformity of effort, he is of tradition-
'Come like shadows, so depart;'
"Then shall these people not have all that they do to daz-
zle and delude, to elevate and excite, imprisoned as best we
can fetter it with type? How shall the critic accomplish
such a task? When we speak of the orator one can point to
his speech to bear out the comment; we can send the reader
to the author or the painter; but to the great mass who do
not see the actor no such reference can be made.
"Therefore there is nothing tangible to criticise. Only an
impression can be conveyed; only a description can be written.
And how much of this description is the imagination of the
critic or the fact of the acting is indeed difficult to determine.
When we read the pictures of Macaulay, history seems per-
sonified, its actors fairly leap from the canvas, its pageantry is
like an exquisite oil painting. Much of this is Macaulay.
Never were there such men or such histories. The dramatic
blazonry of Walter Scott is a still greater delusion. So of

40
THE LIFE OF LAURA KEENE.
Hazlitt, and Lamb, and Sheridan, and Byron, when their
brilliant conversations, diaries, etc., gem what with us is tra-
dition. Was there ever such a Garrick, such a Cooke, such a
Siddons, such a Kean, as the immortal critics describe, or have
we their ideal? However this may be, one thing is clear, the
critic need not heap up his style with roses and lilies and
precious stones without significance.
"He can safely illustrate with brightnesses like these if he
gives us the idea or the fact as the setting to hold his jewels
of style. If he will tell us what they did, whoso merit
plaudits, as well as he can tell of such things, then the actor
has solid praise, and the reader knows or can fancy on what
to base it. For the daily press this sort of criticism is nearly
impossible; but what is barren compliment worth? The sort
of 'dramatic notices' which are mere glittering generalities
have come to be considered as 'puffs' by many thoughtful
people. Is the green-room bettered by this public impression?
One thing is clearly observable about this modern stage, and
it is that personal attractions obscure art. There are many
plain people, with meagre wardrobes, common features, and
modest bearing, who artistically outrank the reigning belles
of the scene or the strutting star.' How often these are
overlooked in the humble roles which they perfectly render-
render naturally-and which escapes attention only because
they are naturally and not artificially done, because they are
in modest and artistic keeping with the whole picture wherein
they figure so subordinately! People like these are too
frequently overlooked, for they do not thrust themselves
into unjustifiable and incongruous prominence which is their
real merit. All of these things enter into dramatic criticism
when such is honest, fostering, liberal, and judicial, as it should
be. It is not necessary that the stars,' like so many Sat-
urns, shall devour their families. On the other hand, we
as cordially detest the dogmatist who is constantly asserting
himself and not his theme when he writes of the drama.
The man without heart, from whom fancy and imagination.
are veiled, who goes by the square yard, is like a millstone
around the neck of art. So of him who is ever in an 'equip-
age of opinion, as if his notions were so many great men going
to see the Queen.'


6
THE LIFE OF LAURA KEENE.
41
"And he, also, who deals in pitiful or pitiless sarcasms
merely to air his vein, that the world shall say how sharply
he writes against defenceless people, to whom justice and en-
couragement might be life itself. It is the highest duty of
the dramatic critic to foster, not to destroy; to build up, not
to crush. And to this end he should be qualified to discern
the germ of merit, be it ever so faintly seen, in its early
struggles with awkwardness and sensibility. This is no less
a duty than it is to lash a brazen-fronted pretender. There
are irrepressible mountebanks on whom even caustic produces
no sensible effect. But these are the buffoons or fools of
the stage-people that the management should weed out of
first-class theatres, and consign to more congenial fields. The
only conclusion to be reached about the matter of personal
dramatic criticism is to deal with it as honestly as possible,
and to lean always rather in the direction of the heart than
of the head; to be guided by the play, and not by the
players, except in so far as they render the play, no matter
what their beauty of person or graces of rhetoric.
question is on the acting of given roles. The theatrical
season with us is advancing in interest. We have the
English opera so well illustrated that the Italian for the
nonce is almost forgotten. Opera is the highest order of
drama in one sense, and our English prima donna only some-
times fails in respect to her acting. With slight defects, such
as we have before alluded to, the accuracy of her interpreta-
tion of music has not been often surpassed. Philadelphia
has had glorious days of English opera. These are identified
with the dawn of the nation's history, when Philadelphia
was the capital.
The
"We have here the tradition of Incledon, who is remem-
bered as an English tenor; and after Malibran, the translations
of Norma' and the 'Sonnambula,' illustrated by Mrs.
Wood, who fully rivalled Grisi in dramatic intensity, when
the little Philadelphia theatre was admitted to outrank the
Italians in the decorations which its stage furnished for the
then reigning great lyric queen. We have not forgotten
the Seguins, nor Mrs. Austin, nor Miss Shirreff, nor Miss
Pyne, nor Mr. Guilmette. It is by no means impossible that

42
THE LIFE OF LAURA KEENE.
English opera may some day rival any other. British com-
posers have advanced steadily with the steps of art, and
excel in every department.
We believe that the old stiff
Purcell has the credit of forming in his crude ancient music
the basis of Handel's oratorios. The names of Henry
Bishop, MacFarren, Wallace, Balfe, Rooke, are names to be
honored.
"And English music develops a special beauty in the
ballad. American and English prima donne are now almost
eminent; nor must we leave Gottschalk, Stopel, and Bristow
out of the enumeration. It is worth remembering also, to return
'to our muttons' (and we think we are not mistaken in this),
that Philadelphia took the lead in the establishment of opera-
houses, so many of which now adorn and instruct the land.
This article is growing perhaps too long, and yet we must
repeat our often-given advice to the public to sustain Miss
Keene's legitimate enterprise at the Chestnut. If her stage is
deformed by any vicious acting or reprehensible license, we
feel assured that she will correct it when it is brought to her
notice. We specially refer to Miss Keene because we want
established here one theatre devoted to the legitimate stage as
nearly as possible, whose plays and burlesques shall be after
the true models, and where the ballad will be poetic if ad-
mitted. A good play with a good stock, carefully done in all
its details, such as Miss Keene almost invariably furnishes, or
a funny, well-ordered farce or burlesque, is a public blessing.
Indeed a play-house of this order is the town physician-better
than drastics or tonics for the day-wearied, sedentary citizen.
It is not only a fountain of amusement, but its magnetism
burnishes up our imaginations and relieves the mind from the
incessant pressure of the practical. It is a great humanizer,
for it opens the door of the heart. And when true to the end
of playing; when within the intent of Shakespeare, the stage,
next to the pulpit, is the most effective moral preacher.
Such a theatre Miss Keene is qualified to build up, and it is
the height of her ambition to make such permanent."-Phila-
delphia Press, October 19, 1869.

THE LIFE OF LAURA KEENE.
43
"LE MALADE IMAGINAIRE."
"Under the title of The Saucy Housemaid,' an arrange-
ment of Moliere's comedy 'Le Malade Imaginaire' was given
at the Chestnut last night for the first time in Philadelphia.
Considering the age of Philadelphia and the age and reputa-
tion of the drama, this may seem somewhat singular, but it
may be accounted for by the fact, that until Mr. Charles
Reade undertook the work nobody succeeded in making a
creditable translation or adaptation entirely suitable for the
American stage. The subject of the comedy was used some
years ago as the groundwork of a little farce entitled, "The
Hypochondriac;' but this trifle did not do justice either to the
plot or the text of the original. The comedy might have been
thought worthy of the consideration of eminent playwrights,
for it is one of the best efforts of a dramatist who is wor-
shipped by the French nation, and elevated-most unde-
servedly, however-to a place by the side of Shakespeare. It
has always been a popular play in France, and it was so much.
a favorite with the author that he died with the words of the
hypochondriac on his lips. Mr. Reade's version is hardly a
translation. He has used nearly all the important incidents
of the plot, and in some cases the original dialogue is given in
a free translation; but, very properly, the text has been, in a
measure, rewritten and filled with quips and jests and ancient
saws and allusions, and even a little slang, of a peculiarly
English character. The entire spirit of the comedy is pre-
served; and the characters, appearing in all their natural
vigor, are made even more interesting to us by their use of
more familiar language than if they had been chained to a
literal translation of the original. But the author, neverthe-
less, asserts himself constantly throughout the play. The dia-
logue is quick, vivacious and witty. It is full of those verbal
surprises which, from their unexpectedness and their incon-
gruity, provoke mirth. It is impossible to anticipate any of
the conversations; they are never consistent; they leave the
right line at the strangest points and run off at the oddest
angles; so that the listener is kept in a state of pleasurable
expectation by the continual diversions. The plot is interest-



44
THE LIFE OF LAURA KEENE.
ing without being at all intricate. As in the case of most
French comedies-of which, by the way, this is the chief
model-it is a violent exaggeration of real human weakness
and folly. The imaginary woes of hypochondria are made
the subject of jolly, good-humored satire; and keen shafts are
shot at that medical quackery which flourishes in perennial
success under different forms. Mr. Reade's version of "Le
Malade" really has not the dignity which belongs to that
genteel form of the drama that we call English comedy. It is
a three-act farce. It is full of violent action, of wildest
spirits, and of downright hearty fun, which kept the audience
in a roar of laughter from beginning to end. Without the
vulgarity of purely low comedy, it contains that lively humor
which appeals to the intellect, while it excites constant
laughter. The company presented the piece in a most satis-
factory manner. Miss Keene personated the housemaid, who
is the true heroine, and she played the part with the utmost
cleverness. Her performance was so nearly perfect that we
are as much at a loss to select passages worthy of especial
praise as we are to find faults to condemn. Mr. Jack, as the
hypochondriac, had the most difficult character in the comedy,
and we must say that he, too, deserves all the praise that can
be bestowed upon him. His conception of the part of the
deluded, irascible, weak but fond old man, is original, for
we believe he had no really good precedent upon which to
found it. But, barring a little undue violence, it seemed so
nearly correct, so completely true to the text, that those who
saw it will be likely to make it a precedent by which to judge
succeeding performers. Mrs. Creese was very charming as
Angelique, and Miss Laurens, in the part of Louison, earned
hearty applause. Mr. McManus had a small opportunity in
Cleantes, but he made the best of it. Mr. Harry Hawk was
intensely amusing in Thomas, the feeble-minded nephew of
the Doctor and the intellectual type of certain latter-day
students of medicine that we know of. The entertainment
throughout was excellent, and it ought to be enjoyed, upon its
repetition, by everybody who loves hearty fun of the most
innocent kind. The performance concluded with a comedietta,
in which Mr. Mordaunt gave capital imitations of Mr. Forrest,



THE LIFE OF LAURA KEENE.
45
6
Barney Williams, Clarke, Charles Keane and others. The
Saucy Housemaid' will be repeated this evening."-Daily
Evening Bulletin, November 30, 1869.
"OPENING OF THE CHESTNUT."
"If the success of the first performance in the Chestnut
Street Theatre, under Miss Laura Keene's management, is a
true indication of the future, the theatre will be blessed as it
never has been before with prosperity and popularity. The
house was literally full, and there was in the street a large
crowd of persons, who, unable to enter, contented themselves
with gazing through the doors into the vestibule. Many of
those present were attracted, of course, by curiosity to see
the improved building, and they were completely satisfied.
There has been an entire transformation of the interior, and
now this theatre, once the ugliest, most uncomfortable in
town, with smells reeking up from kitchens in the cellar,
seats which gave visitors the back-ache, and a hundred other
defects, has been made the prettiest, brightest, snuggest, most
picturesque theatre we have ever had. Its good qualities, in
detail, are: the most comfortable seats of any place of
amusement in Philadelphia, the most convenient boxes, the
best effects of contrast in the decorations and hangings, the
visibility of every portion of the stage from any place in the
house; a perfect system of ventilation, which poured in upon
the warm audience, last night, a constant stream of cool,
fresh air; an absence of anything like gaudiness; novel and
beautiful ornaments in the shape of hangings, baskets of
flowers and graceful plants, and altogether a brilliant, strik-
ing and very rich general effect, which pleases the eye and
gives to the place an art character which is very gratifying.
The transformation is creditable in the highest degree to all
who have had anything to do with it, and we are certain that
their efforts will be rewarded by the people, who, if Miss
Keene does her duty on the stage, will make this a favorite
and fashionable place of resort. We believe that a new era
has begun at the Chestnut, and we are glad of it. Its posi-
tion always entitled it to rank as a first-class theatre. Now
its beauty and good management confirm the claim.


The
46
THE LIFE OF LAURA KEENE.
play chosen for the inaugural night was the Marble Heart,
or the Sculptor's Dream,' a Frenchy and emotional drama,
but tolerably well adapted, perhaps, to a display of the powers
of the various members of the company. The company is a
good one. It contains several actors who are well and favor-
ably known in this city, and some who are strangers. We
will mention them briefly. Miss Laura Keene appeared as
Marco, the heroine, and played at first with vivacity, and
then with great power and pathos. Her merits as an actress
are already well known to our readers, and we need only
congratulate ourselves that we are to have her constantly on
the stage of one of our best theatres. Miss May Howard
played Marie. This young lady has a prepossessing person
and a good deal of talent.
"The melancholy of her personation was of course unre-
lieved, but she contrived to depict sadness naturally, without
that cheap pathos which is too often indulged in by senti-
mental actresses in such lugubrious parts. Miss Josephine
Laurens made a bright, lively, pretty Clementine, and won
less applause than Miss Howard because she had smaller
opportunity. Both of these ladies will be favorites. Mr.
W. E. Sheridan, the leading man, appeared as Raphael, and
gave complete satisfaction. He is a good actor, with no
greater inclination to tear passion to tatters than leading men
generally have. More mildness might become him better,
but he cannot be considered guilty of really unbecoming
violence. His performance in the last two acts was very
fine. Mr. Frank Mordaunt gave a capital personation of
Volage, marred only by his old trick of gagging and inclina-
tion to indulge in burlesque. Mr. Mordaunt has much natural
ability, but he permits his high spirits sometimes to run away
with his good sense. Some persons in his audiences may
laugh at his illegitimacies, but he offends those who can per-
ceive the impropriety of interpolations of the text and of the
burlesque business. Mr. C. A. McManus did Vandore
handsomely. We have known him for a year or two past as an
intelligent, capable actor, of versatile talent and ready appre-
ciation of the demands of any part assumed by him. He
will be a valuable member of the new company. Mr. W. H.



THE LIFE OF LAURA KEENE.
47
Otis played the ungrateful part of the Viscount very accept-
ably. Dundreary characters are apt to be tiresome and not
at all funny. Mr. Otis managed to make his personation
very amusing. Mr. W. H. Wallis and Mr. J. H. Creese are
well known here from their long connection with the Arch
Street Theatre, as faithful and capable actors. We are glad
to see that Mrs. Creese is enrolled in the company, and will
shortly appear. She is, and well deserves to be, a favorite
with the people.
night was capital.
Altogether the performance upon the first
We have rarely seen the drama presented
in a better manner, and we are confident that even this excel-
lence can be improved upon when the members of the com-
pany become more accustomed to each other. Mr. Mark
Hassler has a first-rate orchestra, and he leads it with ability
through very judicious selections, all of which are well played.
His brother Simon, at the Walnut, has wielded the champion's
baton for a good while, but he will have to look to his laurels.
'Marble Heart' will be repeated every night this week. We
recommend it, the pretty theatre and the good company, to our
readers, assuring them that all are deserving of patronage."
-Evening Bulletin, Sept. 21, 1869.
"SCHOOL," AT THE CHESTNUT.
"Anybody who wants to witness a first-rate dramatic
performance, can gratify their desire by visiting the Chestnut
Street Theatre to-night. Miss Keene has produced Robert-
son's comedy, 'School,' and we venture to say that it never
has been better played, either in England or America, than
upon her stage. The comedy, although not equal in point of
interest or in dramatic force to 'Caste' or 'Ours,' is still a
very clever play, with several strongly-marked characters, an
ingenious if not a novel plot, plenty of fine situations, and,
above all, a lively, rapid, witty text. Miss Keene has
mounted the drama very handsomely with new scenery,
some of which, particularly the forest scene, is really beauti-
ful. Better than this, the characters are cast with rare dis-
cretion, so that each member of the company is fitted with a
part which seems nicely suited to his or her capacity.
"Miss Keene played Naomi Tighe, in a manner which

48
THE LIFE OF LAURA KEENE.
convinces us that she has had boarding-school experiences.
A woman who had not entered an 'institute,' with six tow-
els and a spoon, conversed in crippled French-'the exclusive
language of the family'-and lived on a diet of tough beef
and transparent coffee, with munchings of molasses candy
during study hours, could not have given such a faithful rep-
resentation of the boarding-school Miss. These things do not
come by inspiration; they are learned practically. Miss
Anderson gave a very delightful personation of Bella, the
lonely orphan, who is the secondary heroine of the drama.
Mr. Sheridan appeared as Jack Poyntz, and played the char-
acter most admirably. Jack is a commonplace, practical
good fellow, such as Englishmen delight in. He is a little too
dull for American taste-or rather too unexcitable-but he
possesses a strong individuality, and what there is of him is
good. Mr. Sheridan's versatility fits him for almost any
character so nicely that even this one seems peculiarly suit-
able for him. Mr. Mordaunt's representation of Lord Beau-
foy, was capital; so was Mr. Otis's Dr. Krux,-the Uriah
Heepish tutor. Mr. Wallis prepared a surprise with his
Beau Farintosh. This character is peculiarly difficult, be-
cause the actor has to act the part of an old and young man
at the same time, and he is compelled to costume himself to
represent an aged beau who desires to present a youthful
appearance. Mr. Wallis succeeded satisfactorily in overcoming
the difficulty, and not only in his 'make-up' but in his acting
gave a first-rate performance. This gentleman is well known
as a good actor in lesser lines of business. He proved last
night that he has capacity for higher things.
"School' will be repeated this and every night, and we
heartily recommend it to the public. Not the least of the
attractions at the Chestnut is the delightful music furnished
by Mr. Mark Hassler's orchestra."-Daily Evening Bulletin,
November 23, 1869.
"HUNTED DOWN."
"There is at the Chestnut Street Theatre now a dramatic
entertainment which we can heartily recommend to our
readers as well worthy of their attention. Miss Keene has
produced Boucicault's play, ' Hunted Down, or the Two Lives

THE LIFE OF LAURA KEENE.
49
of Mary Leigh,' and we do not exaggerate when we say that
the performance is one of the very best ever given in this
city. The occasions are rare when we can speak in such warm
terms of an entertainment of this description, and now that
praise is demanded by every consideration of justice, we are
glad to accord it in most generous measure. The drama, in
the first place, is clean and pure. Albeit the theme is old,
the plot is simple, ingenious and interesting from the begin-
ning to the end. The play is filled with strong situations,
which are made more forcible by the exquisite pathos of the
text.
"It is a domestic tragedy which has for its motive the suf-
fering of a woman who has contracted a happy second mar-
riage, believing that her first husband, who is a scoundrel, is
dead. He appears upon the scene, and uses his secret to
extort money from her, while she is distracted by the injury
done to her second husband, by her love for him, for her
children, and by the sense of duty that compels her to ruin
him and her by telling him all her misery. Out of these
natural materials, with a few carefully-drawn characters, Mr.
Boucicault has constructed a powerful and affecting play. It.
has not a particle of the artificial anguish of East Lynne."
The spectator is not conscious that his emotions are being
played upon. There is no violent assault upon the feelings,
no premeditated attack upon the tear-bags. The play is
intense almost to painfulness, and yet the trick of the drama-
tist is hidden beneath the cunning imitation of nature.
6
"The spectator feels that all this pain and suffering might
well be-must inevitably be, if such a piteous thing should
befall a sensitive, loving woman. There is no taint of For-2
mosan' impurity here. This is a drama of the author's better
days; it is an inspiration of his modest muse. It is a stand-
ing refutation of his assertion that a degraded popular appetite
demands bawdy and nastiness. The drama gained strength
in the hands of Miss Keene and her colleagues. Miss Keene
herself acted with indescribable grace; her personation was
one of the most powerful that we have ever seen in senti-
mental drama. The part is worthy of the best efforts of an
artist. It requires for its just interpretation the possession of


4
50
THE LIFE OF LAURA KEENE.
deep sensibility, quick intelligence and power of passionate
expression. Miss Keene more than filled the measure of these
requirements. She played with far more ability than she has
displayed in any performance given in her theatre during the
present season, with even more than we had credited her with,
great as we know her power to be.
"Mr. Mordaunt prepared a great surprise. Commonly he
has such tricks of gagging and burlesquing that he throws
away his best opportunities to win a reputation. His per-
sonation of John Leigh was defiled by none of these things.
He played with simplicity and gentleness, without violence or
rant, even where the text seemed to provoke such sins, and
so he gave a personation that is worthy of all the praise that
we can bestow upon it. If he but knew how much better is
this admirable fidelity to the character he has to interpret
than the nonsense and vulgarity in which he frequently in-
dulges, he would win higher fame and do better justice to his
powers. Mr. Otis played Sir Arthur with exceeding clever-
ness and taste. In the peculiar line of parts to which he has
been confined since his appearance in this theatre he is un-
surpassed. He is animated without going to excess; he has
refinement without silliness; he is amusing without venturing
upon buffoonery.
"Mr. McManus played the villain, and, in our opinion,
played well. At the best the character is an ungrateful one,
but Mr. McManus gave it sufficient hideousness without mak-
ing it disgusting. Miss Mary Carr and Miss May Howard
also deserve praise for their excellent performances. Indeed,
we cannot with justice find any fault with the manner in
which this drama is produced. It is so often the unpleasant
duty of a truthful critic to condemn and suggest improve-
ments, that one longs for an opportunity to indulge in an
unqualified eulogy. Here is such an opportunity; we have
embraced it; and that the merit of the artists may receive a
complete reward, we heartily recommend the performances to
the public. The house was well filled last night, despite
the counter attractions and the unpleasant weather. It ought
to be crowded during every night of the play."-Daily Eve-
ning Bulletin, October 20, 1869.

THE LIFE OF LAURA KEENE.
51
"Hunted Down, or the Two Lives of Mary Leigh,' is a
three-act drama by Dion Boucicault, to which, we believe,
Miss Laura Keene has the sole right in America. It is con-
structed in Boucicault's best style, and he has ably managed
an effective story. The play opens with a pretty domestic
scene at the home of John Leigh, an artist, whom Mary had
married about ten years before. He is ignorant that she had
previously married a man who deserted her at the altar, who
was afterwards convicted of forgery, and whose death had
been announced. This man turns up as Count de Willidoff,
and first extorts money from Mrs. Leigh by threatening to
use his legal authority to claim, not only her, but her
children. Mrs. Bolton Jones, getting an incorrect idea of the
situation, resolves to hunt down Mary Leigh, and shows
John Leigh letters which his wife had written to the adven-
turer. This complicates the case. Afterwards, Willidoff,
learning to love Mary, forces his way into her house just as
she is about to fly from the husband she loves to escape the
tyranny of the husband she hates, declares his love, and
claims her as his wife. In her anguish she cries out for John
Leigh, who enters, and the secret is revealed. But the ugly
fact remains-that Mary is the lawful wife of Willidoff, and
that he can obtain control of her and her children. At this
point (fortunate and singular coincidence) appears Clara, the
supposed mistress of the adventurer, but really his wife,
married to him two years before he pretended to marry Mary.
The result is as follows: Mary-John-Willidoff=Happiness.
Out of this material Boucicault has wrought several very
effective situations. The fault of the piece is that the story
is told three or four times (an unusual mistake of this drama-
tist), and that the action drags. But when the points are
made, they are strongly made. The characters are good, but
not very new; Mary Leigh is the most original. In John
Leigh we recognize our old friends, John Mildmay and John
Peerybingle, who believe in their wives in spite of letters and
misrepresentations. Mrs. Bolton Jones is a back character in
modern plays, and Sir Arthur is one of that innumerable
tribe of good-natured dandies which long ago ceased to be
amusing. The acting was excellent. Miss Keene played

52
THE LIFE OF LAURA KEENE.
Mary Leigh with charming ease and truth to nature, and
brought tears from many eyes by the pathos with which she
played the unhappy wife and mother. It is probably the
finest performance she has given in this city. Mr. Mordaunt
acted the fine part of John Leigh with admirable taste and
judgment. The faith of the husband in his wife was beauti-
fully expressed. Another excellent performance was that of
Willidoff, by Mr. McManus. It had enough brutality to be
true, but not enough to be repulsive.
"Mr. Otis did the dandy decently. Miss May Howard
played Clara, as she plays everything, well, and Miss Mary
Carr made the most of the old lady. One of the prettiest
performances we have ever seen by a child was that by a
little girl named Nellie. 'Hunted Down' had a fine house,
and was warmly applauded. It is not the least evidence of
Miss Keene's merit as an actress that she caused last night an
eminent political economist to shed tears. This was indeed a
triumph. The play will be repeated to-night."-John D.
Stockton, Philadelphia Post, October 19, 1869.
"An attractive change of bill is announced at the Chest-
nut Street Theatre this evening. The charming comedy of
"Masks and Faces' will be acted for the first time this sea-
son. The new company is admirably suited to the production
of this play, and Miss Keene's own performance of 'Peg
Woffington' has been, so to speak, famous since it was origin-
ally acted in the United States at Wallack's Theatre. We
are gratified to know that the audiences at the Chestnut are
full and fashionable."-John D. Stockton, Philadelphia Post,
October 8, 1869.

"FROU-FROU" AT THE CHESTNUT.
"Miss Keene deserves credit for the enterprise she has dis-
played in presenting promptly and elegantly her own trans-
lation and adaptation of the comedy that happens at this
moment to be the sensation. The version of Sardou's play pro-
duced at the Chestnut Street Theatre last night is Miss Keene's
own property, and when it is pruned a little of its superflu-
ities it will, we hope, be as popular and valuable as the Daly
THE LIFE OF LAURA KEENE.
53
6
version, of which it is said to be the equal. The plot of
"Frou-Frou' need not be rehearsed at length here. It is a
domestic story in which a giddy and foolish woman, feeling
herself wronged by a condition of things which is the conse-
quence of her own heedless conduct, forsakes her husband
and plunges into splendid misery, from which she comes out
at last heart-broken and penitent. The tale has often been
told and the drama acted in real life in every country in the
world. But the treatment of the theme in this case is pecu-
liarly Frenchy. No honest woman of any other race could
conduct herself as this one does before she sins and then find,
in the trouble of which she is the author, provocation to
crime. In no other city but Paris could there be inducement
to such reckless social life; and nobody but a Frenchman
would ever have filled a melodrama with such dissolute
characters and rakish sentiments. Our sympathy with the
deep suffering of Frou-Frou' is tinged with a sense of the
absurdity of her indignation against her husband and her sis-
ter; and our ideas of propriety are shocked at the easy indif-
ference with which she regards the intrigues of her own
father and permits the advances of the man who afterwards
betrays her. But the drama has a moral, and it is an obvious
one and a good one. It teaches plainly that the way of the
transgressor is hard, and it contains a lesson full of suggestion
for all women, of every land, who hold their home duties in light
esteem beside their eagerness for furious enjoyment of society.
The evil things in the play can do no harm in the presence of
these stern truths and we can easily forgive them for that reason.
"The construction of the comedy is admirable. The text
is easy, natural, and full of sparkle. Sometimes it is pathetic
and forcible. It is never tedious or dull, or so divorced from
the action as to compel it to drag.
scenes move rapidly up to the climaxes, and these are at all
times effective, sometimes even affecting in their intensity.
In the hands of incompetent artists we can conceive that
'Frou-Frou' would be stupid; but if it is acted with earnest-
ness by skillful persons it is intensely interesting. We think
we may say that the author found some first-rate interpreters
last night. Miss Keene played Frou-Frou with grace and

After the first act the


54
THE LIFE OF LAURA KEENE.
delicacy at first, then with passionate earnestness, and in the
final scenes with splendid tragic power. If we pardon an
occasional indulgence in mannerisms which are peculiar to
this admirable actress, it will be fair to assert that the part
could not have been given in a better manner by any
artist with whom we are acquainted. Mr. Mordaunt deserves
equal praise for his personation of Sartorys, the husband of
Frou-Frou. The character rather requires repression than
demonstration. Sartorys is a quiet, amiable gentleman,
whose only fault is blindness to his wife's folly. Mr.
Mordaunt represented this person with delicacy and feeling,
exhibiting force where the occasion required it, but never
venturing into any excess or violating the artistic proprieties.
These two admirable personations alone should insure the
success of the performance at the Chestnut.
"Miss Howard appeared as Louise, and played the part in
a most satisfactory manner. Miss Jenny Anderson hardly
gave a just interpretation of the character of the Baronne de
Cambre. This creature is a bold, dashing, reckless, unscrup-
ulous woman of the world-without any conscience, without
feeling or sentiment, or womanly tenderness. Miss Anderson
made of her a sweet and interesting lady, who offended
innocently, and who could not have been deliberately wicked
if she had tried. The author intended her to be the foil of
Louise, who is completely a domestic woman. The entire
force of the contrast was destroyed by Miss Anderson's per-
formance of the character. Mr. Otis gave a clever personation
of the villain, Count Valrais; but he, too, erred in making
that individual rather a species of gentlemanly idiot than a
knowing libertine, who had intelligence, and energy and
wickedness enough to pursue his victim until he ruined her.
Mr. Otis has been so successful in his Dundreary character
that he seems disposed to play even this part in the same
fashion. But Valrais is as much unlike Dundreary as Hamlet
is unlike Richard the Third. One is an ass; the other is a
deliberate scoundrel. Mr. Wallis appeared as Frou-Frou's
father, and played as nicely as he dressed abominably. The
piece is placed upon the stage in a most elegant manner.
The dresses of the ladies are absolutely gorgeous, but ex-


THE LIFE OF LAURA KEENE,
55
quisitely tasteful. The scenery is very handsome, and the
appointments-the furniture, etc.-are of the best description.
'Frou-Frou' will be repeated to-night. We earnestly hope
to a full house."-Daily Evening Bulletin, March 16, 1870.
"PATRICE."
"Patrice, or the White Lady of Wicklow,' at the Chestnut,
began on Tuesday with a poor house, due probably to the
wretched condition of the streets. By the way, the Street
Commissioners are the great enemy of the theatres. Yesterday
evening not only the crossings, but the pavements, were in a
miserable condition, and that fact no doubt kept thousands of
persons from seeking amusement abroad. Would it not be
well, therefore, as all other means to keep the Street Commis-
sioners in order have failed, for the managers to enter suit for
damages? Patrice,' however, beginning poorly, ended the
week well. It would be strange if a really good Irish drama,
produced in such superb style, should not make an impression
upon the public. Miss Keene has placed this drama on the
stage with a beauty and magnificence of scenery which
eclipses all her other efforts; and in many respects it deserves
the outlay. The story begins with the banishment of the
patriot O'Connor from Ireland, and the sacrifice of his lady-
love Patrice, who promises to marry his rival, Tracy, but falls
dead. In the second act O'Connor returns and finds her tomb
broken open by resurrectionists, and, to preserve the body
of Patrice from insult, he carries it himself to a hut in the
mountains.
"Here Patrice, who has been in a trance, revives, and the
lovers are finally united. To baffle the enemies of O'Connor
they make their home in a Fairy Glen, a place haunted by
"The White Lady,' and there Patrice is mistaken for the
ghost by Tracy. In the third act O'Connor, who has been
recaptured, escapes from the British troops, and in the fourth
act the search is continued in the mountain, but is baffled by
the appearance of the real ghost, the White Lady, who is
seen by a spectral light floating high in the air, above the
peaks of hills. In the last act Gossom Blake, a traitor of
the clan of the O'Connor, undertakes to guide Tracy to the

56
THE LIFE OF LAURA KEENE.
highest point of the Wicklow Mountain, where the lovers are
concealed, but a terrible storm arises, and as the couple are
about to cross a chasm a thunderbolt strikes Blake into the
abyss, and Tracy falling, catches the branch of a tree and
hangs in mid-air. From this perilous position he is rescued
by O'Connor, and the play ends with the reconciliation of
Tracy with his enemy and the happiness of Patrice. This is
but the main outline of a plot which embraces an unusually
large number of characters. All the phases of Irish charac-
ter are presented-the gentleman, the peasant, the priest, the
traitor and the pretty girls.
"With the exception of Patrice, which is beautiful and
poetical, there is little new in the characters of the play.
The O'Connor, a fine, manly hero, we have met before, and
we may claim the same acquaintance with Dan Pepper, the
comic Irishman; Blake, the traitor; and Maggie, the deluder.
But the management of some thirty different characters is
excellent, and it is only in the fifth act that the dramatic
interest is interrupted. Here the dispensary scene has little
to do with the story, and though amusing in itself, might be
shortened with advantage. All the romantic portions of the
play centre in the mysterious Patrice and her gallant lover.
The comic parts are particularly good. Two of the best scenes
are a jig, in which the champion old lady dances down all her
rivals, and a drill of British troops, which is capitally bur-
lesqued by Mr. McNulty and his assistants and which was
received with roars of laughter.
"Patrice is admirably acted. Miss Laura Keene exquis-
itely portrays the heroine, who, during much of the play,
seems to hover on the borders of the supernatural, and to be
more of a vision than a reality. The O'Connor is powerfully
represented by Mr. Mordaunt, who never acted so well in his
life as he is doing this season. Miss Laurens plays the pretty
Maggie well, and sings 'The Green Bushes' charmingly,
with the exception of a final quaver, which she might as well
omit.
"Mr. Harry Hawk, a new member of the company, whose
Thomas in The Saucy Housemaid' was remarkably funny,
is almost as good as Danny. Taken altogether, 'Patrice' is



LAURA KEENE
As PORTIA in "The Merchant of Venice."

THE LIFE OF LAURA KEENE.
57
a strong, lively, interesting Irish drama, and one which will
add to the reputation of Colonel Fitzgerald, who turns out to
be its author. It is more elaborate, and the dialogue is
better, than most of his other plays. But that which makes
it especially remarkable is the number of dramatic and scenic
effects introduced, some of which, as we have said, excel any-
thing seen in Philadelphia this season. The scene at the
close of the second act, where the corpse of Patrice, seen by
firelight, slowly rises, and the dead woman returns to life in
the arms of her lover, is beautiful and startling. The rescue
of the O'Connor in the third act is picturesque and effective,
and the ghost scene, which ends the fourth act, is entirely
new and impressive. All the scenery with which Miss
Keene has produced this play, is unusually fine; more artistic,
in fact, than anything we have seen this season."-John D.
Stockton, in Philadelphia Sunday Dispatch, 1870.
CHAPTER VI.
LAURA KEENE AND JOSEPH JEFFERSON.
HE opening of Laura Keene's theatre, in September,
THE
of to
1857, was an important event to me. I had been
engaged for the leading comedy, and it was my first
appearance on the western side of the city. Miss Keene had
never seen me, either on or off the stage. It was looked
upon as a kind of presumption in those days for an American
actor to introduce himself into a Broadway theatre; the
domestic article seldom aspired to anything higher than the
Bowery; consequently I was regarded as something of an
interloper. I am afraid I rather gloried in this, for in my
youth I was confident and self-asserting; besides, there was a
strong feeling among my artistic countrymen that the
English managers had dealt unjustly with us, and I naturally
shared in this feeling. I have since come to the conclusion
that the managers do not open theatres for the purpose of
injuring any one. At all events, I was installed as the come-
dian at Laura Keene's theatre, and opened in Colman's comedy
of The Heir-at-Law.' One of the leading papers, in allud-

58
THE LIFE OF LAURA KEENE.
ing to my performance, mentioned the fact that a nervous,
fidgety young man, by the name of Jefferson, appeared as
Dr. Pangloss, into which character he infused a number of
curious interpolations, occasionally using the text prepared
by the author.'
"Laura Keene's judgment in selecting plays was singularly
bad; she invariably allowed herself to be too much influenced
by their literary merit or the delicacy of their treatment. If
these features were prominent in any of the plays she read,
her naturally refined taste would cling to them with such te-
nacity that no argument but the potent one of public neglect
could convince her that she had been misled in producing
them. I do not say that polished dialogue or delicately-drawn
characters are detrimental to a play; on the contrary, they
assist it; but if these qualities are not coupled with a sym-
pathetic story, containing human interest, and told in action
rather than words, they seldom reach beyond the footlights.
"As an actress and manager Laura Keene was both indus-
trious and talented. If she could have afforded it, no expense
would have been spared in the production of her plays; but
theatrical matters were at a low ebb during the early part of
her career, and the panic of 1857 was almost fatal to her. In
the midst of financial difficulties she displayed great taste and
judgment in making cheap articles look like expensive ones,
and both in her stage setting and costumes exhibited the most
skillful and effective economy. She was a high-mettled lady,
and could be alarmingly imperious to her subjects with but
little trouble.
"During the season of 1858-59 Miss Keene produced Tom
Taylor's play of "Our American Cousin," and as its success
was remarkable and some noteworthy occurrences took place
in connection with it, a record of its career will perhaps be
interesting.
"The play had been submitted by Mr. Taylor's agent to
another theatre, but the management failing to see anything
striking in it, an adverse judgment was passed and the comedy
rejected. It was next offered to Laura Keene, who also
thought but little of the play, which remained neglected upon
her desk for some time; but it so chanced that the business

THE LIFE OF LAURA KEENE.
59
manager of the theatre, Mr. John Lutz, in turning over the
leaves fancied that he detected something in the play of a
novel character. Here was a rough man, having no dramatic
experience, but gifted with keen practical sense, who discovered
at a glance an effective play, the merits of which had escaped
the vigilance of older and, one would have supposed, better
judges. He gave me the play to read.
"While it possessed but little literary merit, there was a
fresh, breezy atmosphere about the characters and the story
that attracted me very much. I saw, too, the chance of mak-
ing a strong character of the leading part; and so I was quite
selfish enough to recommend the play for production. The
reading took place in the green-room, at which the ladies and
gentlemen of the company were assembled, and many furtive
glances were cast at Mr. Couldock and myself as the strength
of Abel Murcott and Asa Trenchard were revealed. Poor
Sothern sat in the corner, looking quite disconsolate, fearing
that there was nothing in the play that would suit him; and
as the dismal lines of Dundreary were read he glanced over
at me with a forlorn expression, as much to say, 'I am cast
for that dreadful part,' little dreaming that the character of
the imbecile lord would turn out to be the stepping-stone of
his fortune. The success of the play proved the turning-point
in the career of three persons-Laura Keene, Sothern, and
myself. . . .
"Miss Keene was undoubtedly delighted at Sothern's rising
fame. I think she found that I was becoming too strong to
manage and naturally felt that his success in rivaling mine
would answer as a curb, and so enable her to drive me with
a tighter rein. I don't blame her for this; as an actor has a
right to protect himself against the tyranny of a manager, the
manager has an equal right to guard the discipline of the
theatre; and I have no doubt that I perhaps unconsciously
exhibited a confidence in my growing strength that made her
a little apprehensive lest I should try to manage her. In this
she did me an injustice, which, I am happy to say, in after
years the lady acknowledged.
"The first rupture came about in this way; the Duchess-
as she was familiarly called by the actors, on the sly-had

60
THE LIFE OF LAURA KEENE.
arranged some new business with Mr. Sothern, neglecting to
inform me of it. I got the regular cue for entering, and as I
came upon the stage I naturally, but unintentionally, inter-
rupted their preconceived arrangements. This threw matters
into a confusion which was quite apparent to the audience.
Miss Keene, not stopping to consider that I had been kept in
ignorance of the plan, and that the fault was hers and not
mine, turned suddenly on me, and speaking out so loudly and
plainly that most of the audience could hear her, said, 'Get
off the stage, sir, till you get your cue for entering.'
"I was thunderstruck. There was a dead silence for a
moment, and in the same tone and with the same manner
as she had spoken to me, I replied: "It has been given and
I will not retire.' We were both wrong. No actor has a
right to show up to the audience an accident or a fault com-
mitted on the stage, or intrude upon them one's personal mis-
understandings. As two wrongs cannot make a right, it was
clearly my duty to pass this by, so far as any public display
of my temper was concerned, and then demand an explanation
and an apology from her when the play was over. But who
can be wise, amazed, temperate and furious, loyal and neutral
in a moment?
"Besides, I felt that no explanation of hers could set me
right with the audience, and I was smarting under the injus-
tice of her making me appear responsible for her own fault.
When the curtain fell she was furious, and turning to me with
flashing eyes and an imperious air discharged me then and
there. I might leave now if I liked, and she would dismiss
the audience rather than submit to such a public insult. I
told her that if she considered my conduct an insult to her,
it was a confession that she had insulted me first, as my
words and manner were but a reflection of her own. This
sort of logic only made matters worse. So I informed her
that I could not take a discharge given in the heat of temper,
and would remain.
"The play proceeded, but she was singularly adroit, and by
her manner in turning her back on me through an entire
scene, and assuming an air of injured innocence, undoubtedly
made the audience believe that I was a cruel wretch to insult



THE LIFE OF LAURA KEENE.
61
her in so public a way. She had the advantage of me all
through, for when her temper was shown to me the play was
proceeding, and I dare say that in the bustle and confusion
of the scene very few of the audience could understand what
she had done; whereas, when I retaliated, there had been a
pause, and they got the full force of what I said. When an
actor shows his temper upon the stage, the audience feel in-
sulted that they should be called upon to sympathize with
his private quarrels. The actor is the loser, depend upon it.
"As Laura Keene's season drew to a close she and I had
buried our differences, and were comparatively good friends
again. So the lady was somewhat surprised to learn that I
was not going to remain with her during the following season,
and seemed to consider it unkind of me to withdraw from the
theatre after she had done so much to advance my position.
This is the somewhat unjust ground that managers often take
when an actor wants to go to another house. This is un-
reasonable, for there must come a time when it will be for
the interest of one or both parties that they should part, and
it would be just as wrong at one time as at another. If an
actor, when the season is concluded and his obligations are at
an end, sees an opportunity of increasing his salary or better-
ing his position by going to another establishment, it would
be an injustice to himself and those who depend upon him
not to do so. And by the same reasoning, if a manager can
secure better talent at a more reasonable price, he has a
perfect right to replace one actor by another, having fulfilled
his engagement. I have never known any manager to hesi-
tate in pursuing this course, unless he retained the actor as
an act of charity, and then, of course, the matter is a purely
personal one. Miss Keene, taking the unfair view I have
alluded to, was highly incensed at my proposed departure.
She considered that, having been the first to bring me to
New York, to her my loyalty was due, and in common
gratitude I was bound not to desert the theatre for the pur-
pose, as she supposed, of joining the opposition forces. I
replied that, so far as my ingratitude was concerned, I failed
to see in what way she had placed me under obligations;
that I presumed when she engaged me for her theatre it was

62
THE LIFE OF LAURA KEENE.
This kind of logic had
so I concluded by saying
'Star! Oh, dear! Bless
from a motive of professional interest, and I could scarcely
think it was from any affection for me, as we had never met
until the engagement was made.
anything but a conciliatory effect;
that it was my intention to star.
me! Indeed!' She did not say this, but she certainly
looked it, and as she turned her eyes heavenward there was
a slight elevation in the tip of her beautiful nose, that gave
me no encouragement of an offer from her under these cir-
cumstances. With a slight tinge of contempt she asked me
with what I intended to star. I answered that, with her
permission, I proposed to act Our American Cousin.'
'Which I decline to give. The play is my property, and
you shall not act it outside of this theatre.' And she swept
from the green-room with anything but the air of a comedienne.
The houses were still overflowing, and there was every pros-
pect that Our American Cousin' would run through the
season; but Miss Keene was tired of acting her part in the
comedy, and was determined to take the play off, and produce
"A Midsummer Night's Dream,' which had been in prepara-
tion for some time, and, in fact, was now in readiness.
"The management was anxious that Mr. Blake, who had
been idle for some four months, should be in the cast, so that
the play might contain the full strength of its expensive
company. The Duchess being in high dudgeon with me,
deputed her business manager, Mr. Lutz, to approach me on
the subject of the cast, proposing that I should resign the
part of Bottom to Mr. Blake, and at the same time request-
ing me to play Puck. This I positively refused to do. I
told him plainly that Miss Keene had taken an antagonistic
stand towards me, and that I felt that she would not appre-
ciate a favor even if I might feel disposed to grant it, and
would treat any concession that I should make as weakness.
He said that Miss Keene had begged him to urge the matter,
as she did not know how else to get Mr. Blake and myself
into the cast. Very well,' said I, 'if that is all, tell her I
will play Bottom, and let Mr. Blake play Puck.' And so we
parted. Of course I did not suppose that he would carry this
absurd message, as Mr. Blake would have turned the scale at

THE LIFE OF LAURA KEENE.
63
two hundred and fifty pounds, and looked about as much like
Puck as he resembled a fairy queen. But, not being familiar
with Shakespeare, and having no idea what the characters
were like, he gave her my suggestion word for word. This
put the fair lady in a high temper, and she did not speak to
me for a week. But I stood on my rights and was cast for
Bottom, Miss Keene essaying the part of Puck herself. After
three or four rehearsals I discovered I should fail in the part
of Bottom, and therefore deemed it wise to make 'discretion
the better part of valor,' and resign the character, which I
did upon the condition that I might take the play of Our
American Cousin' upon a starring tour, and give the manage-
ment one-half of the profits for the use of the play. I have
thought that perhaps it was scarcely in good taste that I
should touch upon the little misunderstandings between my-
self and Miss Keene; but as these quarrels were not of a
domestic or private nature, and as the public were made fully
aware of them at the time there is nothing sacred about them,
and they may serve as lessons in the future to younger and,
as yet, inexperienced actors. And then, too, Miss Keene and
I were friends in after years; we had long since shaken
hands and buried the hatchet-had talked and laughed over
our rows and reconciliations, and had continued to get as
much amusement out of the recollections as we had created
trouble out of the realities. When I returned from Australia
we met again. She had lost her theatre, and was traveling
and starring with only partial success. Her early popularity
had waned, but she battled against adversity with great
courage. At last her health gave way, and she retired, but
still with the clinging hope of returning to the stage again.
She never did. The last letter she wrote was penned upon
her death-bed and was addressed to me. She sent me an
ivory miniature of Madame Vestris, and a water-color draw-
ing, by Hardy, of Edmund Kean as Richard III. Her letter
was cheerful and full of hope; she spoke of feeling better,
and seemed confident that in a few months she would be in
harness again. She died the day after this was written."
-Joseph Jefferson's Autobiography.



64
THE LIFE OF LAURA KEENE.
"Years passed, and in the meantime Tom Taylor, thinking
because Silsby died that 'Our American Cousin' was a manu-
script in the basket of oblivion and 'Rejected Addresses,' and
having a copy of it, placed the same in his New York agent's
hands, who in due course sold it to Laura Keene for a thou-
and dollars. On the production of the piece for the first time,
Mrs. Silsby, the widow of the comedian, remembering the
name and the various characters, having been present at the
rehearsal in California, searched over the old papers of her
late husband, and then found the original manuscript, with
the following superscription in Josiah Silsby's own handwrit-
ing, 'Our American Cousin,' by Tom Taylor. From B. Web-
ster to J. Silsby. The subject coming to the ears of
Messrs. Wheatley and Clark, the managers of the Arch
Street Theatre, Philadelphia, they bought the original manu-
script from Mrs. Silsby, and commenced rendering the play,
when a lawsuit was instituted between themselves and Miss
Laura Keene, in which some interesting evidence was elicited,
but none that sustained the Philadelphia managers in their
case against the shrewd and wily Laura. The piece from its
first night at Laura Keene's to the time of its withdrawal,
was wonderfully attractive, and though played in every city
of the Union since, has not been successful as a 'run,' save
in such cities as a short distance made it convenient for the
imitators to visit, watch and study the original performers.
For instance, from Boston, E. L. Davenport and Chanfrau, J.
A. Smith and Warren, and from Philadelphia, Wheatley and
Clark, visited Laura Keene's in New York, and repeatedly
studiously witnessed every movement, every 'gag' or stage
tact, and the entire affair was secretly taken down in short-
hand by hired stenographers for these gentlemen. Hence, in
only these cities has the piece been well rendered, and
though the public have seen it already here, many have yet
to see it more complete with its three original characters,
and its chief one, Lord Dundreary. So much for the history
of 'Our American Cousin.""-Pemberton's Memoirs of Sothern,
p. 168.


THE LIFE OF LAURA KEENE.
65
"L
CHAPTER VII.
LAURA KEENE AND KATE REIGNOLDS.
AURA Keene was an exponent of the elegant 'modern
comedy,' in which her delicate taste and feminine charm
controlled the imagination; it was not photography, nor
labored art, but a water-color sketch, full of light and grace.
A pity it is that, together with the high comedy of a former
generation, it seems completely to have passed away, for such
performances are the ideal amusement of a gay hour for men
and women of the world, who do not delight to find them-
selves and their doings reproduced on the stage, nor to be
betrayed into vehement and unpleasant emotion.
"As we have seen in other cases, however, managers who
succeed must sometimes set aside their own preference, and,
if themselves actors, their own special gifts, and follow where
the public leads. So Laura Keene was driven in dark days
to a variety show, the first of its kind, perhaps; and in a
play called Variety' she, in her own person and in
'citizen's' dress, appeared in her own situation as a perplexed
manager, puzzled what to do to regain the public favor.
Fairy help produced Samples' for approval, and these speci-
mens were the piece. There were songs in character, a
burlesque of 'Lady Macbeth,' tableaux, dances, and finally a
basket-horse and a miniature circus. One of the loveliest
pictures I ever saw on any stage was the Rose, in which,
through a large cloud aperture, appeared the great Jacque-
minot, each petal a little pink clad child, fold within fold,
down to a sweet cherub face, which was the heart of the
living flower. But there is no greater game of chance than
theatrical venture, and this was Miss Keene's experience.
Expensively-mounted pieces met, financially, with meagre
results, the truth being that theatre-going people were fewer
then than now, and a play that now runs six months would last
then but six weeks, even this being an uncommon success.
So Laura Keene, like every other wearer of a crown, found



5
66
THE LIFE OF LAURA KEENE.
heart ached with care.
The leaders of society,
it no easy task to smile while the
We see it in every condition of life.
with all the alleviations that money can give, have all a
special strain that responsibility of any nature must of
necessity bring. Only the very few, well-placed, unambitious,
mercifully-sheltered lives, are free from it; and the cruel
tension to keep up to concert pitch, together with the intense
pressure in time of doubt and failure in catering for the
public must be felt to be known.
"It seems as if I rather anticipated my share in those
early days with Laura Keene. All women, I suppose, in
girlhood adore some other woman. I adored her. I found
an excuse for every fault. I waited her bidding; ran at her
call; and meekly accepted the scoldings I got for my pains,
and these were not a few, since she took advantage of my
devotion, and when anything in others deserved a rebuke,
she invariably administered that rebuke to me-like the tutor
who punished the fag when the prince was naughty. It is a
fact-she was so in the habit of calling me to account for others
to take warning, that on one occasion when her complaint
was a smell of tobacco, tobacco from a pipe" (Laura Keene
addressing men in general), from the pure force of habit
turned in my direction and riveted her eyes upon me with
such severity that there was a universal smile at my expense.
"A stranger would undoubtedly have credited me with the
capital offence of smoking that pipe. On another occasion
my fascinating tyrant saw she had tried even my spaniel
affection too far, and sending for me to her own room, where
I went with red, swollen eyes her greeting was as follows:
'What are you crying for, you little fool? I didn't mean you,
but Mr. Harold,' but, as this cold comfort was dispensed with
a downright shake, it somehow did not have the effect of
healing my wounded feelings. So I turned my back upon
her-yes, I did, with a very large lump in my throat and
tears streaming, but I did turn my back upon her, and spent
a wretched afternoon, in consequence. 'Suspense
Suspense is the con-
dition of the spider, but most injurious to man.' It surely is
to woman, as I can testify. Oh, how long the hours seemed!
She would surely send for me, as she often did, to help find a


THE LIFE OF LAURA KEENE.
67
pocket-handkerchief or search for a lost ring! But no mes-
senger came! I grew, as I flattered myself, quite calm, indif-
ferent, even dignified under the fancied slight, until in our
first scene of the 'Rivals' that night, she subjugated me com-
pletely with her penitence. For, when I went on as 'Julia,'
the reception of Lydia Languish' was so felicitous, her kisses
so loving, her introduced line of admiration so enthusiastic, that
as she led me down to the footlights there was a round of
applause given, and the next day a lady who had been in the
audience, remarked: 'How fond Miss Keene is of you!' Well,
I never said then what brought this special fondness about.
6
"Years afterwards, when Miss Keene and I met on equal
ground, we had many happy hours together, and in one of
them a good laugh over my scapegoat days. But when I
said, perhaps rather too feelingly, 'Oh, you did treat me
shamefully,' the little lady instantly recovered her ancient
attitude as she earnestly rejoined: Your character needed
it; you would not be what you are but for my early disci-
pline. It was all good for you.' Perhaps it was! At any
rate, my admiration for her never waned, and she is one of
my pleasant memories of to-day. The resources of a woman's
mind, concentrated upon a crisis, certainly invest her for the
moment with extraordinary executive ability.
"One night, when Much Ado About Nothing' was to be
given, it was found almost at the last moment that the cos-
tumes were not ready. All the women not in the cast were
instantly pressed into service. Under Laura Keene's direc
tion, the unfinished garments were sewn upon the wearers
The time running short, the distracted manager, who had her
own hands full, and was still to dress for Beatrice,' called
the lords and attendants to stand before her, and sending to
the paint room for a pot and brush, finished the borders of
their 'jackets and trunks' in black paint! Now, keep
apart! Don't sit down! Don't come near the ladies!' with
her spasmodic, quick speech, and she was off to array herself
in a twinkling, for the dainty lady of Messina!

6

"Like many another English woman, Laura Keene was
seen at her best in her own home, where she was a charming
hostess, without a touch of affectation. Bubbling with

68
THE LIFE OF LAURA KEENE.
delightful conversation, she yet had a rare and attractive
reserve, which stimulated the fancy, and was never broken
with her most intimate friends. A woman's life, if not led in
sheltered places, must lose some of its finer fibres, or they
must protect themselves by deep, shrinking sensitiveness and
a veil of reticence. She had a frail physical constitution,
which made the hard life of an actress a specially severe one
to her, and her delicate temperament brought its usual penalty
of a great capability for suffering. She had much pain, her
life had many struggles and failures, and though she passed
away in her prime, those who loved her and mourned her felt
their sorrow alleviated in knowing she was at rest. The public
missed a little, but mourned not, as is its wont, a name and
presence that were potent spells for many years; and the mimic
triumphs of the comedienne passed into speedy oblivion. She
died in the comfortable faith of the Roman Catholic Church.
"One livid gleam fell on the name of Laura Keene to pre-
serve it from absolute forgetfulness, out of the stormiest
moment of American history. She stood upon the stage,
beneath the box where the tragedy of Abraham Lincoln's
assassination was enacted, that Good Friday night of 1865,
and her robes were brushed by John Wilkes Booth as he
rushed away for his dismal flight. She never made, or could
bear to hear, the slightest allusion to that moment; and the
horror and shock of it shortened her days."-Kate Reignolds'
Yesterdays with Actors.
"The re-opening of this popular theatre, after an unusually
prolonged recess, was marked last evening by the presence of
a most fashionable and numerous audience. Every seat in
the house was occupied; and during the course of the per-
formance no opportunity was lost by the audience to evince
their appreciation of the zealous efforts of the accomplished
directress to cater for the public amusement. The honors
showered upon Miss Keene last evening were only a well-
deserved and substantial testimony to her merits. During
the summer vacation the painters and upholsterers have plied
their vocation so industriously that the house now presents
an entirely fresh and pleasing aspect. The scenery to a great

THE LIFE OF LAURA KEENE.
69
extent is new, and the old act drop curtain has been replaced
by an elegant affair, fresh from the brush of Mr. Minard
Lewis, a native artist, whose work bespeaks him a man of
taste and skill in his profession. But the mechanical and
scenic improvements are only a secondary consideration when
viewed beside the other desirable changes Miss Laura Keene
has introduced, particularly in the personnel of her company,
which may now compare with the best in the city, not
excepting even Wallack's. We believe it is Miss Keene's
intention to discard, at least for the present, the sensation
drama, and to produce the good old standard comedies,
which, after all, possess the most permanent elements of
success and popularity. With the material furnished by the
company she has gathered about her, she may safely venture
the experiment, and rest confident that her efforts will be
properly appreciated by the public. The season
judiciously opened with Boucicault's sterling comedy, 'Old
Heads and Young Hearts;' Blake as Jesse Rural, Miss Keene
as Lady Alice, and Charles Wheatleigh as Tom Coke. The
piece was produced most carefully and effectively. It is not
necessary to state that the three characters specified were
splendidly enacted, as the talent of the artists named has
long been acknowledged and admired. The other principal
parts were as admirably sustained by Miss Clifton, Mrs.
Hind, Stuart Robson (a new actor here), Stoddart, and C.
Walcot, Jr. Our space will not permit of a more extended
notice."-New York Herald, September 23, 1862.
was
"Laura Keene has made one of those happy hits, in the
character of Peg Woffington, which, as in the case of
Sothern's Lord Dundreary, promises her an undisputed mon-
opoly of the part. All the town is running to see the piece."
-New York Herald, October 16, 1862.
LAURA KEENE'S THEATRE.

"Our American Cousin' was reproduced at this establish-
ment last night. The character of Asa Trenchard was taken
by John T. Raymond, who rendered the part very acceptably
to the audience. His acting was excellent, and with a little
more experience his Asa Trenchard will be all that could be

70
THE LIFE OF LAURA KEENE.
desired. The Lord Dundreary of Mr. Levick was a good per-
formance. Mrs. J. H. Allen took the character of Miss
Trenchard, formerly represented by Laura Keene, with marked
ability. The entire cast was excellent, and the present repre-
sentation of 'Our American Cousin' is fully equal to the cast of
its original production."-New York Herald, January 12, 1862.
"Of all the theatres, both for manager and plays, commend
me to Laura Keene's. The fair Laura, herself an unexcelled
actress, and excellent judge of artists and plays, holds ready a
friendly hand both for home and foreign productions, provided
they be good. This is the theatre for all our citizens, and this is
the reason for the great success of the 'American Cousin,' a piece
made more popular at Miss Keene's theatre than any theatri-
cal production ever yet presented at any theatre in the world.
Our citizens go there as naturally to see the American
Cousin' as they do to the Park to see the City Hall."-New
York Sun, January 12, 1862.
"Two new pieces were presented last night with all that
fulness of stage details which marks this establishment. The
first is a dramatization adapted to the season, founded on the
fruitful Christmas story-teller Dickens. It has the moral in
it which always lends value to the stage. The central char-
acter is Skinner, the miser, whose dream works a change of
heart. The vision is put in, of course, on the stage, and
accordingly we had matter which kept the house in a good
humor. The piece had a strong cast; Miss Keene herself
doing the lame boy, and Messrs. Stoddart, Peters, Marlowe,
Burnett, Miss Sara Stevens, Mrs. Lotty Hough, and others,
contributed to it."-New York Herald, December 27, 1861.


E. A. SOTHERN.
"While in New York, and before he made any hit, he had
a dispute with Laura Keene, concerning some trivial affair at
rehearsal, and she became highly excited. After a brief
quarrel on the stage, she retired to her dressing-room, and still
angry, sent for him and commenced to rate him soundly.
Sothern said to her: Stop! Laura! Stop, just a minute!'
and advancing to the light, deliberately turned it down.
THE LIFE OF LAURA KEENE.
71
"What do you mean by that, sir?' said she, in a rage.
'Oh, nothing,' rejoined Mr. Sothern, 'but you have always
been so lovely to me that I can't bear to look upon your beau-
tiful face when you are in a passion. Now go on!'
"She never said another word of unkindness to him during
her lifetime.
"I was trying to recall,' writes Mrs. Vincent, in a post-
script, where I heard this anecdote, and I now remember
that it was told to me by Miss Laura Keene herself, and she
added that he was 'the most impudent, audacious, good-for-
nothing, good-hearted fellow' she ever met. That was her
estimate of him when he was young, and the friendship
formed during those early days continued until her death."
"LAURA KEENE.
"We give this week a portrait of Miss Laura Keene. This
fine artist is so well known here that to recapitulate her
career would be but to tell, not a twice-told tale,' but one
familiar to every member of the profession and lover of
dramatic art. Among the mass of tributes and criticisms
which have been bestowed upon her, we find none better or
truer, none more fit to accompany the 'counterfeit present-
ment' of her familiar features than the following: No braver,
steadier, abler, purer soldier ever battled in the ranks of art
than is Laura Keene; no captain ever planned better, or
labored more perseveringly, or with more success. She is not
one of yesterday. She has illustrated, since 1853, a long line
of art for which the whole profession of actors is her debtor,
and for which work the public can never repay her. In good
fortune she has borne prosperity without arrogance or self-
conceit; in adverse fortune she has buckled on her armor and
often plucked triumph out of the jaws of defeat. Her genius
has been a perfect nursery of art. No actor or actress in
America will deny this fact; and those under her immediate
management will gratefully acknowledge how much they
owed to her ladylike courtesy, her patience, her intellect, her
self-sacrifice, her appreciation, her fostering care and ever
active sympathy in the really noble profession of the legiti-
mate stage. The bitter, inflexible energy and perseverance


72
THE LIFE OF LAURA KEENE.
of Laura Keene have few equals in any walk of life. Her
energy rises with emergencies, and her industry triumphs
over circumstances that have overwhelmed able and resolute
men, placed under like difficulties. As long as our stage
lives she will be remembered as among its steadiest, clearest,
purest lights; a fixed star, an unselfish enthusiast, a valiant
and true woman, who has fought a noble fight, without falter-
ing, for the honorable legitimate drama, such as Shakespeare
created it.
"Her long, able, artist life has not been without its per-
sonal rewards. Such devotion has not escaped the hearts and
minds of all liberal men and women, among whom she has
ministered in the temple of art. We have seen it here in the
capital, in the unaffected sympathy which has been extended
to her by such ladies as Mrs. General Sherman, and such men
as President Grant and General Sherman. And we are now
at perfect liberty to state-which we were not before, while
her engagement lasted, without danger of misconception of
her motives-that she declined a public testimonial, headed
by the general of our armies, purely from a feeling of self-
sacrificing sensibility. And wherever she goes over the land,
the liberal of all professions and the elite of all womanhood
bear testimony to her similar offerings. Criticism is honored
in making a record like this; for it feels itself sustained in
such grateful duty by the strong support of public opinion.'
"The foregoing tribute to Miss Keene we judge to be from
the pen of Judge Barnett, of Washington, in which city this
lady has no rival in popularity among the higher classes of
its society.
During her present engagement Miss Keene has pre-
sented, and will probably present, but one play, 'Hunted
Down,' one of the very best of Boucicault's quieter dramas.
As matter of mere record we print here the plot of the piece,
adding that in the rôle of Mary Leigh, Miss Keene has cer-
tainly reached a degree of artistic finish and delicacy of
analysis not surpassed by any English-speaking actress in
America since Ellen Tree."-Judge Barnett, of Washington,
D. C., from "Scrap Book of C. W. Mann, Philadelphia."


THE LIFE OF LAURA KEENE.
73
"LAURA KEENE:
MY DEAR MADAM-Here is another drama-my last
for this season. It was written in five days, and the labor
has rather overtaxed me, as this makes the seventh I have
written within the space of twenty-eight weeks-one five-act
play, five three-act dramas, and a burlesque. This piece is
called 'The Colleen Bawn,' and is Irish to the backbone. It
is the first time I have taken a subject from my native coun-
try, and, quickly as the work has been executed, I am not the
less satisfied with it. 'Twill be found to be, I think, the best
constructed of any of my works.
works. Whatever demerits it may
have, it is my happiest effort in that particular. The public
must determine the rest.
DION BOUCICAULT."
CHAPTER VIII.
LETTER TO JOSEPH JEFFERSON-A REPLY-THE MACARTHY.
"JOSEPH JEFFERSON, ESQ. :
"DEAR SIR-The subject of this letter is my only
apology in writing to a man who is, personally, an entire
stranger to me. More than twenty years ago, or, at the death
of Laura Keene, nearly every newspaper in this country, with
perhaps the exception of the New York Tribune, had nothing
but laurals to strew on the grave of this dead woman. It
remained alone for the chivalrous (?) and magnanimous (?) pen
of William Winter to be an exception to the rule. In the
gentleness and mellowness of time, however, right-thinking
people began to predict that even Mr. Winter would learn to
repent the folly of his harsh and ungenerous criticism. While
recently reading the 'Life and Art of Joseph Jefferson,' I was
more than pained, nay, the Irish blood in my American veins
revolted, at finding in that work a literal reproduction of the
same criticism of the same woman after more than twenty

years.
66.6
"Why,' you may say, 'has he not written to the author
of the article, and not to me?' I will tell you. I desire that
you should first know that all of Miss Keene's friends are not
yet dead; and, secondly, the contempt which every right-
74
THE LIFE OF LAURA KEENE.

thinking man must have for an author, writer or journalist,
who is capable of such blunders after more than twenty years.
At the death of John Lutz, the husband of Miss Keene, that
lady, as you know, was not rich. She had an aged mother to
support, and two daughters to educate and care for. Had
Miss Keene done nothing else, but carefully minister to the
wants of her aged mother to the last, and educate her daugh-
ters in the convent at Georgetown, Washington, D. C., this fact
alone should have entitled her to the respect and admiration of
every honest man. I shall now tell you something which I
think you do not know: that William Winter, for having writ-
ten that article, was saved from being publicly horse-whipped by
one of Laura Keene's daughters, simply because she never met
him from the day of its publication to the hour of her death.
Mr. Winter lays great stress on the production of The Seven
Sisters,' 'which was considered rubbish,' but carefully forgets
to state that while Laura Keene produced this very 'rubbish,'
which ran 169 nights, that the same woman produced practi-
cally the entire galaxy of English classics at her theatres.
Nor was that all. That she was surrounded by a company
of players who certainly had brains, has long since passed
into history. The history of the men who were her actors
has long since been written on the pages of dramatic art.
"While the wardrobe of her women may not have been as
'massive or gushing' as that worn on the stage by the
gentler sex of to-day, yet, I have yet to learn of a single
woman of Laura Keene's company who was in 'high jinks'
with the Prince of Wales, or who depended on her popularity
for notoriety or the number of her alleged husbands. Mr.
Winter also refers to the fact that for a long time Miss Keene
was inconspicuous in theatrical life, but it was vaguely
known that she was roaming the country with a traveling
company.' During the publication of the Fine Arts,' Miss
Keene was practically out of the theatrical business. As to
'roaming the country,' what, my dear sir, is Mrs. John Drew
doing to-day? She recently, according to the public press,
was, while in a western city, obliged to borrow money from a
prize-fighter to 'get out of town.' 'Tis true, 'tis pity; and
pity 'tis 'tis true.' What is Fanny Janauscheck to-day, or

THE LIFE OF LAURA KEENE.
75
that child of genius, Modjeska? Nay, let me come nearer
home, and ask what is Joseph Jefferson, whose Rip' recently
set my
'water-works '* in motion, although I have seen it
during the past quarter of a century? What is the life-story
of any actor or actress but that of a 'roaming' player? Has
it not been such from the first? Even if some of them travel
in a palace-car at present, the fact nevertheless remains that
they are roaming.' It is simply unavoidable, owing to the
character or nature of their business.
"Actors, however, are not the only roamers. The ministers
of God, who are located here to-day and there to-morrow, are
equally such, and, as a matter of fact, so are nine-tenths of the
business population of this or any other country. During her
management of the Chestnut Street Theatre in this city, Miss
Keene not only commanded the respect of the citizens of your
native city, but it was generally conceded that her stock
company was as fine as that of any English-speaking theatre
in the world. According to Mr. Winter, Laura Keene made
mistakes. To err is the lot of all. No one who has been
endowed by nature with an understanding would knowingly,
willingly, or intentionally resort to professional errors; yet
William Winter, with all his experience as a professional
journalist, could not prevent himself from committing the
colossal blunder of maligning a dead woman. The truth is,
the biography of Laura Keene has not yet been written.
When it is, that lady will be considered as a daughter,
woman, wife, mother, scholar, actress, artist, and manager;
and not through the focus of William Winter.
Very respectfully yours,
Continental Hotel, Phila., December, '94."
JOHN CREAHAN.
'COCHRAN, Washington, D. C., January 28, '95.
"DEAR SIR: I can only reply to your letter in the words
you suggest: Why to me instead of to the author?' Let
me, however, add that Mr. Winter did not consult me in re-
*In sounding the chords of the human heart, the story of Rip is as
potent to-day as when I first saw it.-J. C.
76
THE LIFE OF LAURA KEENE.
gard to the matter, and for the having only glanced at the
book. I have never read the article you speak of.
66
'My relations with Mr. Winter are such that it would be
in bad taste for me to criticise his work, nor have I any right
to find fault with your censure of it.
"If you will refer to my Autobiography, you will find that
I have treated Miss Keene with every respect.
Very respectfully,
"JOHN CREAHAN ESQ."
Faithfully yours,
J. JEFFERSON.
"France, who most laudably pays honor to her distin-
guished children, should not have shared in the unjust war
made upon Rachel by certain authors and journalists under
the contemptible promptings of spite and ill-temper, by leav-
ing that luminous star unheeded to quench itself by inches in
languor and melancholy. Her merit was so supreme that we
can well pardon some slight defects in her character-defects
which were, perhaps, due to the malady which was secretly
preying upon her, and both as a woman and as one who was a
real honor to her country, she had the right to expect more
indulgence and higher regard from the proverbial equity and
courtesy of the French people. The thought that she was
disliked by her compatriots exacerbated the disease which
brought her to her grave. Poor Rachel! May the compas-
sion of an Italian artist reach you in your eternal abiding-
place."-Autobiography of Tommaso Salvini.

"TO THE EDITOR OF THE HERALD:
"In the criticism of my play, 'The Macarthy,' published
in this morning's paper, a great injustice has been done me.
It is there stated that my play is in fact Mr. Falconer's, the
names only being 'altered to avoid the copyright law,' etc.
Now, after I have put forth the work as my own, this is a
serious accusation, and if true would convict me of dishonesty
to the public, dishonesty to Mr. Falconer, and, more than all,
dishonesty to my principles, for instead of attempting to evade
the copyright law, it has ever been my effort to uphold it, and


LAURA KEENE
AS BELTHAZAR (Portia) in "The Merchant of Venice."

THE LIFE OF LAURA KEENE.
77
from it I demand protection for this very work-a work
which has cost me much labor and expense. But having
accused me of theft, the writer at least should have estab-
lished the identity of the property. The critic describes Mr.
Falconer's play correctly, I have no doubt, but the public, on
witnessing 'The Macarthy,' will look in vain for a blind old
harpist,' the 'coy maiden,' 'transported brother,' 'returned
exile,' 'treasonable documents,' betrothed sweetheart' and
the villain who is ' eventually shot dead' (a catastrophe which
has not yet taken place in my play to my knowledge). Mr.
Falconer's drama was suggested by one of Banim's novels,
"The Macarthy' by another, and the sensation scene (which
is their only point of resemblance) by a third. My treatment
of the latter, however, differs materially from Mr. Falconer's.
In explanation of this singular mistake, I can only conclude
that the critic being crowded out by the rush, accepted the
report that my play was, indeed, Mr. Falconer's. Had he
witnessed the performance he would have avoided placing
himself in so ludicrous a position.

"LAURA KEENE.
Laura Keene's Theatre, February 25, '62."
-From N. Y. Herald, Feb. 26, 62.
CHAPTER IX.

THE FINE ARTS.
IN 1872 Laura Keene and Emma Webb Nivert embarked
IN
in a new enterprise, the publication of The Fine Arts, an
art journal which cost Miss Keene a great deal of money,
if practically not a fortune. It was entirely against the
wishes of her family that Miss Keene entered into this unfor-
tunate, if not bold or daring, venture. But Laura Keene was
a woman whose will was law, and this was no exception to the
rule. "The Springler House was for sale at the time," said
Emma Taylor to the writer "I wanted my mother to buy it
and convert it into a theatre, but she had set her heart on
publishing The Fine Arts, and was almost financially
ruined in consequence."
78
THE LIFE OF LAURA KEENE.
As a publication The Fine Arts was on a par with every
thing which Miss Keene handled. As a literary production
it could command but few readers, owing to its high character
and erudition. It was printed on thick, white paper, and had
the most expensive artists that could be found, among whom
were Arthur Lumley and Henry Linton. Indeed, it was
more suggestive of the production of a millionaire than a
business enterprise. Had Miss Keene taken the advice of her
daughter, and purchased the Springler House she might have
died almost a millionaire.
"34 Bond Street, February 10, 1872.-My Dear John, I
want you to have the cards put in the book-stand of the
Continental. The young ladies and myself have devoted
ourselves to high artistic literature. .
And we hope,
with God's blessing, that our journal will be a means of
refinement. Will write fully next week; meantime, kind
regards from Emma and Clara.
LAURA KEENE."
"34 Bond Street, February 29, 1872.-My dear John, Miss
Keene being very ill, and unable to attend to business has
asked me to enclose
for advertisements in the
programme. Will you kindly attend to this, and let me
know when?
With many thanks for your kind-
ness; kind regards to your family; and hoping to see your
mother and yourself here at no late day.-Yours, in great haste,
E. TAYLOR."
"Our Artistic Literature.-Under the title of Fine Arts, a
new journal, wholly devoted to the culture of the æsthetic
tastes of our people, has entered the literary arena. We
have long felt the want of just such a vehicle for the convey-
ance of artistic ideas to the wealthier classes, upon whom
such a journal must naturally depend for support.
The pro-
jectors of Fine Arts have the right ideas about what their
journal should aim to teach, and the articles on various
subjects connected with art are pleasing and instructive.
They are written in an easy and popular manner, which will
meet the wants of the general public better than any
profound disquisitions. Among the articles, those entitled

THE LIFE OF LAURA KEENE.
79
The Origin and Divisions of Art' and ' Vicious Cartooning'
deserve special mention. The last, in particular, deals with
an important subject in a common-sense and dignified man-
ner, justly visiting with severe condemnation the vulgarity
and immorality which in many of our illustrated papers
take the place of satirical humor. Laura Keene and Emma
Webb Nivert have undertaken the editorial control of the
new journal; and under their direction we are certain it will
preserve its high character and achieve success. The present
number contains two large wood engravings and one beautiful
photographic illustration. The letter-press is printed in clear,
elegant type on thick, substantial paper. Altogether, Fine
Arts has been brought out in most creditable style, and
deserves the warm support of every-one interested in the
development of art among our people."-New York Herald.
"Fine Arts, a journal of the polite world, by Laura Keene
and Emma Webb Nivert, as a monthly magazine, is an exqui-
site specimen of fine typography and engraving, an authority,
indeed, on all questions of taste and manners-one or two of
Linton's wood engravings being gems—and the letter-press is
quite up to the standard the well-known names of its fair
conductors would suggest."-New York Tribune.
"Fine Arts is the name of a new monthly magazine, of
which the object is sufficiently indicated by its title. It is of
large quarto form, very handsomely gotten up in all typo-
graphical details. The first number has a wood-cut carefully
engraved by Mr. Linton, of Bartolozzi's 'Lodona,' an exceed-
ingly rare and precious print. Miss Laura Keene and Miss
Emma Webb Nivert are the editors, and it is to be hoped the
success of Fine Arts, with the first number of which such
generous pains have evidently been taken, may more than
equal their expectations."-The World.
"Miss Keene has become an editor of Fine Arts, a journal
of the polite world. Associated with Miss Keene in this
enterprise is Emma Webb Nivert. The first number of their
journal is out. It is handsomely printed, and its contents are
varied and entertaining, and invaluable to those who desire
culture and refinement."-New York Sun.

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"ENGLISH PAINTERS.
"Hogarth was a genius in humorous satire; Sir Joshua
was an intellectual painter of heads; Barry, a large-minded
man crippled by insufficient knowledge; Gainsborough, a
poetical thinker not sufficiently appreciated in his own day;
Romney's portraits have grace and tenderness; West's histori-
cal tableaux, a certain dull, equable, Quakerly placidity;
Morland's pigs are steeped in a golden cuypish atmosphere
that should only be breathed by angels; Fuseli's designs are
wild, weird and lurid; Stothard invested all he touched with
a divine calmness and peace; Opil was manly and vigorous;
Wilkie finished like Ostade, and was far deeper than the
coarse Dutchman he imitated; Blake was a spiritualist of
spiritualists; yet none of these men succeeded in founding a
school of painting. They were all timid, all more or less
imitators. Reynolds sighed after the grandeur of Michael
Angelo, that Titanic Florentine; Gainsborough aimed at the
somewhat sketchy grace and gallantry of Vandyke; Fuseli
wandered from Signorelli and 'Hell' Breughel and found no
place whereon to rest his foot; Wilkie only gave Ostade a
larger purpose; Stothard was Raphaelesque in his mannered
gentleness; Barry was always posing himself after the old
masters, and putting tie wigs on Greek statues. In none of
these early English painters do we find a grand or original
ideal fairly worked out.
"The age they lived in wanted portraits and imitations,
furniture portraits and imitations, of Claude and Teniers-
above all, it insisted on cabinet pictures-the artist was no
longer to decorate Cyclopean churches like St. Peter's, the
Cathedral at Seville, but boudoirs and country gentlemen's
dining-rooms. The genius of art, that in Cimabue's time
emerged from the leaden jar hauled out of the Dead Sea
of Oblivion by Giotta's sturdy hand, and rose till it touched
the sun with one hand and the moon with the other, plant-
ing one foot on the earth and the other on the morning star,
had now shrunk down again to within two inches of its old
prison-it had served Heaven, it was now to work at silver,



THE LIFE OF LAURA KEENE.
81
filagree and mosaic upon earth, a new phase of this Ariel's
servitude to man had arrived.
"Amongst our dead painters we can only see two really
European men; they are Hogarth and Turner. They alone
exhausted their special worlds; the one, the social life of his
own day, and the passions of human nature; the other, the
scenery of England, and all the more accessible parts of
Europe. As both these great workers and thinkers are dead,
they ought to be beyond the reach of our envy; let us, there-
fore, do them justice. When we want to know if a painter is
worthy of a European fame, we always try him by this drop
of test-acid: would his pictures please Moldavians, Icelanders,
persons unacquainted with our history, manners, and lan-
guage? Yes; Hogarth's and Turner's would. Show a Fin-
lander, capable of appreciating art, Turner's 'Old Temeraire
Towed to Her Last Moorings." Even if he could not see the
pathos of the old age of the war-ship, he would be lost in
admiration at the twilight effect, the keen young moon, the
pearly haze, the misty blue of the river-reaches, the gorgeous
last flush of the sunset. He might not care to know that
that grand picture was suggested to Turner by Stanfield, at a
Greenwich dinner; but he would take off his hat (if he had
such a possession), and say, 'I bow the head, for here is an
emanation of God's greatest gift to man-genius. This
painter was a teacher, only a little lower than the angels."-
Fine Arts, March, 1871.
ART TREASURES IN NEW YORK.
"Among other evidences of the prosperity and wealth of
New York, are the treasures of statuary which adorn the
homes of the magnificent city. A recent visit to the elegant
mansion of Mrs. Loring Andrews, of Fifth Avenue, especially
delighted me. In her spacious drawing-rooms are several ex-
quisite works of eminent sculptors.
"The Flight from Pompeii,' by Benzoni, possesses rare
excellence and patriotic interest. There are three figures in
the group-the husband, wife and child. They are repre-
sented as rushing with frantic haste over the lava-strewed
streets, where caskets of jewels are thrown heedlessly beneath

6
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their feet. The husband shields his wife and infant with his
mantle, or toga, clasping her delicate waist with his strong
arm. The woman, with true mother's instinct, seems to think
only of her infant, which she holds in her arms, protecting
its eyes with one of her small hands from the glare of the
volcano. The attitude of this group is eloquent of the anguish
of the fearful peril, and of the love which defies even death.
'Rizpah,' by Moshier, is admirable. The subject is taken
from Bible history, and represents Rizpah, daughter of Aiak,
seated on a rock, with a torch in one hand and a staff in the
other. She is supposed to be watching over the dead bodies
of her children, slain by the Gibeonites, and left unburied.
With the torch by night she frightens away the wild beasts,
and with the staff she drives off the birds by day.
"And suffered neither the birds of the air to rest on them
by day, nor the beasts of the field by night.'
"The figure is full of strength and comeliness. The story
of the mother's agony is manifested in the fixed and rigid
lines of the face, and in the firm resolve which her attitude
indicates, to guard them even in death from sacrilegious
hands.
"Tennyson's Elaine,' by Shakespeare Wood (an English
artist), is singularly beautiful; the form is slight and graceful,
the head of exquisite shape, the hands rest upon the shield of
Sir Launcelot, clinging as it were lovingly to it ere he claims
it from her.
"Ruth,' by Randolph Rogers, is one of the loveliest crea-
tions of this famous sculptor. She has just gathered up the
wheat sheaves, and is glancing up appealingly, as though for
permission to take them away.
"Nydia, the Blind Girl of Pompeii,' is another charming
work, by Rogers. The figure is crouching down as though to
escape the storm of fire. One hand is held to her ear, to
gather in the full extent of the approaching destruction.
The other holds a staff with which she guides her footsteps.
The large, wide-open, sightless eyes are touchingly suggestive
of her perfect helplessness, and seem to appeal for aid and
pity. Wealth which thus adorns the home, is in truth a
blessing, conferring happiness not only upon the possessor of

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83
these treasures, but upon those who enjoy the privilege of
seeing them."-Fine Arts, March, '72.
"SCULPTURE.
"It is quite impossible to bestow too great a compliment
upon the beautiful and sublime art of Sculpture, which more
than almost anything else, explains ancient history and
unfolds ancient manners. It is marvelous to reflect how per-
fectly the most tragic events have been chiselled in marble so
that time itself has been conquered by the hand of Art.
For instance, the Grecian sculptors represented the tortures of
Prometheus with such terrific exactness that the spectator,
who thrills with horror at the description of Eschylus, feels
his mind relieved by doubting the authenticity of the story,
or by yielding his assent to the other account, that Prome-
theus was only a servant high in the confidence of Osiris, an
Egyptian monarch, and was only punished for communicating
the Arts of Egypt to the Greeks, and that the officer who
guarded him was slain by Hercules and the prisoner set free.
"The world can never pay the debt of gratitude it owes
the Grecians for the great excellence to which they carried
the art of Sculpture, nor can it ever evince too much respect
for the uses to which they applied it. It was with them an
honorable and lasting tribute to departed worth, and a power-
ful stimulus to laudable emulation. The poet and the orator
shared its honors with the hero and the patriot, and it is a
high eulogium on the republican spirit of the Athenians that
their justice and gratitude impelled them to erect a statue to
Pisistratus for having collected and published the works of
Homer.
"An eminent scholar of the last century has truly said
that the further the sculptor shall be enabled to search in the
storehorse of ancient learning, the higher dignity will be
attributable to his matchless art. He will find the talents of
Phidias to have been so remarkable that they form an era in
the history of sculpture. The genius of this Athenian,
matured under the reign of Pericles, enabled him to convert
the marble brought by the Persians as a trophy of their
victory into a memorial of their defeat. The artist who
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transmitted to posterity the figures of those intrepid patriots
that dared to oppose the tyranny of Hipparchus rendered
sculpture the means of exciting a patriotic ardor in the minds
of an enslaved people, and of perpetuating the memory of
those who perished in the defence of public liberty.
"He was adored by the Athenians, and the name of
Praxiteles will exist as long as the memory of those immortal
patriots, Harmodius and Aristogeton, shall survive. As the
approach to the heart is quicker by the eye than by the ear,
what effect must these statues have had upon contemporary
beholders, when, as Lowth informs us, the song of Harmodius
would have gone further to put an end to the tyranny of the
Cæsars than all the philippics of Demosthenes! But the
Romans never possessed any of the Grecian genius for sculp-
ture, though they had taste, or rapacity, enough to import the
best statues from Greece after they had conquered it; and
they often resorted to the culpable meanness of erasing the
Grecian inscriptions and inserting false titles of their own
countrymen. It is not, therefore, to be wondered at that the
statue of Alexander, after the conquest of Macedon, should
adorn the portico of Metellus, or that Cæsar sighed at the
sculptural form of Ammon's son.' But can we ever sufficiently
despise the fraud of the great Constantine, who caused his
own name to be put on the statue of Apollo? Indeed, Phæ-
drus informs us that, at Rome, those who had pieces of sculp-
ture to sell erased the name of an inferior artist and sub-
stituted that of the great master, Praxiteles. Is it any
comfort for us to know that there were as great impostures
practiced about art hundreds of years before the Christian
era as there are at the present time? But the Egyptians
applied their genius to the art of sculpture long before the
Grecians took it up, and Lucian, an Assyrian and a sculptor,
speaks of them as distinguished by their meritorious efforts in
its infancy. The Egyptians, however, were never able to
carry the art beyond its infantile state, for, although in their
statues the features were clearly chiseled, the eyes distinctly
carved, and the outward semblance of the man was there,
yet there was no glow of the inward spirit; the hand of
Greece first imparted to stone the token of some higher inner

THE LIFE OF LAURA KEENE.
85
sentiment, until eyes and mouth and limb and posture became
eloquent of all the passions of the human soul. It was Greece
that first made living men in stone. But still she had to con-
fess that to Egypt was she indebted for her first start in this
sublime art. Long before statues appeared, the trunk of a
tree was worshipped by the Thespians as their Juno, and
stones of a cubic form were used as symbols of the divinity.
From this rude conception thousands of years passed before
the art was brought to perfection; and the intelligent sculptor
must be delighted at the contrast of the pointed stake, which
was the first Minerva of the Athenians, with the perfect work
of those great masters, Phidias and Praxiteles."-Fine Arts,
March, 1872.
ST. PATRICK'S CATHEDRAL.
"We have, in another place, called attention to the rare
and beautiful architecture of the New Jewish Synagogue,
and we have space here to refer briefly to St. Patrick's
Cathedral as another evidence of the growing knowledge and
taste of our people in this splendid department of arts. Archi-
tecture, more than almost anything else, indicates the degree
of a nation's intellectual progress. Indeed, it has been truly
said that, in tracing the history of architecture, we follow
the progress of the various parts of the world towards civili-
zation, or their relapse into barbarism.' From the ruined
and dismantled edifices of remote centuries we obtain our
most correct ideas of religion, recreations, manners and
ability of the people by whom they were erected.
6
"The proudest and only reliable history of Egypt is written
in earth and stone.' It is recorded of Lord Bolingbroke that
once, on calling for some historic volumes, he exclaimed,
'Bring me my liars.' But the records of brick and stone do
not lie. To those who are capable of deciphering their im-
mortal testimony, they are the best revealers of the religion
and civilization of all the buried centuries. The history of
Europe, even at so late a period as the twelfth, thirteenth,
and fourteenth centuries, would be painfully incomplete with-
out the steady lights which shine from the architectural
monuments and remains of those ages. They are monuments
of a genius and a faith which will challenge the admiration


86
THE LIFE OF LAURA KEENE.
of all lovers of art as long as the world shall stand. For it
must be said that there can be no taint of a sectarian spirit
in true art.
"In true architecture there is a majesty, simplicity,
harmony, and energy which seize and captivate the imagina-
tion, and swell the soul with a noble feeling that prostrates
the vanity and selfishness of man. The architecture of
St. Patrick's Cathedral is of the pointed Gothic style which
distinguished France especially in the thirteenth and four-
teenth centuries, and produced such noble structures as the
cathedrals of Rheims, Amiens, Chartres, Rouen, and Notre
Dame at Paris. The same style has some splendid specimens
in England and Germany of that period. But the decora-
tions of St. Patrick's Cathedral are altogether less massive
than the ancient style, and are, we suspect, claimed as
original designs of the architect Renwick, who has certainly
in this noble structure demonstrated his remarkable taste and
genius. It will be impossible to look upon this grand cathe-
dral when completed without reverting to those tremendous
centuries when the religion it represents was the only great
European power which arrayed itself against the brute
force that deluged all Europe with the ravages of public and
private war; a church reposing upon a power which claimed
to be greater than the world, and which stood unmoved amid
the shock of falling empires, impervious to all the chaos of
misrule and un-rule in which the nations lay weltering and
tumbling, and doubtfully feeling their way to a new civiliza-
tion that was to be; a church which sent its missionaries out
into the far north of Germany, Prussia, and Anglo-Saxon
Britain, sowing the seeds of civilization, and proclaiming
truces of God to the ferocious barbarism that threatened all
Europe with extinction; which took charge of those young
Italian republics, that otherwise must have been ground to
powder between the jostling kingdoms; and cherished in the
consecrated asylums of its abbeys and monasteries germs of
civilization which, if cast carelessly out upon the embattled
elements, would have been trodden under foot of contending
armies. We say that no impassioned lover of art and no in-
telligent and unprejudiced student of history, will be able to

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87
look upon the grand structure of St. Patrick's Cathedral
without feeling his bosom swell with all those prodigious
memories. Here it will stand, in the commercial emporium
of the New World, as a grand remembrancer of the mightiest
events of the Old.
"And there seems a remarkable propriety in calling this
proudest cathedral of the western hemisphere after the
name of St. Patrick, as it was from the country of this saint
that the first missionaries went forth to carry a knowledge
of Christianity over the whole of Western Europe. And
they paused not in their zeal until they had penetrated
Lombardy and Piedmont, and planted the standard of the
Cross upon the loftiest peak of the Apennines. Nor must
we forget that it was to Ireland Charlemagne looked for his
first teachers in the Italian schools at the revival of learning
and arts; nor that during the eighth and ninth centuries the
children of the nobility and gentry of England were sent to
Ireland to be educated. The proud edifice of St. Patrick's
Cathedral will revive these memories in the breast of many
a learned student of history and impassioned admirer of the
grand and beautiful style of architecture it represents.
"Nor will it be possible to overestimate the inspiring and
refining influence of such a structure upon the present gen-
eration. It is expected that this magnificent structure will
be completed in about three years. We shall hereafter
describe it more minutely."-Fine Arts, March, 1872.
THE DRAMA.
"The drama has always been an almost infallible indicator
of the refinement, manners, and character of the people. If a
nation left no other monument but its drama, that alone would
be sufficient to tell its story. If we go back to those immortal
centuries which gave birth to the most finished works of
poetry, eloquence, painting, sculpture, and architecture, we
shall find that the drama was carried to a correspondingly
high degree of perfection. The profession of an actor, in those
proudest ages of the human intellect, was one of exalted
honor, as well as of unbounded profit. It was truly one of
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except such as gave evidence of proper personal and mental
qualifications; and not even then until he had served a long
and laborious course of study and preparation. Cicero de-
clares that the actors practiced many years before they
appeared upon the public stage; and the Scholiast of Aristo-
phanes affirms that no actor could appear publicly before he
was thirty years of age-a fact which indicates the vast study
and learning that were held to be indispensable to the profes-
sion. In ancient Greece, especially, the actors (as we may
learn from Quintilian) were generally persons of the first rank
in letters and in family dignity, and they were usually orators
and poets. Sometimes even kings did not think it beneath
their royal honors to appear upon the stage, to entertain and
charm their subjects.
"It was to the Grecian actor Satyrus that Demosthenes was
indebted for the instruction which gave birth to the thunders of
his eloquence; and Cicero himself confesses that he owed no in-
considerable portion of his oratorical force to the Attic polish and
precepts of his bosom friend, Roscius, the immortal ornament
of the Roman stage. The great poet Eschylus was also a great
actor, author, orator, philosopher, statesman, warrior, theatrical
manager, and belonged to one of the noblest families of Greece.
He bore a conspicuous part in the memorable battle of Salamis
and wore to his grave wounds received on the plains of Mara-
thon. But the honor he won from the stage was deemed by
himself and his countrymen the crowning glory of his genius.
left a name that will
His life was pure, his
To the art he loved
He elevated the
"In that golden age the profession of an actor embraced a
combination of nearly all the polite arts. But, alas! the pro-
fession with us can lay claim to no such distinction.
"Charles Kean, like Eschylus, has
live forever in the annals of the stage.
manner perfect, his education complete.
he brought research, labor, enthusiasm.
drama to the highest possible pinnacle. During his life the
great truth necessary for dramatic perfection was inculcated.
An aspirant for the Thespian bays speedily learned from him
that before becoming an actor it was imperative one should be
a scholar and a gentleman. In the death of Charles Kean a
great teacher was lost to the English stage.

THE LIFE OF LAURA KEENE.
89
"With the elder Wallack and James Hackett passed away
the best exponents of the art that America possessed. The
dramatic artist who conscientiously followed the teachings of
those great masters was certain of success. Where now can
a student find a school in which to perfect himself for the
drama? We have magnificent temples, handsome costumes,
scenery sometimes correct, but the acting-alas! where is
that? The great effects on our stage are never produced by
grand delivery of sublime passages. Actors never seem suffi-
ciently inspired by the poet's words to be able to awaken
their audiences to that point of enthusiasm where actor, audi-
ence and author in harmony and sympathy rise to a very
ecstasy of impassioned feeling. No; in two-thirds of the
actors it is painfully apparent that they are mentally aware
of their disqualifications for the art-their want of proper
dramatic education, culture and refinement. Fortunately,
their stage directors are sometimes adroit, and by a timely
rush of soldiery, or citizens, or with some beautiful grouping
or admirable bit of stage management, they redeem the scene,
and secure the applause which the acting has failed to obtain.
We should not reproach a man with the fact that he was by
poverty or circumstance deprived of the early training needed
by every aspirant for dramatic honors, but it is our duty to
remind those who have obtained a footing upon our boards
without a proper education that the theatre is a public school
of virtue and refinement-that the actor is the minister of
manners, as the clergyman is the minister of morality. The
pulpit should be the friend of the stage, for the theatre is the
great intellectual and moral barometer of every generation."
-Laura Keene in Fine Arts, March, 1873.
EDWIN BOOTH.
"It was a feat of no mean daring in Edwin Booth to cast
himself for the parts of Brutus, Cassius and Marc Antony.
It was not a battle between the Gods and Titans, we admit.
His company were not his compeers. But he had himself to
contend against, and if Booth uplifted Booth in the one char-
acter, he ran the risk of dwarfing himself in the other. The
ability to play all parts constitutes the player. The versatility

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THE LIFE OF LAURA KEENE.
of the accomplished actor is not counted for much in these
'starring,' one-part days; but it is the only true test which
determines the ability to cast aside self, and to put on the
habits, the manners and the outer and inner life of another.
This is to be a player, and this was the task which Mr. Booth
undertook.
"Brutus, Cassius and Antony, both in history and as
drawn by Shakespeare, were broadly diverse. Brutus was
calm, self-poised, dignified, honest, tender, and unsuspicious.
Cassius was petulant, envious, crafty, and cynical; regarding
Brutus with so much of affection as his nature admitted, but
bound to use his friend, and in some degree despising him for
his gentle and facile disposition. Brutus was a mild stoic;
Cassius a rugged soldier. Antony was a man of geniality,
of luxurious life, easy and agreeable in his opinions, more in-
fluenced by association than by personal ambition; but, as
events showed when he was forced into action, a born diplo-
matist, wily, energetic and determined. All three were elo-
quent, and able to sway men. Booth's physique does not
unfit him for Brutus or Cassius; the Romans were not giants;
but the gay, dissolute and gamesome Antony is not included
in the personnel of Mr. Booth. The greater honor to him for
the power of a performance that makes us forget personal dis-
advantages.
"Mr. Booth's style and delivery, in most of his characters,
are sedate, temperate, even cold. His outbursts seem en-
forced. He sways his audience less by the violence of his
emotions than by the repression of his feelings. This modera
tion and natural repose harmonize with the character of
Brutus. When he played that part it seemed as though
nothing could be added nor taken away. His unassailable
composure when Cassius vents his spleen, his tender love for
Portia, his sorrow at her death, and the grief-laden meaning
he gives to the short phrase, 'Speak no more of her,' so indif-
ferent in word, so affecting in delivery, all went to make up a
masterpiece. His Cassius was not very different from that of
Mr. Barrett, except in the passion and earnestness he threw
into it. Mr. Barrett suggested impatience and disgust. Booth
made Cassius a stronger, more fiery, more manly personage.

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91
In Marc Antony he rose out of himself and carried the sym-
pathies of the great audience with him, even as Antony did
those of the Roman crowd. At his first entrance there is a
cringing sycophancy in his demeanor toward Cæsar which im-
presses the audience disagreeably. It is the slavish bearing
of a Syrian freedman of the empire, rather than the self-
respecting affection of a Roman, of a friend and equal, albeit
of inferior social standing. But the man is transmuted when
his time for action comes.
"The need of conciliating the conspirators; his affected
cordiality with them; his grief at the untimely death of his
mighty friend; his instantaneous determination to avenge the
murder; his rapid apprehension of the political consequences
impending from so tremendous an act; his temporizing self-
control; his burst when he was left alone; then the great
speech over the body, its art, its elocution, tact and subtle
management of the crowd, with the quicker and quicker de-
livery, till it swelled to a torrent of words; finally, the leap
from the tribune (a trick, but a clever trick), and his thunder-
ous denunciation of the traitors, were to us, we must confess,
a marvel and a surprise. The house was swept away in an
irresistible rush of enthusiastic sympathy, and there was no
room to doubt that we had seen and heard a great actor.
"Mr. Booth's artistic career, like the career of all illustrious
men, is worthy of some special study.
"He has achieved triumph in the face of obstacles natural
and incidental. Inheriting fewer advantages than hundreds
of young men in the profession, he has first learned to con-
quer himself, and has then conquered circumstances. It is
the fashion of many aspirants after fame and riches to leave
their work half done and trust to accident. With them the
easiest way is the best way. Mr. Booth has been unsparing
of toil, unremitting in thought and investigation.
'He is a model in that first acquirement of a sound artist
-perfect study. He knows his part, and plays it. He seeks
earnestly to master the dramatist's meaning; and if the astute
critic should perchance dissent from Mr. Booth's rendering, he
cannot question its reasonable and strong probability and its
perfect delivery. In all that pertains to the mise en scene

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Booth's theatre is a temple in which all things are fitting and
in order, and there is probably no theatre, not even in Europe,
unless supported by government subsidy, in which expendi-
ture is more profuse, detail more elaborate, or the general
result more near to completeness. All this is chiefly due to
Mr. Booth himself, and even when he has the assistance of
able coadjutors, he still deserves the honor that accrues to the
great monarch of a well-governed realm-he knows how to
choose his ministers.-Laura Keene in Fine Arts, April, 1872.
JOSEPH JEFFERSON.
I cannot refrain from expressing regret that I have not
Laura Keene's article on the art of Joseph Jefferson, which
was written by her and published in The Fine Arts. The
number containing the criticism in question has been lost, and
while I have searched the libraries of the country for it, it
has been in vain. What appreciation of art was shown
there! And with what pathos, devotion, tenderness and
affection did this sister artist refer to her no less distinguished
brother in art, who has now survived her by nearly a quarter
of a century, only to be beloved by his fellow-countrymen
and admirers of art more than ever! "Farewell, Joseph Jef-
ferson," said Miss Keene; "Washington Irving has deprived
the world of a Tony Lumpkins, of a Doctor Pangloss, with his
Latin and his learning." I cannot, however, trust to my memory
to quote more from an article which I read nearly a quarter of
a century ago, and which I did not think then would be
necessary to refer to later on. Laura Keene's public "farewell"
to Joseph Jefferson was practically her last, for while it was
written in the Spring of 1872, she died in the Fall of 1873.

A
CHAPTER X.
AS A LECTURER.
S a lecturer in the star course of lectures which were so
popular in this country under the management of T. B.
Pugh, Laura Keene was as popular as on the dramatic
stage. About the middle of December, 1872, Miss Keene de-
livered two lectures on the Fine Arts at the Academy of Music,
THE LIFE OF LAURA KEENE.
93
Philadelphia. She did not depend upon herself, great as she
was, but was supported by her daughter, Miss Clara Taylor,
as soprano, a fine young actor by the name of Pope, and Sig-
nor Morosini as pianist.
Among those present to hear Miss Keene deliver her open-
ing lecture on the "Fine Arts," at the Academy of Music,
was the lovely Agnes Robertson, who was then playing an
engagment at the Walnut Street Theatre, Philadelphia, with
her husband, Dion Boucicault, in "Arrah Na Pogue." Laura
Keene and Agnes Robertson-what memories of the halcyon
days of dramatic art do these names recall!-met at the supper
table in the dining-room of the Continental Hotel that night.
"Who was that young girl with the glorious voice who sang
at the Academy to-night?" said Mrs. Boucicault to Miss Keene.
"There she is," replied Miss Keene, turning her eyes towards
her daughter, Miss Taylor, who sat at the same table.
The next morning, about 11 o'clock, Miss Keene requested
me to call and see her. As I entered her room, she was rest-
ing on her bed, engaged in conversation with her manager.
Miss Taylor sat by the window in the same room, watching
the snow which was falling thick and fast. I sat down by
her side, and as the room was large, we could talk together
in a subdued tone without attracting or annoying the business
conversation of her mother. I congratulated Miss Taylor on
her artistic triumph and success of the previous night. This
was my first meeting with Miss Taylor for some time; her
face was sad to look at, and to me she appeared more angelic
than usual. The plain black costume she wore then, together
with her changed condition generally, suggested but little
that it could be the same girl or woman who was the vocal
idol of the audience at the Academy of Music the night be-
fore. "No heart that's honest but in it shares some woe."
"God alone knows," was her reply, "how I managed to
sing last night. I left my grandmother dead at home, and I
have not the courage to tell aunt of grandma's death." "Mr.
Booth, our lawyer," continued Miss Taylor, "is to meet us in
Jersey City, and will then break the news to my mother."
Here was a young girl who had courage enough to leave
the death-bed of her grandmother, and go to Philadelphia to

94
THE LIFE OF LAURA KEENE.
fulfill a professional engagement. Yet she had not the
courage to inform her mother of a death which had been
anticipated for months. How common are such pictures to
the life of an actor! Yet with what levity, lightness, and
frivolity do we pass judgment on the woman of the stage!
After the lectures on the "Fine Arts," Laura Keene and her
dramatic company, which included such fine actors as Frank
Mordaunt, Vining Bowers, and Harry Hawk, continued to
star until early in the summer of 1873, when, through failing
health, Miss Keene was obliged to return to her home in
New York, never to appear again on the mimic stage, where,
for probably a generation, she won a wreath of laurels
which should ever remain green while dramatic art shall exist.
During Miss Keene's illness, which fortunately was but of
comparatively brief duration, I very much doubt if any
woman was ever more carefully or more lovingly cared for
than Laura Keene was by her two daughters. Shortly after
her return home, I paid a brief visit to Miss Keene at her
home in Bond Street, and found her on what was practically
her death-bed. Miss Keene occupied the back parlor, which
was converted into a bed-room, in that fine old mansion of
hers, which was then located in one of the most fashionable
and aristocratic streets in New York, although Bond Street
presents a very different aspect now. Miss Keene's apart-
ment, where I found her, was more suggestive of a convent
than that of the home of an actress whose mimic power and
genius had electrified the English-speaking world for probably
a generation. A crucifix and prayer-book were on her bed,
while the practically white-robed girl who was present to
attend on her every want, seemed to be more like a "daughter
of heaven" than the young miss who had been so carefully
educated to appear on the lyric stage.
Miss Keene, even in her dying condition, or then, was still
more than fascinating to look at. Her beauty was no longer
there, but she was still, even in her physical ruin, a hand-
some woman. Her hair had turned darker, her face whiter,
but the large lustrous eyes and beautifully modulated voice
still remained impervious to the ravages of a disease which
was rapidly ending her earthly career. After what to me


PENNA-FIECTRE PHOTOTYPE
LAURA KEENE
AS PEG WOFFINGTON in "Masks and Faces."

THE LIFE OF LAURA KEENE.
95
was a very affectionate but sad greeting, in which Miss Keene
so tenderly referred to my mother and other old friends so
well known to both "when life was fresher and fairer," I
soon found the great actress to be like Richard-" herself
again." Neither of us lost much time on sentiment. For
obvious reasons on my part, I was most desirous to impress
on her mind the fact that she was having a very good time
of it; all by herself, and having for a nurse a young lady
who should have been on the stage long since.
For many years before this, which was the last time I
saw Miss Keene, both of us made it a rule to talk very
seriously of the future professional career of her daughters.
It had occurred to me more than once that they were in
imminent danger of professional neglect, and I did not hesi-
tate to remind the mother of this fact. No one seemed to be
more conscious of this than Miss Keene, and no one seemed
to be so anxious to place them before the public than she
was. Yet, it is a fact, that placed there they were not, not-
withstanding the fact that no one was more competent, if
indeed as much so, to introduce the daughters to the public as
the mother. Emma Taylor, the oldest daughter, was no
longer under the jurisdiction of her mother, as she was then
married, although she continued to travel with her mother as
a companion and adviser to the end. "Clara," continued
Miss Keene, "wants to enter grand opera, but I want her to
be a singer in light or comic opera."
"There are no parts in such a school familiar or congenial
to me," said Miss Taylor, who greatly detested the very
thought of her appearance in public in anything less than
that of a lyric singer.
"Create a part!" said her mother, in a voice which might
have then filled the largest building in this country.
Miss Keene continued to live in her Bond Street house
until she got well enough to move into the country, when,
with her two daughters, she took a house at Montclair, N. J.,
where she lived, provided with every luxury, were such
necessary, and the care, gratitude, affection, devotion and love
of her children until her death, which occurred on November
4, 1873. Miss Keene was buried in the Catholic Cemetery

96
THE LIFE OF LAURA KEENE.
at Montclair, but her body was subsequently removed to
her family lot in Greenwood. Her last words to her
daughter Emma were-" You go to sleep when I do."
During Miss Keene's illness I was in constant communica-
tion with her daughter, Miss Clara Taylor. Some of these
letters, or, at least, extracts from them, may be of interest.
They were, it is true, never intended to see the light of day;
less than eighteen months ago nothing was further from my
mind than the idea of writing this work. It is with great
delicacy that I place before the world letters which were
never intended to appear there. Having consulted older
heads than my own, however, on this subject, and being
assured that there is no breach of confidence in making these
letters public, Miss Keene's last days during her illness shall
be given as recorded by the pen of her daughter:
"34 Bond St., N. Y., July 14, 1873.
"DEAR JOHN: In reply to your letter, which I received
to-day, I must state that I am much annoyed by the para-
graphs in the papers. How they get hold of such reports I
cannot imagine. We have had several persons call here
to-day with faces long and grave for the occasion, and in
search of excitement, ready to learn that Miss Keene was
dying or dead. Every one received the information that Miss
Keene has not returned to the city, or that she has gone
with a friend to the country.
"She desires no one to know where she is, or she would be
overrun with people of all sorts. Aunt did return to New
York last Sunday in a very weak condition-emaciated and
ill. I certainly thought she was dying, but the doctor says
she has a wonderful constitution, and that with good nourish-
ment and rest he thinks she will get well, but it will take
weeks. Of course, we have not let her know how changed
we find her. She is better, but very weak. Do not let any
one know that you know where she is. She has run herself
down so completely that time alone can show whether this
illness will result fatally. Remember me to your aunt and
cousin. I wrote to the latter on my return home from
Philadelphia. Hoping that all are well.
"Truly,

C. S. TAYLOR."
THE LIFE OF LAURA KEENE.
97
"34 Bond Street, Aug. 3, 1873.
"DEAR JOHN: Your letter cannot be very satisfactorily
answered, for the reason that I know no more of Aunt's
health than when you were here. To all appearances she has
been getting a little better-if she has gained in strength it is
only a very little. Some days she is better; some not so
well. The warm weather, which weakens us all, is very try-
ing to her. It may be that she is better, and that it is the
weather which pulls her down.
"As to myself, this is the first summer I have spent in the
city since I was eleven or twelve years old. If I continue to
get thinner I shall, in two years' time, have attained to the
scragginess traditional to old maids. I have to thank you for
the pleasure which has been afforded me by the perusal of
Miss Donnelly's poems. She has more talent than I
anticipated.
"I have no doubt you had a pleasant afternoon with the
Misses Caroll, and your aunt and cousin. Please remember
me to all my Philadelphia acquaintances. Music is progress-
ing about the same. I have no high aspirations at present.
It would, I think, be well if your wishes regarding the opera
could be fulfilled. Who can see into the future? At present
everything depends on Aunt's health—all future and present
movements; as she is now, she must remain here, and I
beside her.
"The doctor will not commit himself. He told Mr.
Booth (Aunt's lawyer) that she could not get well, when he
first saw her. He now says, 'She is no worse;' she seems
much better. The fact is, she has a wonderful constitution,
and there is probability, and possibility, of her rallying
through this, and being well and strong; but I doubt if she
will ever again be fit for work. No one can tell! The doc-
tor himself cannot tell. Everything, after all, depends on

one's constitution.
66
Thanking you for your kind wishes.
"Truly,
"C. S. TAYLOR.
"P. S.-Mrs. Rawson, to whom I delivered your message,
is quite well."
7
98
THE LIFE OF LAURA KEENE.
"34 Bond St., N. Y., Sept. 18, '73.
"DEAR JOHN: Aunt is now in the country, pleasantly situated
and quite content. Her health is much the same, if any-
thing different, a little better. It would, however, be impos-
sible to say whether she will recover or sink, as the doctors
feared. Time alone can tell. The chances at present seem
favorable. She received extreme unction-but the papers
rarely get the right end of a story.
"My sister is quite well. With regards to Mrs. Duffy and
your cousin, and all enquiring friends; in haste.
"Truly,
"C. S. TAYLOR. "
"34 Bond St., N. Y., October 10, 1873.
"DEAR JOHN: Your letter was duly received. The air of
Montclair seems to have benefited Aunt. She has appeared
stronger than when at home. The ride her nurse gives her
on fine days seems to do good; although I have not seen her
look really well, or better, she seemed (though helplessly
weak) to have a little more vitality.
"I have not been sanguine either of her convalescence or
her demise; lately, however, she has seemed so much better
that I thought she might rally, live through the Winter, and
perhaps, regain a great portion of her strength.
"A strange physician called on her the other day,
with her lawyer, Mr. Booth, and he gave his opinion
that she could not live more than three or four weeks. The
doctors are sometimes deceived, but they all seem to agree
that she cannot live. Ever since Aunt returned home-over
three months-I have lived between hope and fear. She
nearly died the other day from abandoning morphine (at the
suggestion of her last doctor) which the other physicians had
recommended to produce sleep. I am glad to hear that your
mother, whom you say was ill, is now better. Emma is quite
well. With kind remembrance to all enquiring friends, your
aunt and cousin especially,


"Very truly,
"C. S. TAYLOR."
THE LIFE OF LAURA KEENE.
99
CHAPTER XI.
LAURA KEENE'S ART.
ATURE did much for Laura Keene to establish the claim
Ν 41
legitimately, had it ever been made, and there is no such
proof on record so far as Miss Keene was concerned, that
she was one of the most beautiful-looking women ever seen on
the stage. Indeed, the form of this charming woman was
such, that the chisel of a sculptor might have been envied for
such a production. She was slight, graceful and willowy in
her every movement, as if guided by the hand of the
supernatural. While there was never a suggestion of
corpulency, the absence of physical angularity was not less
marked. In stature she possessed the advantage of being
capable of essaying the male rôle, and suggesting the idea
that she might be a man-at least in size, or a daughter of
the gods divinely tall."
66
66
Many of the heroines of Shakespeare play fantastic frolics
with Your lord and master,' with the view of wooing and
winning him.
"It was as a woman, however, her true sphere after all,
that Laura Keene appeared so queen-like in form and bearing
as to suggest that a throne and not the stage might have been
her realm. Her eyes were large, soft, and full of expression;
while her wavy auburn hair, so rich and luxuriant, clung like
sprays from a vine or bush around her beautifully shaped
head. Her voice was so rich, soft, and mellow, that the mas-
ter of a great organ might have been baffled in the combina-
tion of his stops, to produce anything so melodious to the ear
as the tones which nature endowed this woman with.
"While nature, however, did so much for this woman, art
had not been neglected; for Laura Keene was probably the
most cultured woman on the stage during her generation.
She was a devourer of books, more than conversant with the
literature of her profession, and familiar with the poetry and

100
THE LIFE OF LAURA KEENE.
prose of her age. Her knowledge of the higher order of art,
such as sculpture and painting, was demonstrated to the world
in her editorial capacity on The Fine Arts. Add to all of this
the exquisite taste of the woman, and it can be readily under-
stood why'all New York went crazy over her' for so many
years of her professional life."
"Miss Keene," says Joseph Jefferson in his autobiography,
was esteemed a great beauty in her youth, and even after-
wards her rich and luxuriant auburn hair, clear complexion
and deep chestnut eyes, full of expression, were greatly
praised; but to me it was her style and carriage that com-
manded admiration, and it was this quality that won her
audience. She had, too, the rare power of varying her man-
ner, assuming the rustic walk of a milkmaid or the dignified
grace of a queen. In the drama of The Sea of Ice,' she
displayed this versatile quality to its fullest extent. In the
prologue she played the mother, in which her quiet and re-
fined bearing told of a sad life; in the next act, the daughter,
a girl who had been brought up by savages and who came
bounding upon the stage with the wild grace of a startled doe.
In the last act she is supposed to have been sent to Paris and
there educated. In this phase of the character she exhibited
the wonderful art of showing the fire of the wild Indian girl
through the culture of the French lady. I have never seen
this transparency more perfectly acted.
"Laura Keene was in private life high-tempered and impe-
rious, but she had a good heart and was very charitable. I
never heard her speak ill of any one but herself, and this she
would sometimes do with grim humor that was very enter-
taining."
In his "Life and Art of Joseph Jefferson," William Win-
ter says: "In person, Miss Keene was slender and graceful,
she had an aquiline face, delicate features, dark eyes, and a
musical voice. She was lovely to see in statuesque characters
and attitudes. She often dressed in white garments, and she
seemed to enjoy heightening as much as possible the effect of
the spiritual attribute in her personal appearance." The same
writer, in his "Shadows of the Stage," refers to this woman

THE LIFE OF LAURA KEENE.
101
Miss Kate Reignolds, at one time a member of Miss Keene's
company, a charming actress, and brilliant and gifted woman,
in her "Yesterdays with Actors," describes Miss Keene as
"the one with sunny auburn hair and magnificent eyes,
which she opened wide upon you, but never rolled and ogled
with; her sloping shoulders and slight form, dressed so ex-
quisitely with Frou-Frou airy trifles, only suggesting a thistle-
down transformed into a woman."
Cowley's description of a lady in his play of the "Belle's
Stratagem," is probably the best pen-picture of Laura Keene
that can be given:
"Now, sir, hear my definition of a fine lady: She is a
creature for whom Nature has done much, and education
more; she has taste, elegance, spirit, understanding. In her
manner she is free, in her morals nice. Her behavior is
undistinguishably polite to her husband and all mankind;
her sentiments are for their hours of retirement. In a word,
a fine lady is the life of conversation, the spirit of society, the
joy of the public! Pleasure follows wherever she appears,
and the kindest wishes attend her slumbers."
"Laura Keene's recreations"-said an exchange, during
the publication of The Fine Arts-" from professional duties
were rarely ever found in any other place than the seclusion
of a very large and well-selected library. Born and reared in
the midst of art (St. James' Gallery, London), her studies and
her tastes have always been completely devoted to its advance-
ment. She is, perhaps, one of the best informed women
living in all matters of taste and polite culture."
Laura Keene's dramatic art did not cover the entire range,
scope or field of the actor's life. This gift has yet to be
bestowed on a name not known to posterity or the world. It
has been said that she could no more play tragedy or bur-
lesque than Edwin Forrest could play Toodles, or Edwin
Booth Bob Acres. And yet it is known that she did both.
There are many reasons to suppose that in her earlier career
her appearance in poetic burlesque-for in her school of
refined art it would have been such or nothing-her style
and appearance were such as to be fascinating, if not


102
THE LIFE OF LAURA KEENE.
enchanting, even in burlesque; if, indeed, burlesque can be
made such.
That she played tragedy in her tour with Edwin Booth in
California and Australia is a matter of history. Tragedy,
however, was no more in Laura Keene's art life than bur-
lesque. All great actors have in their day played tragedy
and comedy. That was a part of their art education. Edwin
Booth played comedy at one period of his life; while John S.
Clarke was known to have appeared before the public as a
tragedian. Eliminating tragedy and burlesque, however, from
the art of Laura Keene, the line must probably be brought
to a period there; as in almost every other sphere of the
actor's life, she ranked among the first of her day and time as
an actress, and at an era in the history of the American stage
when stars were the rule and not the exception in almost
every first-class theatre in the United States. The elder
Wallack was not likely to make a mistake in going to London
to engage a leading lady for his temple of dramatic art in New
York. Laura Keene was his choice. The name of Laura
Keene has passed into history as a master of high classical
comedy; being equally great in pastoral, spiritual, romantic,
pathetic, poetic, and the emotional school of acting.
Probably the greatest compliments that can be paid to the
memory of Laura Keene's life and art as an actress and
manager come from the members of her own profession or
those who knew her best, many of whom were members of
her theatres and stock companies, who traveled with her,
and who shared with her in her brief hour her triumphs,
trials, sorrows and vicissitudes, which seem to be ever the
lot of an actor's life. It has been the pleasure of the writer
to meet personally, for the first time, many of Miss Keene's
associates nearly a quarter of a century after her death, and
to communicate with others, who, for obvious reasons, such
as time, distance, etc., were precluded from a personal meet-
ing or interview. But in almost every instance, if indeed not
in all, Laura Keene was regarded as one of the most remark-
able women ever known to the stage, not only as an actress,
an artist, and a scholar, but as a manager.
"The Sea of Ice" was always a favorite play of Laura



THE LIFE OF LAURA KEENE,
103
Keene. Its first production at her theatre in New York
proved to be the turning-point in the success of her financial
career; or, as Brutus says,
"There is a tide in the affairs of men
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of their life
Is bound in shallows and in miseries."
It was the last play in which she appeared in the same
city. Viewed, not from a financial point, this is not sur-
prising when we consider the scope for acting which this
play presents to a woman of genius. And, yet, how shallow
and ephemeral does it appear in the hands of a novice!
The character of Louise de La Course in the first and
second acts of the play was full of quiet and gentle dignity,
love and devotion for her husband; maternal affection, soli-
citude and love for her child. What anguish, agony and
despair were depicted at the separation on the breaking of
the ice! With what pious devotion did the mother cling to
her child as she taught her to appeal to the Ruler of the
universe. "Kneel, my child, and repeat," says the mother,
"Oh! Thou, who hast all the strength of a father and the
tenderness of a mother, save us from the abyss that
threatens and the wicked who kill."
It was as Ogarita, however, in the same play, that Laura
Keene created a character that was not only hers during life,
but which practically died when she did. Compared with
that of the role of the mother, full of sanctified devotion as
it was, it sank into nothing in contrast with the character of
the daughter as played by this wonderful woman. In this
role of Ogarita there is a part capable of expressing nearly
every feeling or impulse almost possible to be known to the
human woman of the stage. Her first appearance as the
wild Indian girl-the creature, if not the creation of a wild
and savage race-was such as to suggest a divine creature of
God. Her fairy or sprite-like movements revealed at a
glance the story of her forest life. Her meeting-by accident
or design, probably the latter, as if guided by the hand of
Heaven-when she is recognized and her identity becomes
known to her relatives, her discovery of Del Monte, the

104
THE LIFE OF LAURA KEENE.
murderer, the trap which she subsequently sets by consenting
to marry Del Monte to avenge the murder of her father and
mother, all displayed the power of the actress in depicting
gentleness, pathos, affection, devotion, and love for her own
people; while her hatred for wrong, deceit, duplicity, and the
recollection of murder, rose to such a degree of dramatic
greatness as to practically make it impossible to describe the
effect.
The character of Marco in the "Marble Heart," as created
and played by Miss Keene, has always been regarded by
the leading actors of her day as practically unapproachable;
while very many of Miss Keene's professional fellow-artists
regarded it as her greatest creation or work (always excepting
her Lady Teazle). The character of Marco is certainly not one
to be admired, and yet there is a halo of fascination about it
which clings to it, very much like that which surrounds the
life of Lady Macbeth or which causes so many to admire
Becky Sharp without studying or analyzing the life of that
most despicable female character. To us it seems that, in more
respects than one, the three women are analogous. Ambition
was the one ruling or dominant thought of Lady Macbeth's life.
"Bring forth men-children only,
For thy undaunted mettle should compose
Nothing but males,"

says Macbeth to his wife.
Ambition may sway the mind without the vulgar thought
of money, and probably has, notably in the lives of writers,
painters, sculptors, artists, ministers (when children of God),
and, in rare instances, statesmen. That, however, in the opin-
ion of very many, is a mooted question, and will probably
remain so to the end of time, or while it shall be impossible
for one man to be able to read the mind or the actual
thoughts of another. Had Lady Macbeth been on a throne,
the mere thought of the murder of Duncan might have
caused her very soul to shudder. Becky Sharp might have
been one of the most fascinating creatures in London had
her bank account been such as to meet her every demand.
Marco, if she ever loved or cared for any one, at least pre-
ferred Raphael to all other men; but whatever good there

THE LIFE OF LAURA KEENE.
105
was in her was sacrificed-for what? Money! Is that sur-
prising to those who know the story of her life? Is it
surprising to those who do not or to those who have never
entered the door of a theatre? Is there one mercantile rule
or law for the woman, and another for the man? Who is more
exacting for his mercantile "pound of flesh" than he who is
"holier than thou?" He who is too sanctified to rescue his
neighbor's ox on a Sunday, but who takes good care to take
pay for his own work on that day?
Marco, like Lady Macbeth and Becky Sharp, should have
been a man; and yet history is replete with the wiles, crimes,
and even murders perpetrated by women. Marco, however,
was no criminal. She was not even an adventuress, but a
woman who has studied and penetrated deeply into the heart
of the world as it actually exists, as it has been formed and
created by men, not only of to-day, but probably from the
beginning of time. This may be regarded as heresy, but it
is none the less true.
respect and admiration of the world to-day? Are they the
righteous, the virtuous, the temperate, or those who follow
the doctrine taught or promulgated by the teaching of the
Sermon on the Mount? Yes, in rare or isolated cases; pro-
bably in ten per cent. of the population of any city. In the
other ninety per cent., the knee and neck will ever be found
ready and willing to crook and bow to Mammon. The per-
centage is frightfully large, but it is more than frightfully true.
Who are the men who command the
"You see, Marco," says Raphael, "he was my only friend,
and I have let him go-for you I renounce all. (Wildly)
Marco! Marco! Have you not one kind word for these sac-
rifices?"
Marco (Laughing in derision) "Sacrifices!"
Raphael-"I have endured the sarcasm of Monsieur de
Vaudore, the disavowal of your love, the reproaches and
anger of my only friend, who insulted me in my last adieu.
For your sake I have become a coward, a crawling, abject
wretch; without heart, without mind, without shame. What
did that man say to you? I have a right to ask!"
Marco (Smiling in derision) "Right!"
Raph.-"Yes, Marco, the right of a man who, knowing he

106
THE LIFE OF LAURA KEENE.
is to die, would learn the time and manner of his death-he
told he loved you."
you
Marco (Carelessly) "Perhaps he did-what then?"
Raph.-(Violently) "You accepted his love?"
Marco "I will not answer you."
Raph.-"But you must; you shall!"
Marco (Disdainfully) "Shall!"
Raph." He offered you his hand? (A pause.) Speak,
Marco, speak; in mercy let me know the worst."
Marco "He did."
Raph.-"And you accepted?"
Marco (Coldly) "Yes."
Raph.—“O, Marco! Marco!" (Violently, rising.) "You
shall not marry him!"
Marco (With contempt) "Who shall prevent me?"
Raph.-(With a burst of fury) "The man you have
wronged! No, no-pity, pity for the wretched maniac who
cannot live without you-humanity-remorse-"”
Marco (Taking away her hand and rising, with contempt
Marco-(Taking
and rage) "Remorse! I am weary of this persecution, these
clamors, these maledictions—you think me a monster of false-
hood-inconstant as the wind, perfidious as the ocean, the incar-
nation of caprice, selfishness and cruelty! and why? because I
am too wise to rush headlong to ruin, and too proud to be pitied."
Raph.-"Pitied, Marco!"
Marco "Yes (vehemently), pitied, insulted, and despised,
-look at me now; surrounded with every luxury that art
can invent and gold purchase-everybody bows to me. I am
a queen-divest me of these gilded claims to the world's
respect, and what am I? (Bitterly.) The dust-the friends
who now follow my carriage and fight for my smiles will mock
me, and trample upon me."
Raph.-" Marco, Marco! in mercy-"
Marco-"I have known poverty, and have suffered such
torture in its hideous grasp, that my heart sickens, and my
soul shudders at facing it again. You will perhaps laugh at
my fear, and say there is happiness in poverty. (Laughing
in scorn.) Yes, for those who are born to it--but to have
known better days, and fall! O, the misery, the heart desola-

THE LIFE OF LAURA KEENE.
107
tion, the despair! My father was rich and proud, the descend-
ant of a noble family. He lived in splendor, and brought me
up to despise every thing but wealth; he showed me its power
-it surrounded him with friends and flatterers, and made life
a perpetual summer. An evil day arrived-he speculated,
and was reduced to his last crown. Where were his friends?
(Laughing in scorn, and speaking in a hoarse voice.) They
passed him in the streets without recognition-they maligned,
they despised, they forgot him." (Sinks into a chair, sobbing
and wiping her eyes.)
Raph.-" Forbear, Marco, forbear."
Marco "Ten years (0, how long the days and months!)
we lived in poverty-abject, squalid, starving poverty. I saw
my father in the prime of his life grow old, decrepit and in-
sane. In his ravings he had but one thought: Money,
money, money! Cling to it, my child,' he would say to me,
with glaring eyes and grinding teeth. Cling to it, Marco, as
you would to a raft in shipwreck; it is the all-in-all of our
existence. See what the loss of it has brought to me. Let
your heart be marble to everything but gold, gold, gold!" "
Raph.-"O, misery!"
Marco-" My father died, and I was left dependent on the
charity of my relations. (With savage scorn.) Charity! I wore
their cast clothes, waited on their will-their servant, their in-
cumbrance, their helpless slave. One day Providence came to
my relief-I was left a small fortune. From that moment I
became a statue! The recollection of my days of misery ex-
tinguished the glowing impulses of my youth, and I lived on
the surface of the world, mixing in all its gay pleasures,
caressed and feted, the idol of the hour-hating and despising
the smiling monster, and devising means to secure my inde-
pendence. A wealthy marriage was my only course; and for
that I have been cruel, false, and pitiless-for that I am deaf
to reproaches, deaf to remorse."
Laura Keene was not a woman who loved money for the
mere sake of making, owning or possessing it, as can be
more than attested by those who knew her best-her life-
long professional associates. In business she was strict,
severe, exacting and punctilious to the very letter of the


108
THE LIFE OF LAURA KEENE.
law. Not to have been such would have made it impossible
for her to have been one of the greatest theatrical mana-
gers known to this country, if not to the world, in her day.
Had she been a woman who loved money, to fondle it as
a parent does a child, she might have died one of the rich-
est women known to the stage, instead of having died com-
paratively poor; or, at least, as wealth is known or regarded
to-day, if, indeed, not as it was known at the time of her
death; although at that period the rich actors on the
American stage might have been enumerated without the
aid of a mathematician; while it is a question if the aid
of one is required even now, or practically twenty-five years
later, when "performers" and comic singers receive very
much greater salaries than actors or even artists did dur-
ing the day or time of Laura Keene.
The Marco of Laura Keene was the creation of a woman
who had not only encountered, but probably studied, every
phase and side of man as he is actually known to exist.
It was not without its womanly instinct, nature and heart.
It was, in dealing with men of the world, cold, heartless,
treacherous and without pity, that she met them with their
own weapons. Her heart was steeled against flattery,
praise, admiration or adulation. The same mask which
made it possible for men to change their names, their iden-
tity, their country and even their creed-and all for
money-was as potent in the hands of the actress as it
has so often been successful in that of the men.
not a battle for hearts, or the happiness of a home or the
domestic fireside. It was a conquest for that which man
values most in life-money. In the conflict between man
and woman Marco was the victor. She was a marble
statue, with the life-blood of a living human woman pass-
ing through her veins. Her better impulse and instinct
were dead to all but that for which men only live-money,
money, money! To everything else she was "deaf to re-
proaches, dead to remorse."

It was

Laura Keene's delineation of Marco was so life-like in its
fidelity to nature that it was one of the greatest stage
triumphs of her life. So great, indeed, was her success in

THE LIFE OF LAURA KEENE.
109
this rôle that very many, or those who did not personally
know the woman, while professionally knowing the actress,
began to suspect that the character of Marco on the stage
was really that of the woman off it. As it is obviously
impossible for any actor or actress to be personally ac-
quainted with all who visit a theatre, to counteract the
impression created by Miss Keene's rendition of Marco, she
produced a little play as a "curtain raiser," entitled "I
Dine With My Mother."
This stage trifle was written for Laura Keene by a Mr.
McLaughlin, of New York. It dealt entirely, so far as we
have been able to learn, with the story of opulence and
domestic or maternal happiness; in other words, the lesson
or picture of money and its power, and all that it means or
may convey against the love which a daughter should have
for her mother, and the latter for the former.
999
On witnessing this domestic picture of Laura Keene's,
Rose Watkins says: "I fear my words are too weak to import
half the pleasure I enjoyed as I sat with the author, Mr.
McLaughlin, in a box at Laura Keene's Olympic Theatre.
Her voice was so musical and full of pathos that the author
remarked, 'I did not know that I had written such a gem
until I witnessed its creation by Miss Keene.' As the
actress declined the overtures from the world of Mammon,
and accepted the love of her mother in preference to the gay-
eties which surround the life of wealth, her picture of domes-
tic and maternal happiness as she knelt before the portrait of
her mother, convinced all that Marco, as portrayed by Laura
Keene, was but the art of the actress, and not the story of
the real woman's life.
Peg Woffington, in "Masks and Faces," has passed into
dramatic history as one of Laura Keene's greatest creations.
There are many reasons why the role of Margaret Woffing-
ton should have fitted this woman as if it had been written
expressly for her. The impetuous, hot-headed, warm-hearted
and impulsive Irish actress, ever, like her race, ready for a
frolic, ever at hand to defend the wronged, and always willing
to aid and assist the helpless, was so characteristic of the real
life of Laura Keene, that it was nature and not art that ap-
110
THE LIFE OF LAURA KEENE.
peared before the footlights when Mabel Vane was protected
and defended, or James Triplet and his family rescued from
starvation, when Miss Keene was the Peg Woffington.
Although by birth an English woman, and by choice an
American, no one understood more, or was in greater sympathy
with, the Irish race than Laura Keene. It may not be gener-
ally known, but it is not the less true, that among her other
accomplishments, this lady was, if not a master of the Celtic
tongue, quite capable of being very entertaining in that very
ancient, very rich, and most melodious language. "There
were two things which Laura Keene could not do," says
Charles M. Walcot. "She could not master the Irish brogue,
nor acquire the Scotch dialect. Her Effie Deans and Peg
Woffington would have been flawless were it not for these
defects."
Just how far Dion Boucicault, who dramatized Scott's
novel, "The Heart of Mid-Lothian," resorted to the Scotch
accent or dialect as far as it relates to the character of Effie
Deans, who proved to be more than a mother to her wayward
sister, Jeanie, we are not prepared to say, not having seen the
play. Peg Woffington, however, has just six words to utter
which call for the brogue. They are spoken when Triplet
plays, while Peg dances the jig: "More power to your elbow"
and "Hooroo." Even that queen of dramatic art, Janau-
scheck, might, and indeed could, have mastered that bit of
Hibernian dialect or brogue, if only as a compliment to the
musical art of poor James Triplet.
This idiom of countries seems to be very much misunder-
stood, not only by Mr. Walcot, who, by the way, together
with his charming and gifted wife, are among the few really
great artists now left or known to the American stage, but to
a vast number of Americans. The opinion seems to be very
general among our countrymen that the brogue must of neces-
sity cling to all persons-men and women alike—of Irish
birth. It is a matter of history that the most perfect English
spoken is that which flows from the lips of the educated people
of Dublin, Galway, and other cities in Ireland. There is
rarely, if ever, the slightest suggestion of brogue among the
educated classes of Dublin. It is true that the brogue, and

THE LIFE OF LAURA KEENE.
111
very broadly, but also most musically, clings with great te-
nacity to certain Irishmen; as, for instance, in the case of that
distinguished actor, author, scholar and man, John Brougham.
On the other hand, Ada Rehan and Rose Coghlan are, we be-
lieve, children of Ireland. Yet, there
Yet, there is no more suggestion
of brogue in their language or tongue than there is a possi-
bility that they may develop into Dutch comic song and dance
artists (?), although even the latter may be within the range
of probability, should the American stage continue its down-
ward course or career during the next ten years as it has dur-
ing the past fifteen.
Mary Wells, one of the most capable actresses and lovely
women known to the stage, predicted that if she lived long
enough she would have to keep a peanut stand, owing to the
influx into the market of her art of those who had learned
how to "star" before they had learned how to study even the
first rudiments of dramatic art. Fortunately for Miss Wells,
but unfortunately for her profession, she was spared from the
realization of her prediction; although were she alive to-day
it is a question if she would not prefer to sell peanuts rather
than compromise her art by mingling or associating with many
of the alleged "stars" of our day.
Referring to Miss Wells, recalls a very pleasant, if indeed
not a very delightful afternoon I spent with her at the Per-
manent Exhibition Building, in Philadelphia, during 1877.
It was the intention of Philadelphians to retain permanently
the glorious Main Building of the Centennial Exposition of
'76. With that understanding most of the original exhibits
were permitted to remain, while the space made vacant by
those who removed their goods at the close of the Centennial
was soon occupied by new exhibitors. Miss Wells at this time
was playing at the Walnut Street Theatre. I suggested that
we should visit the Permanent Exhibition, which invitation
she gladly accepted. I was quite familiar with the building
and most of its contents. After our arrival there I took her
to the art department, where there was on exhibition a large
and beautiful life-size painting of Hamlet. I was curious to
learn the effect the picture would have on this woman who
had played the role of the mother of Hamlet so frequently in


112
THE LIFE OF LAURA KEENE.
probably the greatest dramatic work ever conceived by the
human mind.
The painting represented Hamlet in the closet-scene with
his mother when the ghost appears. Terror-stricken, Hamlet
was gazing on the ghost of his dead father, as with outstretched
arm and pointed finger he says to his mother, "Do you see
nothing there?"
There was no other figure on the canvas but that of the
unfortunate Prince. I did not pretend to see the picture, but
watched carefully "in the background" every movement of the
actress. As her eyes fell on the picture she seemed to be trans-
formed into a statue. The whole dramatic career of the
woman seemed to run through my mind as I watched her.
She finally recovered her speech, and discovered that I had
been studying her as closely as she had been studying the
painting, the price of which was $10,000. "My only regret
is," said Miss Wells, "that I cannot buy that picture for my
house."
There was also in the same department, a noble statue in
marble of Medea. Tragic meditation was depicted on the face
of the voluptuous and bloody-minded daughter of Eetes, as
her chin rested on one hand, while she held a dagger in the
other. The study of Medea by Miss Wells was almost as in-
teresting as was that of Hamlet.
Margaret Woffington in her child (or girl)-hood was a waif,
or child of the slums, and sold oranges in the streets of Dublin
for a living. What was Edwin Forrest in his boyhood? A
street arab, whose delight was to run with the volunteer fire
department. Yet Edwin Forrest not only became the great-
est actor known to the American stage, not even excepting
Edwin Booth, but has made his name probably immortal for
all time by creating the Forrest Home for members of his
profession who may not, during their old age, be able to earn
a living. Did the noble-hearted Forrest cling to the idiom of
the firemen as he electrified his audiences in Coriolanus, King
Lear, or Metamora? If not, why should Peg Woffington, the
queen of comedy, cling to the brogue as she gave life and
being to the characters or creations of scholars and men of
letters?

THE LIFE OF LAURA KEENE.
113
"Just my luck!" (says Triplet to Woffington).
"Oh Lord!
Lord! To see what these fine gentlemen are! To have a
lawful wife at home, and then to come and fall in love with
you! I do it for ever in my plays. It is all right there; but
in real life it is abominable!"
Woffington-"You forget, sir, that I am an actress! -a
plaything for every profligate who can find the open sesame
of the stage-door. Fool! To think there was an honest man
in the world, and that he had shone on me?"
Triplet-"Mrs. Woffington!"
Woffington-" But what have we to do with homes, and
hearths, and firesides? Have we not the theatre, its
triumphs and full-handed thunders of applause? Who looks
for hearts beneath the masks we wear? These men applaud
us, cajole us, swear to us, lie to us; and yet, forsooth, we
would have them respect us, too."
Triplet (fiercely)-" They shall respect you before James
Triplet! A great genius like you, so high above them all!
My benefactress." (Whimpers.)
Oh!
Woffington (taking his hand)-"I thought this man truer
than the rest. I did not feel his passion an insult.
Triplet, I could have loved this man-really loved him."
Triplet-" Then you really don't love him?"
Woffington-"Love him? I hate him, and her, and all the
world!"
Triplet-"You will break with him, then?"
Woffington-" Break with him! No! I will feed his passion
to the full; torture him; play with him, as the angler plays
with fish upon his hook! I shall make him curse the hour
he first met with Peg Woffington, the actress !"
Triplet-" But his poor wife?"
Woffington-"His wife! Are wives' hearts the only hearts
that throb, and feel, and break? His wife must take care of
herself. It is not from me that mercy can come to her."
Triplet-" But, madam,”—(a knock at the door). "Who's
this at such a moment." (Goes to the window.) ""Tis a lady!
Eh! cloaked and hooded. Who can she be? Perhaps a
sitter! My new profession has transpired." (A tap at room
door.)
8

114
THE LIFE OF LAURA KEENE.
Servant-"From a lady who waits below."
Triplet (reads card)-" Mabel Vane!"
Woffington-"His wife, here!
What does she come here for?"
Show the lady upstairs.
Triplet "I don't know; and I wish to heaven she had
stayed away. You will retire; of course you will retire?".
Woffington-" No, sir! I will know why she comes to
you." (Reflects, and enters the picture again.)
66
Keep it
from me if you can!" (Triplet sinks into a chair, the picture
of consternation.)
Enter Mabel Vane.
Triplet "Madam!"
Mabel" See first that I am not followed.
That man has
pursued me from my husband's house. Look out!"
Triplet (looking through window)-" Sir Charles Pomander!
He examines the house; his hand is on the knocker-No!
he retires."
Mabel "I breathe again. Mr. Triplet, you said I might
command your services."
Triplet (Bows.)
Mabel "You know this actress you spoke of to-day, Mrs.
Woffington?"
Triplet (aside)-"Curse it! I am honored by her acquaint-
ance, Madam!"
Mabel "You will take me to her, to the theatre, where she
acts?"
Triplet-"But consider, Madam!"
Mabel "You must not refuse me."
Triplet-"But what can be the use of it?"
Mabel "I am sure you are true and honest; I will trust
you. When I saw you yesterday, I was the happiest woman
in the world, for I love my husband, and I thought then he
loved me as he used to do. Two days ago I left our country
home-I yearned to be by my husband's side; I counted the
hours of the journey, the miles, the yards of the road. I
reached his house at last-to find that the heart on which I
had so longed to rest my head was mine no longer."
Triplet-"Poor thing! poor thing!"
Mabel-" And she who held my place was the woman-the

LAURA KEENE.

THE LIFE OF LAURA KEENE.
115
actress you so praised to me; and now you pity me, do you
not? And will not refuse my request?"
Triplet-"But be advised; do not think of seeing Mrs.
Woffington. She has a good heart, but a fiery temper.
Besides, good heavens! you two ladies are rivals. Have you
read the Rival Queens,' Madam?"
6
Mabel "I will cry to her for justice and mercy; I never
saw a kinder face than this lady's-she must be good and
noble."
Triplet-" She is! I know a family she saved from starva-
tion and despair."
Mabel (seeing Woff. in the picture)—"Ah! she is there!
See! see!" (She approaches the easel.)
Triplet (interposing)—" Oh, my portrait! You must not go
near that; the colors are wet!"
Mabel-"Oh, that she were here, as this wonderful por-
trait is; and then how I would plead to her for my husband's
heart! (She addresses the supposed picture.) Oh, give him
back to me! What is one more heart to you? You are so
rich, and I am so poor, that without his love I have nothing;
but must sit me down and cry until my heart breaks-give
him back to me, and I will love you and kiss your feet, and
pray for you until my dying day. (Kneels to her and sobs.)
Ah! a tear! It is alive! (Runs to Triplet and hides her
head.) I am frightened! I am frightened!"
(Woffington steps out of frame and stands with one hand
on her brow, in a half-despairing attitude. She waives her
hand to Triplet to retire. Mabel stands trembling.)
Woff." We would be alone."
Trip. (in consternation)-"But, Mrs. Woffington - but,
ladies!"
Woff.-"Leave us!"
Trip.-"I will retire into my sleeping apartment. (Retires
into inner room.) Be composed, ladies.
could help it."
Woff."
Neither of you
-"Leave us, I say!" (He vanishes suddenly. A
long, uneasy pause.)
Woff. (with forced coldness)-" At least, Madam, do me the
justice to believe I did not know Mr. Vane was married."

116
THE LIFE OF LAURA KEENE.
Mabel "I am sure of it. I feel you are as good as you
are gifted."
Woff." Mrs. Vane, I am not-you deceive yourself."
Mabel-"Then, heaven have mercy on me! But you are
-I see it in your face. Ah! you know you pity me!"
Woff.-"I do, madam; and I could consent never more to
see your-Mr. Vane."
Mabel-"Ah! but will you give me back his heart? What
will his presence be to me if his love remain behind?"
Woff-"But how, madam?"
Mabel "The magnet can repel as well as attract. You
who can enchant-can you not break your own spell?"
Woff-"You ask much of me?"
Mabel-"Alas, I do!"
Woff-"But I could do even this."
Mabel "You could?"
Woff-"And perhaps if you-who have not only touched
my heart, but won my respect-say to me, 'Do so,' I shall do
it. (Mabel clasps her hands.) There is only one way-but
that way is simple. Mr. Vane thinks better of me than I
deserve. I have only to make him (with trembling lips) be-
lieve me worse than I am, and he will return to you, and
love you better, far better, for having known, admired and
despised Peg Woffington."
Mabel "Oh! I shall bless you every hour of my life.
(Pause.) But rob you of your good name! bid a woman soil
her forehead so for me! (Sighs, long pause.) With heaven's
help I do refuse your offer; it is better I should die with my
heart crushed, but my conscience unstained; for so my humble
life has passed till now."
Woff.-"Humble such as you are, the diamond of the world!!
Angel of truth and goodness, you have conquered! The
poor heart we both overrate shall be yours again. In my
hands 'tis painted glass at best-but set in the lustre of your
love it may become a priceless jewel! Can you trust me?"
Mabel "With my life!"
Woff-"And will you let me call you friend?"
Mabel-"Friend? no-not friend!"

Woff-"Alas!"
THE LIFE OF LAURA KEENE.
117
Mabel-"Let me call you sister?" (Timidly and plead-
ingly.)
Woff.-"Sister! oh yes!" (They embrace.) You do not
know what it is to me, whom the proud ones of the world
pass by with averted looks, to hear that sacred name from
lips as pure as yours. Let me hold you in my arms-so-a
little while-if you knew the good it does me to feel your
heart beating close to mine; (pause) and now to bring back
this truant-how this heart flutters-you must compose your-
self. (Goes to door leading to inner room and opens it.) And
I have need to be alone awhile. (Puts her in, comes forward
and sits a moment with her hands pressed over her forehead.)
'Twas a terrible wrench-but 'tis over; and now-' about my
brains,' as Hamlet says-to bring back the husband to his
duty-what a strange office for a woman like me! How
little the world knows about us after all. (She sighs and sobs
convulsively.) I ought to feel very happy-pshaw! On
with the mask and spangles, Peggy-and away with the
fumes of this pleasant day-dream-how to bring Pomander
hither! Let me see-this paper (takes paper Mable sent up)
signed in her hand; Mable Vane-what if by its aid-I have
it-pen-ink-one never can find writing materials in an
author's room. (Goes to door and calls) Triplet!"
Peg Woffington, as created by Laura Keene, was something
more than a stage picture. It was the ideality of dramatic
art; a work which left so deep an impression on the audience
as to convince them that the chords which surrounded the
heart of the actress were human-not tinsel, or like a mask
to be put on, only to be removed with the fall of the curtain.
The self-sacrifice of the actress to restore the wronged wife to
her wayward husband; the scorn of the insulted woman; the
contemptuous mockery of the coterie of goose-quill critics;
the lightness of heart on entering the home of Triplet; the
dancing of the jig after saving the family from starvation,
were stage pictures of dramatic creation such as were possible
only to Laura Keene.
"Rachel the Reaper," taken from Charles Reade's novel,
"Clouds and Sunshine," was probably not only one of the
most exquisite and lovely stage pictures in the entire gallery

118
THE LIFE OF LAURA KEENE.
of Laura Keene's vast galaxy of creations, but it is very doubt-
ful if anything so entirely ornate in its simplicity, religious
and pastoral beauty, has ever been surpassed on any stage. It
is true the literature of Charles Reade has not become a classic,
but it is certain that while Laura Keene's name shall live her
creation of "Rachel the Reaper" will not fade from stage his-
tory. There were no complexities in the life of this woman
Rachel-such as are frequently, if not commonly, in most
great stage creations of her sex; no feminine resources from a
Worth of Paris or London, for the actress to fall back on to
cover the lack of dramatic art. Rachel was a poor peasant;
a child of the people; whose garments were made by herself,
and were as clean as her virtue. Her wardrobe was ever
ready to be tied up in a bundle, which she suspended from her
faithful sickle over her shoulder, as she led her aged grand-
father from village to village, from farm to farm, wherever
there was honest work to be performed, to support the totter-
ing form of the aged soldier.
The wronged and beautiful Rachel, too young to be a woman
and too old to be a girl, as full of innocence, purity and chastity
as the very crops of the field which she cut down with her
sickle, was such a picture of holy loveliness and purity, as to
deserve a place by the side of the "Angelus."
Oliver Goldsmith, regarded by many, and very justly so, as
probably the purest and most melodious writer known to the
English language, was destined to create a character, that of
Miss Hardcastle, which was probably as much a part of Laura
Keene during her life, as "The Deserted Village" is known
to belong only to Goldsmith. The village, hamlet, or town,
must be poor indeed in its school-houses or places of learning
for the young, where Goldsmith's melody does not flow from
the lips of its children as freely as the water ripples from the
brooks of the world. The creation of Kate Hardcastle by
Laura Keene seems by common consent, or by those who
were best qualified to pronounce judgment on the same-her
professional associates-to not only have been hers by right,
but lived while she did, and died with her.
Probably the only actress in this country since the death of
Laura Keene who has attempted the role of Kate Hardcastle

THE LIFE OF LAURA KEENE.
119
with any degree of artistic success has been Mrs. Charles M.
Walcot. That Mrs. Walcot, who is one of the really great
actresses now on the American stage, should have met with
success in this role is not surprising when it is remembered
that in her novitiate she, or Isabella Nickinson, as she was
then known, was a member of Laura Keene's stock company
in New York. Mrs. Walcot, however, or Miss Nickinson, had
more advantages than being a member of Miss Keene's theat-
rical company, then one of the foremost in this country. Miss
Nickinson, if we are not in error, lived in Miss Keene's house,
where she had advantages which do not often fall to the lot
of a young actress.
That Mrs. Walcot profited by her close and early associa-
tions with Miss Keene, her subsequent career as an actress
and artist have attested. "I am told," said Emma Taylor
to the writer," that Mrs. Walcot's art greatly resembles that
of my mother's." That was a well-merited compliment to
Mrs. Walcot, which she now hears of for the first time, as
Emma Taylor and Mrs. Walcot have probably not seen each
other since 1870, if, indeed, they did then. The compliment,
however, was more than deserved, as Mrs. Walcot, if she
had but been properly handled or placed in the hands of a
competent business man, would, in all probability, have
developed into one of the most successful stars known to our
stage during the past half a generation or more. Mrs.
Walcot, however, was destined to miss not only the advan-
tages of a good business manager, but her professional life
has been singularly free from "jumboism," scandal, and all
the professional abominations which have contributed so
largely and successfully during the past ten or fifteen years
to make actresses (?) a success financially. It is true that this
estimable lady has been all that a woman should be. As
such she will go down to posterity-not as a great star, but
something more to her credit-a woman who has been an
ornament to her sex, a credit to her profession, and an honor
to the memory of Laura Keene.
It has been stated by newspaper critics (?) that Miss Keene's
creation of Miss Hardcastle and the barmaid was so life-like
and true to nature that Laura Keene must have been profes-

120
THE LIFE OF LAURA KEENE.
sionally the latter during the early part of her life. This
compliment to Miss Keene's art probably stands out solitary
and alone in the long list of great actors and actresses. If,
however, in portraying, as she did, the life of a barmaid with
such consummate art as to suspect that Miss Keene must
have been such in her early career, why not, on the same
hypothesis, suspect (?) that Miss Keene, in portraying, as she
did, with equal fidelity to nature the role of the aristocratic
daughter of Hardcastle, assume, that in her early days Laura
Keene must also have been a lady of elegance, culture, and
refinement? It is true that critics everywhere, with the
exception of those who were mystified by Miss Keene's art as
the barmaid, have always conceded the latter. Yet, according
to the mystified critics in question, Miss Keene was equally
great as Miss Hardcastle in the first act as she subsequently
proved to be during the remainder of the play. The veil of
charity, however, should be drawn over the effusions and
rhodomontade of these mystified critics, if only to save the
critics from the criticism of the critics. 66
'Why may not im-
agination trace the noble dust of Alexander till we find it
stopping a bung-hole?"
Laura Keene's creation of Lady Teazle in Sheridan's
classical comedy, "The School for Scandal," will, in all prob-
ability, pass into dramatic history as the greatest creation of
this woman, not even excepting her Beatrice, Rosalind,
Marco, Peg Woffington, Miss Hardcastle, Ogarita, Rachel the
Reaper, and numerous, if indeed not scores of characters,
which were practically hers during life, but which seem to
have died when she did. Probably the nearest approach to
Laura Keene's Lady Teazle during the life of Miss Keene has
been that of that distinguished woman, actress, artist, and
manager, Mrs. John Drew. Mrs. Drew played Lady Teazle
for nearly, if not quite, half a generation after the death of
Miss Keene; and practically since the death of Laura Keene
was the ideal Lady Teazle of the American stage. This is
saying much for the art of a woman who was some six or
eight years older than Miss Keene.
Fanny Davenport-not only the daughter of one of the
greatest actors known to the stage, but as an actress and


THE LIFE OF LAURA KEENE.
121
depending entirely on her own efforts-must have been a
well-nigh ideal Lady Teazle, if we are to judge from the re-
sources which were so bountifully bestowed on her by nature
for such a character. Beautiful to look at as a woman,
educated from her infancy in probably the best schools of
dramatic art-fine stock companies, gifted with a voice which
was melody itself, courteous, gracious, and queen-like in her
bearing and appearance, Sheridan himself would have been
pedantic not to have been charmed and fascinated with so
lovely and charming a Lady Teazle.
With all of those advantages, however, and indeed very
many more on the part of almost any other actress, Laura
Keene might have easily ranked first as Lady Teazle. Con-
fessedly as she was the greatest exponent of high-classical
comedy in her day, she did not earn that reputation without
possessing qualities which must not only command the respect,
but admiration of students of art and men of letters; while
nature bestowed gifts and advantages on Laura Keene which
have probably never been surpassed or excelled by any other
actress. Add to this the consummate art of the woman, her
exquisite, natural and inborn taste (as unconscious to her as
that the perfume of the flower surpasses that of the chemist's
cunning), her entire consciousness of the fact that in matters
of dramatic art she was to lead and not to follow, whether
as actress, artist, or manager, and we can readily understand
why the name of Laura Keene and Lady Teazle are synony-
mous, and as such must pass into dramatic history.
It is certainly to be questioned if any actress who has ap-
peared on the American stage since her first connection with
Wallack's Theatre until after her retirement from the man-
agement of her own theatres in New York, was so competent
or so well equipped to essay the heroines of Shakespeare which
she appeared in as was Laura Keene. There is not a single
role or character in the many parts of Shakespeare in which
Miss Keene appeared, with perhaps that of Queen Elizabeth,
in "Richard the Third," that she could not have easily ranked
first among all of even the great actresses who appeared in
such parts during the generation of her day, which was rich
in the production of great artists.


122
THE LIFE OF LAURA KEENE.
At the present day, or practically since the death of Ade-
laide Neilson, there has been no woman on the stage of this
country who could for a moment be compared with Miss Keene
in the characters of Shakespeare referred to. Modjeska's
Rosalind is full of poetry, gentleness, loveliness, and womanly
charm; with that minor-like chord which seems to be a part
of her being, which we have never discovered in any other
actress; but it lacks to the eye the youth and beauty of a
Neilson, as it must have lacked the charms of a Laura Keene
with the youth and even more than the beauty of a Neilson;
added to which must be the culture, education and refinement
of the woman, not omitting her natural graces.
Refinement was never lacking in Neilson or Modjeska, and
probably has not been in many others. Mary Anderson,
always a lovely woman to look at and remember; lovely, if
only for the purity of her life, was generally accepted as an
ideal heroine of Shakespeare. Miss Anderson, however,
appeared on the stage of this country at a time when
actresses of inspiration were practically unknown. Always
gentle and fascinating, even when at the head of her profes-
sion-certainly not difficult to reach in her day; yet it is a
question if she could be compared with some other actresses
of her time-robbed of her personal charms and that wonder-
ful power and advantage of newspaper notoriety, which was
practically unknown in the days of Laura Keene, but which
was all potent in the time or era of Miss Anderson, even if
such a practice must have been distasteful to her, as we have
always suspected to be the fact. The purity of Miss Ander-
son's life, however, and it was most assuredly such, was not
more marked than that of Modjeska, Laura Keene, and prob-
ably very many more women of the stage.
There are always those to be found who can no more imagine
an actress to be virtuous than they can reconcile themselves
to the fact that a priest can be faithful to his vows of celibacy;
yet the latter is not only known to be the rule and not the
exception, but there have been pure women on the stage in the
past, they are on it to-day, and will continue to remain on it
while the stage shall be a factor in the history of the world.
Neither Charlotte Cushman nor Madame Janauscheck could

THE LIFE OF LAURA KEENE.
123
ever have been good looking in the zenith of their professional
and artistic glory; yet there was more inspiration in the single
line of Miss Cushman's address to Wolsey, in "Henry the
Eighth," "Lord Cardinal, to you I speak!" than there has
been in all the doll-faced actresses seen on the American stage
during the last half a generation; while Janauscheck, in our
opinion even the peer of Cushman, displayed more versatility
in her little curtain-raiser, "Come Here," than that shown by
all of the neophyte or alleged stars known to our stage since
the disbandment of the stock companies in this country.
Laura Keene's reputation as an artist was earned and won
by her own ability and as such only; achieved at a time in
the history of the New York stage when elaborate dramatic
criticisms such as are the rule to-day were entirely unknown,
with perhaps a single journal, which was then one of two in-
novations, and it is greatly to be questioned if either or both
have been in the interest of dramatic art. The former was
the first introduction to the New York stage of a "Society
Actress," then the wife of a rich mercantile man, who could
well afford to spend thousands of dollars on the wardrobe of
his wife. "When the public wanted to see fine dresses," said
J. H. Stoddard to the writer, "they went to Wallack's Thea-
tre. But when the same public wanted to see dramatic art
they had to go to Laura Keene's."
That, we believe, was the origin of elaborate costumes on
the stage in this country. It may not have been entirely
vicious, but it was certainly demoralizing to art, if not dan-
gerous to young actresses who had to depend on their salary.
Every actress cannot be a woman of inspiration. On the stage
a woman must be either a great actress or have a great ward-
robe to attract attention.
The reaction had to come sooner or later. It came very
much sooner than was agreeable to those who like to patron-
ize art for art's sake only. The actresses of to-day, or very
many of them, disport their wardrobes on the streets, send
their theatrical costumes to the theatre in an envelope or by
letter; while their photographs, which fill a huge trunk, or
several of them, must be conveyed to the "Temple of Diana"
by an express wagon, several weeks in advance of that "genius,"
the newspaper paragrapher.


124
THE LIFE OF LAURA KEENE.
The second innovation was the appearance on the staff of a
New York journal of a typical "Jack Lofty," such as has been
made immortal by the pen of Oliver Goldsmith. Goldsmith,
however, exposed his pretender, or empiric, at the end of his
"Good-Natured Man;" which may account for the fact that
Goldsmith at his death was some twenty thousand pounds in
debt. Had "The Inspired Idiot" of Ireland, as he was re-
ferred to by an English flunkey, been a modern "Jack Lofty,"
he might have been on the pay-roll of the box office, just as
the New York journalist has been since the days of Wallack,
and as he is said to be to-day on a prominent theatre of that city.
Newspaper notoriety must have a wondrous fascination for
the people of the stage when such a man can go unexposed so
long, or not to be denounced by them in public as he is in
private. The "melody" of "Lofty," however, like the brook,
seems destined to run on forever. There is no feast or funeral
of the great in the profession at which he is not to be found,
while his lives of rich actors are quite as remarkable as is the
fact that a biography of a great but poor actor is quite out of
"Jack Lofty's" theory or way of wooing or paying homage to
the genius of the stage.
There is most assuredly no reason why the lives of rich
actors should not be written, especially when they are more
than great in their profession. To do so, however, at the ex-
pense of equally great but poor artists seems not only like the
sarcasm of Fate, but has been largely instrumental in the
present degradation of the stage in this country.
It may be of some interest, and no doubt it will be, to
glance at some of the stage creations of Laura Keene. How
many other characters she created in her brief hour will never
be known. At all events, it will be seen that the life of an
actress is not all sunshine:

66
11 be
Albina Mandeville in "The Will;" Mephistopheles in
Mephistopheles, or an Ambassador from Berlin;" Mrs.
Bromley in "Simpson and Co.;" Helen in "Poor Cousin
Walter;" Rachel Heywood in "The Rent Day;" Mrs. Chil-
lington in "A Morning Call;" Countess Helen in "The
Twelve Labors of Hercules;" Miss Blandford in "Speed the
Plough;" the Duchess de Torrenuel in "Faint Heart Never

THE LIFE OF LAURA KEENE.
125
Won Fair Lady;" Sophia in "The Road to Ruin;" Norah
Merton in "The Irish Heiress;" Lady Elizabeth in "The
Day After the Wedding;" Lady Hawthorne in "Old Heads
and Young Hearts;" Pauline in "Pauline;" Paul in "The
Pet of the Petticoats;" Bessie Tully in "Time Works Won-
ders; " Dinah in "The Young Quaker;" Joseph in "The
Young Scamp; " Marita in "Don Cæsar de Bazan;" Mary
Warzel in "Used Up;" Mrs. Bucklethorn in "Love in a
Maze;" Lucy Arundle in "Two Can Play at That Game;"
Carlo Broschi in "Asmodeus, or the Little Devil;" Donna
Francesco in "Where There's a Will There's a Way;"
Helen Plantagenet in "Love and Morning;" Marie de Mer-
anie in "Phillip of France;" Marguerite in "Marco Spada;"
Sir Charles Coldstream in "Used Up;" Francine in "Grist
to the Mill;" Cleopatra in the two-act comedy, "Antony and
Cleopatra ;" Claribel Addington in "Look Before You Leap,
or Wooing and Wedding;" Honoria Walsingham (aged
twenty) and Honoria Walsingham (aged 60) in "Dreams of
the Future;" Bob Nettles in "To Parents and Guardians;
Mlle. Diblieux in "A Lesson for Ladies;" Mrs. Torrington
in "Balance of Comfort;" Camaralzaman in "Camaralza-
man; Edward Sharpless in "Our Clerks;" Emily Lascelles
in "The Millionaire, or the Politician's Bride;" Mrs. Captain
Fitzsmith in "The Ladies' Club;" Therese Michel in "The
Chain of Events;" Victorine in "Victorine, or I'll Sleep On
It;" Madeline in "St. Mary's Eve;" Smike in "Nicholas
Nickleby;"
in "Satin in Paris;" Adriane in "Com-
edy of Errors; " Fanny Morrison in "Mind Your Own Busi-
ness;" Mrs. Trictrac in "Married Rake;" Cleopatra in
Antony and Cleopatra, Married and Settled;" An Interest-
ing Widow in "A Lady and Gentleman;" Mrs. Sternhold in
"Still Waters Run Deep; " Pauline in "Delicate Ground;"
Mrs. Robert Rackett in "My Wife's Mirror;" Madame Rogu-
lingrain and the Countess in "Demon Jester; " Arabella in
"Debutante; " Blanche in "Violet;" Patty Tavarock in
-;" Mary Leigh in "Hunted Down;" Miss Gray in
"Hearts Are Trumps;" Prince Charming in "Prince Charm-
ing;" Louise in "King and Court; the Directress in
Novely;" Bacchus in "Bacchus, or Spirits and Water;"
66
66
99
126
THE LIFE OF LAURA KEENE.
Mary in "Mary's Birthday;" Rose Elsworth in "Love in
'76;" Sylva in "The Elves, or the Statue Bride;" Prince
Charles in "Love of a Prince;" Princess in "Love's Tele-
graph;" Blanche, in "Blanche of Brandywine;" Mrs.
Merryweather in "Victims;" Countess in "Judith of Ge-
neva; " Mrs. Catchmug in "The Siam Light-guard;" Mrs.
Charles Glitter in "Splendid Misery;" Mlle. Therese Bernard
in "Birds of Prey;" Florence Trenchard in "Our American
Cousin ;" Lady Isabella in "East Lynne;" Martha Savage
in "The Workingmen of New York;" Harriet Wardner in
"House and Home;" Fanny Kelly in "World and Stage;"
Mrs. Honeyburn in "The Election;" Anna Maria Dobbs in
"Distant Relations;" Miama in "Green Bushes; " Virginia
Pate in "Vanity Fair, or Proud of their Vices;" Anne
Chute in "The Colleen Bawn;" Jacques Renaud in "The
Monkey Boy;" The Dauphin in "Louis the Eleventh;
Aileen Barradan in "Aileen Aroon;" "Toinette in "The
Saucy Housemaid; " Diavoline in "The Seven Sisters;
Diavoline in "The Seven Sons; " Little Tom in "A Christmas
Carol;" Mary Kelly in "The Peep o' Day;" Madame Claire
Genet in "No Rest for the Wicked;" Jessie McLane in
"Jessie McLane;" Nellie O'Donahue in "Bantry Bay;"
Tib in "Tib, or Our Cat in Crinoline;"
in "Second
Love, or Nature and Art;"
Mother;"
"White Lies;
in
99
""

in "I Dine with My
"The Light-house;
in "Flowers of the Forest;
29
99
in
in "Court and Stage; " Patrice in "The White Lady of
Wicklow;" Naomi Tighe in "School;" Lydia Languish in
"The Rivals;" Widow Cheerly in "The Soldier's Daughter;"
Lady Teazle in "The School for Scandal;" Lady Alice in
"Old Heads and Young Hearts;" Lady Gay Spanker in
"London Assurance;" Clara Douglas in "Money; Miss
Hardcastle in "She Stoops to Conquer;" Cicely Homespun
in "The Heir-at-Law;" Pauline in "The Lady of Lyons;"
Mrs. Haller in "The Stranger;" Constance in "The Love
Chase;" Juliana in "The Honeymoon;" Rose Fielding in
"The Willow Copse;" Lady Dedlock in "Bleak House;"
Hortense in "Bleak House; Camille in "Camille;" Mad-
ame de Fontanges in "Plot and Passion;" Mlle. Marco in

THE LIFE OF LAURA KEENE.
127
"The Marble Heart;" Julia in the "Hunchback;" Lady
Alice in "Dreams of Delusion;" Margaret Woffington in
"Masks and Faces;" Jane Eyre in "Jane Eyre;" Clarissa
Harlowe in "Clarissa Harlowe;" Ruth Ravenscar in "Two
Loves and a Life;" Martha in "David Copperfield;" Mar-
guerite in "Faust and Marguerite;" Lady Evelyn in "The
Wife's Secret;" Effie Deans in "The Heart of Midlothian;
Louise De Lascorus in "The Sea of Ice;" Ogarita in "The
Sea of Ice;" Hester Grazebrook in "The Unequal Match;"
Eleanor, the blind girl, in "Second Love;" Rachel in
"Rachel the Reaper;" Becky Sharp in "Vanity Fair;
Gilberte in "Frou-Frou;" Queen Elizabeth in "Richard the
Third;" Ophelia in "Hamlet;" Portia in "The Merchant of
Venice;" Oberon in "A Midsummer Night's Dream;" Puck in
"A Midsummer Night's Dream;" Miranda in "The Tempest;"
Viola in "The Twelfth Night;" Rosalind in "As You Like
It;" Beatrice in "Much Ado About Nothing."
CHAPTER XII.
PROFESSIONAL TRIBUTES.
AD Laura Keene not been a great actress," says Charles
"HAD
M. Walcot, who was connected with her New York
theatre for a long time, and traveled with her through
this country as a member of her company, "the elder Wallack
never would have brought her to this country. The Shake-
spearian creations alone of Miss Keene were remarkable. Her
Ophelia, Portia, and Puck were fine. Her Beatrice is a stage
picture of classical elegance to be remembered, while her
Rosalind was not equalled in her day, and has not been since.
Modjeska's Rosalind, compared with Miss Keene's, is not to be
considered. Indeed, it may be said that Miss Keene was equally
good in any part she played. Her Peg Woffington, Miss Hard-
castle, Ogarita, Camille, Marco, Lydia Languish, Lady Alice in
'Old Heads and Young Hearts,' Ruth Ravenscar in 'Two Loves
and a Life,' Mary in Mary's Birth-Day,' Rachel the Reaper,
Sylvia in the Statue Bride,' Cicely Homespun, Lady Evelyn
in 'The Wife's Secret,' Effie Deans, Miama in Green Bushes,'

128
THE LIFE OF LAURA KEENE.
Hester Grazebrook in 'An Unequal Match,' and Rose Fielding
in the 'Willow Copse,' were all creations almost without a
flaw, her Lady Teazle always ranking among the greatest of
her creations. In high classical comedy, the romantic, pas-
toral, spiritual, pathetic, and emotional school of acting, Laura
Keene probably had no equal in her day, and we are not
likely to have her like in ours. Her plays were superbly
mounted, but more especially so her Shakesperean produc-
tions (which were generally failures financially). Laura Keene
always had the best of everything in her theatres to be found
in the market. She worked herself to death, however, as it
was a common thing for her to be at the theatre from nine in
the morning until five in the afternoon, and then play at
night.
"Music always played a prominent part at Miss Keene's
theatre," continued Mr. Walcot, "her orchestra being a marked
and attractive feature of the house. Julia Bennett Barrow, of
Boston, in my opinion, was the nearest approach or rival to
Laura Keene in my day."-Interview with Charles M. Walcot,
Philadelphia, October 13th, 1895.
Mr. Joseph A. Smith, a retired actor, now in the Forrest
Home, Philadelphia, says: "Miss Keene was a very charming
woman; kind, gentle, generous and considerate to her actors.
I was connected with her theatre in California, and also with
her theatres in New York. As a business woman and manager
she had no equal. Her plays were produced with an artistic
and financial splendor practically unknown at any other
theatre in her day. As an actress she was equally great
in every part she played, whether as Marco, Effie Deans,
Becky Sharp, Peg Woffington, or in characters now practically
unknown to the stage. Her Rachel the Reaper cannot be
blotted from the memory. Even in small trifles, such as 'I
Dine with my Mother,' her art was such as to convert into a
classic what in other hands might be entirely unworthy of
comment. As her pathos came from the heart, it touched
the hearts of her audience. Laura Keene lived before her
day, and was more than loved by the members of her profes-
sion who knew her."-Interview, December 8th, 1895.

THE LIFE OF LAURA KEENE.
129
"I never saw Miss Keene play but once," said that veteran
actor, J. B. Roberts; "she played Portia under the manage-
ment of the elder Wallack. It was so long ago that I cannot
trust to my memory to express an opinion on the performance.
I have, however, just returned home from London. Talk of
acting! why, there is none at the present day, as I said to
John S. Clarke. If what I saw there was acting, then we old
fellows knew nothing of the art. Everything there, as here,"
continued Mr. Roberts, "is sacrificed to scenic displays, spec-
tacular effects, and magnificent stage mounting. I have
never seen plays produced with such a lavish wealth of
beauty. I saw Ellen Terry and Henry Irving. In 'The
Bells' and the 'Lyons Mail' Irving is great; but his Hamlet
and Macbeth are grotesque. In high comedy Ellen Terry has
no equal to-day. Her Lady Macbeth is a woeful performance.
They all want to play tragedy. As I have already stated,
acting in London and America has become a lost art. Henry
Irving is a great politician, a great student, and a great man.
But the actor's art has become a thing of the past. Elec-
tricity and stage effects have taken the place of the great
actors of the past."-Interview with J. B. Roberts, Philadel-
phia, September 6, 1895.
"Laura Keene," says John Jack, "was not only an all-
round actress, but as a comedienne, or in high classical comedy,
she had few if indeed an equal. In such characters as Miss
Hardcastle she had no rival. As an emotional actress Mrs.
John Drew could not be compared with her; while, on the
other hand, I regard Mrs. Drew as the finer actress of the two
in certain parts. Mrs. Drew's Lydia Languish was even finer
than her Mrs. Malaprop. Miss Keene's dignity, her exquisite
and lady-like bearing, her high sense of honor, and her finely-
cultivated mind, were hers by inheritance. She lived in the
days of Goldsmith and Sheridan, and no one was more com-
petent to interpret the creations of such masters than she.
She was equally at home with modern novelists. As a
business woman I have never known her equal. Her talent
for business amounted to genius, and was such that the greatest
business man in the country might have envied her. In such

9
130
THE LIFE OF LAURA KEENE.
a field, however, or while being great in both, it is frequently
a source of evil, if not weakness. Miss Keene met with great
triumphs and great reverses; but her life, as a rule, was prac-
tically that of the average actor of her time."-Interview with
John Jack, at Atlantic City, August 4, 1895.
"Laura Keene," says W. H. Wallis (and at the mention of
her name, the tears welled up in the old actor's eyes), "was
a dear personal friend of mine. She was a great woman, and
the best all-round actress of my time, and I have been on the
stage during the past forty years or more. Her Miss Hard-
castle, Lady Teazle and Peg Woffington were great. There
was practically no other Miss Hardcastle but Laura Keene.
In 'Dreams of Delusion,' 'The American Cousin,' and
characters in which she appeared she was marvelous. I do
not regard Marco, in the Marble Heart,' as a test part. I
have played with the elder Booth, Forrest, Fechter, Cushman
and all the great actors of my day, but Laura Keene was the
most finished artist of them all.
As Lady Teazle she
Once, while playing in the west, she
requested me to appear at rehearsal as Sir Peter in 'The
School for Scandal.' I was a little afraid of the part, but did
not like to say so. The truth is, I feared I could not act the
part well enough to satisfy Miss Keene, and hoped to get out
of it by saying that I had no coat for Sir Peter to wear.
'That is all right,' said Miss Keene, 'I have his coat with
me.' She brought me a very handsome satin coat; and I
played the part so well that she presented me with the coat.
The last time I saw Miss Keene she put her arms around my
neck and kissed me. Her parting words to me were 'God
bless you, uncle Billy' (which she always called me), 'take
good care of your health.'"-Interview, Philadelphia.
had no equal.
·
"I never played under the management of Laura Keene,"
says Marian Strickland, " a fact which I have always regret-
ted, as Miss Keene was not only a great actress and manager,
but the creator of great actors. As a stage-manager she had
no equal-certainly no superior-in her day. As an actress
it would be difficult to locate her greatest creation. The play
of 'Hunted Down,' which she purchased from Boucicault, was

THE LIFE OF LAURA KEENE.
131
re-written by her, and she subsequently presented it to Bouci-
cault, as she was always giving away something-from a play
to large sums of money to the Sisters of Charity. As
Florence Trenchard, Lady Teazle, Effie Deans, Becky Sharp,
Miss Hardcastle or Marco she was equally great. To see her
Marco was to remember it for all time. No one but Laura
Keene could depict the lesson and advice of the ruined father
as she did in The Marble Heart.' Her genius and enthusiasm
inspired the members of her company. That was why Laura
Keene created so many great actors in her day."-Interview
with Marian Strickland in New York, September 8, 1895.
"I was personally acquainted with Miss Keene," says Rose
Watkins, who covered her eyes with her hands and wept as
she heard of the dead actress. I regard Miss Keene as one
of the greatest actresses of her time. She was one of the
most beautiful women to look at I have ever seen; and in-
comparable as an actress in high comedy. With the death
of Miss Keene such characters or creations as Marco, Miss
Hardcastle, Peg Woffington and Ogarita also died. I have
never known so great a stage-manager or anyone who produced
plays with such taste, so elaborately, and with such personal
attention to details. I first saw Miss Keene in 'Love in a
Maze,' and was so charmed that the impression was such as
cannot be forgotten; while the ovation to Miss Keene from
the audience was more than tremendous."
"The first and only time I ever saw Laura Keene play,"
says Maggie Mitchell, "was in Baltimore. That was so long
ago that I do not even remember the name of the play. Miss
Keene was such a beautiful woman; her voice was so sweet
and her art so remarkable that I cannot describe the effect
she made on me."-Interview at Long Branch, New Jersey.
"Laura Keene," says Mrs. Jane English, "was not only one
of the greatest actresses of her day and time, but as a stage-
manager she had no equal, while she was the greatest busi-
ness woman I have ever known. Compared with Miss Keene
in business all other women, to me, in the theatrical world
faded into nothing. I had considerable business with her, as
I rented her theatre in New York. She was prompt, precise,

132
THE LIFE OF LAURA KEENE.
punctilious and exacting to the very letter of the law. Poor
John Duff! How she did worry him! Miss Keene did not
like Duff. He would come for his money. It was always
He got it
As I was
there and ready. But Duff would come before his time.
'Your money, Mr. Duff,' Miss Keene would say, 'is due at such
an hour. Call at that hour, and you shall get it.'
at the appointed hour, but not a moment sooner.
a stranger to Miss Keene, my first impression was not favor-
able, but I soon discovered that she was not only a woman
with a heart, but as a manager all other women were mere
cyphers or novices compared with her. The mounting of her
plays or stage productions was not only on a degree of
elegance, unknown and surpassing all other productions then,
but has practically been unknown to even elaborate stage
productions of to-day. The lace draperies alone, in one scene
of a stage setting under Miss Keene's management, would
cost hundreds of dollars. Nothing was too expensive for
Laura Keene, and nothing but the best ever entered her
theatre. She produced one play, the name of which I cannot
now recall, in which one entire stage scene was composed of
the finest white lace to be found on the market. Nothing
like this scene or stage setting has ever been witnessed on the
stage. Theatrical people came to see it, and marveled at the
women's daring as much as the people applauded her wonder-
ful enterprise. Miss Keene starred through the country in
this play, and carried the same stage scene with her. When
my daughter, Lucille, first appeared in New York, she was
bittterly assailed by the press of that city, and was informed
that, while her acting might do for the East side, it was not
such as to warrant her appearance in a Broadway theatre.
Laura Keene read the criticisms, went to the theatre where
my daughter was playing, and saw the performance for herself.
The next day she wrote a letter to my daughter, compliment-
ing her highly on her performance. Pay no attention, my
child,' said Miss Keene, 'to the criticisms referred to. I,
too, in my day, have been criticised in much the same manner,
but I have managed to live through it.'" "That letter from
Miss Keene," continues Mrs. English, "was the first stage in-
spiration my daughter ever received. I should like to give



LAURA KEENE.

THE LIFE OF LAURA KEENE.
133
you the letter for publication in 'Miss Keene's Life,' but I
cannot find it among my papers."-Mrs. Jane English, Forrest
Home, Philadelphia.
"O! what a sweet creature Laura Keene was as Effie
Deans!" says Emma Waller, "and what a life-like creation
she gave of Becky Sharp!" "I cannot imagine," said the
writer, "knowing the private life of Miss Keene as I did, how
she could portray with fidelity to nature the complex and des-
picable life of Becky Sharp." "Bless you, my child," said
Mrs. Waller, "Laura Keene's art was such as to make it
possible for her to give a life-like creation of any character
which she portrayed. Her Mary Leigh, in 'Hunted Down,'
was one of her best creations."-Interview.
"I have little to tell you in reference to Miss Keene," says
J. H. Stoddard, "further than that I was a member of her
company when she opened Laura Keene's Theatre, and con-
tinued with her as a member of the same for years. I cannot
name any particular part that I thought her better in than
another. To me she was the most charming actress that I
have ever met, and certainly the most brilliant in the direct-
ing of all her productions. Mrs. Stoddard met her when she
(Miss Keene) was with Mr. J. W. Wallack in '53 (I mean
Lester Wallack's father), who had the most brilliant company
-Blake, the elder Walcot, Lester Wallack, Lysander Thomp-
son, John Dyott and a host of others. Miss Keene, among
them all, was the attraction of the theatre,
and,
although Mr. Wallack was the ablest stage-director I have
ever known, he did nothing without consulting Miss Keene's
taste and judgment. . . . I am sorry I have nothing
to tell you of a more interesting nature, but I am exceedingly
glad that you are going to write a biography of so talented
and fascinating an artist."-Letter.
"I met Miss Keene but once," says Mrs. John Drew. "I
regarded her as a very good business woman, as well as a
very handsome one. I saw her play on several occasions, and
should judge that her best creations were in high and modern
comedy. Her Lady Alice Hawthorne in Old Heads and
Young Hearts' was delightful."

134
THE LIFE OF LAURA KEENE.
"I can give no information on the subject of Laura Keene,"
says Frank Mayo, "beyond the fact that I was a member of
her company in San Francisco in 1856 or '55; but as I was
a lad then of seventeen, my impressions would be of little
value. My chief recollection of Miss Keene is that she was
a most indefatigable manageress and a wonderfully versatile
actress. So many were the parts I saw her play, and all so
well (in my boyish judgment), that it would be impossible for
me to say in which she excelled. But it was her stage
management that most impressed me. I cannot conceive of
its being surpassed. I do not refer to the arrangement of
effects, etc., but of the marvelously keen understanding she
possessed of each and every character in the plays. At least
such was my youthful impression, and my riper days hold
still to that conviction. I mention this only, as it may be of
interest to you as a scrap of nothing on a work that must
be a pleasure to you."-Letter from Frank Mayo.
"For the sake of my own professional career," says Fanny
Davenport, "I regret the fact that Miss Laura Keene was long
before my time. The only remembrance I have of her is that
of a child, being practically such when my father (E. L. Dav-
enport) took me to see Miss Keene. It was at her own theatre
in New York. The play was 'The Statue Bride.' I have
heard my father speak of Miss Keene as a most excellent
manager, producer of plays, and a talented actress."
"I am sorry to say," says Mrs. G. A. Gilbert, "that I have
no personal or professional reminiscences of Laura Keene. I
knew and admired her, and considered her one of the best
actresses of her time."
"My first recollections of Miss Keene," says Col. W. E.
Sinn, "are when she had the Charles Street Theatre in Balti-
more, Md. Mr. John Duff at that time was her manager. It
was for a short season, and I think a fairly profitable one for
those days. The part that I liked Miss Keene best in was
Peg Woffington. I have never seen any one who pleased me
as well as Miss Keene did in that character. She was one of
the best all-around comedy actresses I can call to mind; and
I think one of the best stage managers of her sex."

THE LIFE OF LAURA KEENE.
135
"It would give me much pleasure," says Mrs. E. J. Phillips,
"to be able to furnish you with some material for your com-
mendable work, but my acquaintance with Miss Keene was
very slight. She was a beautiful woman and a thorough
artist. It would be difficult, I think, to discriminate as to her
greatest characterization; for in my opinion she was great in
all she essayed-from Lady Teazle to Ogarita in 'The Sea of
Ice.' I wish you every success, and would gladly assist you
were it in my power."
"I was never a member of Miss Keene's company," says
Mrs. Eldridge (Aunt Louisa), "consequently I knew but very
little about her. I met her first in April, 1865, the week
after the assassination of the lamented Lincoln, when she
came to play an engagement at Wood's Theatre, Cincinnati,
where I was a member of the stock company. She then told
me the entire story of the assassination, and how she went
into the box at Ford's Theatre, Washington, and held the head
of the murdered president. She also gave me a piece of the
dress she wore at the time. I cannot now find the scrap, as
it is more than thirty years since that sad event took place.
She played 'The American Cousin,' 'She Stoops to Conquer,'
'An Unequal Match,' 'The Marble Heart,' 'The Love Chase,'
'London Assurance,' and 'The School for Scandal.' I think
Miss Keene preferred 'She Stoops to Conquer,' The Marble
Heart,' 'London Assurance,' and 'The School for Scandal' to
all other plays. She particularly liked Marco and Lady
Teazle.
"Later on I played with Miss Keene. I think it was in
1868 or '69, at the Globe Theatre, Boston, under the manage-
ment of William Horace Lingard. Miss Keene made an en-
gagement to play 'Our American Cousin.' The theatre was
run down, and the play did not draw as well as anticipated.
Mr. Lingard made a contract to pay Miss Keene nightly. One
night near the end of the week the curtain was kept down
later than usual. I went to Miss Keene to ask why, as I
feared she was sick. I found her standing behind the center
door, ready to make her entrance, but at the same time for-
bidding the prompter to 'ring up' until she gave him the
signal. To my inquiry she said, 'I will tell you later.' I


136
THE LIFE OF LAURA KEENE.
walked away, and a few moments later one of the men from
the box-office handed her a roll of bank notes, which she
quietly counted, placed in her bosom, turned to the prompter
and said, 'Ring up!" A moment later she was before the
audience, acting her part as though nothing had happened.
This incident was sufficient to prove that she was a woman of
great determination of character. Later on she told me that
she felt certain she would never have received her money had
she not acted as she did. I learned afterwards that she was
right.
"Later on I met Miss Keene several times on the road,'
but since the death of her husband, John Lutz, she never had
a good manager. Miss Keene was a woman of great intelli-
gence, well bred, rather retiring, but most interesting in con-
versation. I trust your work will be a great success, as the
name of Laura Keene should not be permitted to die out.
She did a great deal in her day and time for the stage in this
country."-Letter.
"I should most gladly give you any material I possess,"
says Kate Reignolds (Mrs. Catharine Winslow), as my tribute
to the memory of Miss Keene; but, beyond the mention I
make of her in 'Yesterdays with Actors,' I am lacking in
material.
66
Every one who ever saw her act will acknowledge, I think,
that she was none the less the artiste because her strongly
delicate personality proclaimed her a lady first of all. . .
"She was, besides, one of those rare souls who possess
fascination, and no one could help being sensible of it Alike
in private and public, she arrested you at once, only to carry
you with her as few persons ever do either in society or upon
the stage.
"I myself was scarcely advanced enough while a member
of Miss Keene's company to venture a criticism at this remote
day; but, looking back, it would seem as if, in one way, her
lines were rather restricted. She rarely attempted anything
beyond the elegant woman of the world and the simple pathos
of genuine drama; yet, as a refined and exquisite comedienne,
she has never, to my mind, been surpassed; and in fascina-
tion, speaking from my own experience, I have never met her

THE LIFE OF LAURA KEENE.
137
equal. I am truly sorry that I can contribute but feebly to
what, I am sure, you will add as leaves of laurel to one so
justly crowned.
"Could Laura Keene return to life," said J. H. Stoddard,
while playing at the Walnut Street Theatre, Philadelphia, in
March, '96, "she would revolutionize the theatrical business.
"I am now 68 years old," continued this grand old actor,
"and have spent most of my time on the stage, but I have
never known such a woman as Laura Keene. Her finely
educated mind, her exquisite taste in costuming characters on
the stage-characters now practically unknown; her exquisite
bearing and style of dress when not on the stage; her sweet
and lovely disposition; the gentleness and purity of her life;
her wonderful knowledge of stage craft, independent of her art
as an actress, are things to be looked for, but not to be found
on the stage of to-day. Her charity was as large as her art.
She was as great a Peg Woffington as the celebrated English
actress, Mrs. Sterling, who was said to be the greatest Peg
Woffington that has ever lived."
Julia Marlowe Taber, talking about the executive ability of
theatrical women, says: "The executive ability in women of
the theatre has been quite as remarkable as the courage they
have shown. In touching on this point, one at once recalls
the experience of Laura Keene, who was a successful man-
ager as well as a delightful comedienne; and particularly one
instance when her aptness and nerve were amazingly shown.
The play was 'Much Ado About Nothing.' At the last
moment it was discovered that the costumes were not ready.
Calling before her the stolid and gaping supers, whose dresses
were in a sad state of incompleteness, with a paint brush hur-
riedly brought from the paint frame, she finished the decora-
tions on their doublets and trunks with slack paint; at the
same time exclaiming in that rapid delivery peculiar to her,
'Now, keep apart, don't sit down, don't brush against the
ladies,' and immediately was off herself to dress for Beatrice."
-Philadelphia Ledger.
"I was a member of Miss Keene's theatrical company in
New York," said Mrs. Taylor, professionally known as Mary
Marks, "and also connected with her theatre in Baltimore


138
THE LIFE OF LAURA KEENE.
during the war. I first appeared under her management when
she produced 'The Seven Sisters' in New York. I have
always regretted that I did not continue under her wonderful
art as an actress and marvelous stage discipline. Miss
Keene's productions were, probably, if not practically, fault-
less; while as an actress and manager, I have often thought
she was the greatest that ever lived.
"On the stage, while conducting rehearsals, she was abso-
lute master, and could be very tyrannical at times, although
in the next moment wonderfully kind. Suggestions to her
from others could never be given. Even her husband and
business manager, John Lutz, if on the stage during rehearsal,
was brushed away by the wave of her hand. Her stage
knowledge seemed to be such that that of all others counted
for nothing. In matters of the most trifling detail she was
quite as exacting. In the creations of Peg Woffington,
Marco, Miss Hardcastle, Ogarita and Beatrice, she seemed to
be without an equal; while the nearest approach to her Rosa-
lind that I have ever seen was the lovely Adelaide Neilson.
Miss Keene's great power over her actors was the kindness of
her heart. Her school was severe and exacting, but she created
actors and actresses such as you are not likely to see on the
stage of to-day."
"In reference to Laura Keene," says John Mathews, "I
can only speak of her, but as all the members of my profes-
sion knew her. She was an actress, and an experienced one.
In her day the term had a meaning. To-day it is a hollow
misnomer. Actresses then were not grown in a day, or
rather a night, like a toad-stool, as they are now, from Black-
berry alley, the divorce courts, or irresponsible hucksters
called 'dramatic agents.' Her theatres in New York, the
first, afterwards the Winter Garden, and the second, built for
her by Trimble, Broadway, between Bleeker and Houston
streets, were really theatres; not variety halls or leg-show
dives. They were to New York what the Arch has been to
Philadelphia, the home of the drama, tragedy, melodrama
and comedy. Her companies were composed of actors and
actresses, with the requisite number of utility' or useful be-
ginners; ready, willing and anxious to learn the A, B, C's of

THE LIFE OF LAURA KEENE.
139
their art; who felt honored in being connected with such an
institution; who lived at home understudying the small parts
in the many plays best known and most frequently played;
not gadding the streets and loafing on corners, as is the custom
now. Then the anxiety was, 'How shall I speak the words
of my part?' not 'What shall I wear?' In short, they knew
they had much to learn. Now they know it all at the start,
and consequently have nothing to think about except smoking
cigarettes and chewing gum!
"In regard to the characters in which Miss Keene was most
great, that depended on the part altogether. Good parts make
good actors; but the Lord help the poor man or woman who
has a run of bad parts to get through with. The public asso-
ciate the actor with the parts, and call him 'bad,' a 'stick,'
etc.
"Laura Keene, of course, was her own leading lady, and,
like Mrs. Drew, played all the principal parts, save when she
gave her juvenile lady a chance and promoted her. Person-
ally, Miss Keene was a hard-working woman; attending re-
hearsals as was her duty, and behaved like a lady to all the
members of her company. She was greatly liked by all who
knew her, and when Laura Keene's theatre ceased to be, and
fell into the hands of the so-called variety business, after poor
George Fox's death, it was a dramatic calamity."
"Long before I ever dreamed of being a member of Miss
Keene's company," says Frank Mordaunt, "I was fascinated
not only with her as an actress, but her whole school of thea-
trical and dramatic art. To me there never was such a
stage-manager as Laura Keene, with, perhaps, the exception
of Mrs. John Drew; and these two women must remain for
all time as the greatest stage-managers known to the world.
Men, in their day or time or now, could not or cannot in any
sense of the word be compared with them. Laura Keene, as
the producer of plays, was the greatest known in the annals
of the stage. Her devotion to even the most minute details
was not less marked than the attention which she bestowed
on greater matters. Miss Keene always took the greatest
interest in my work, and three-quarters of the knowledge of
my profession, which now practically covers nearly an entire

140
THE LIFE OF LAURA KEENE.
life, was learned from Laura Keene. Miss Keene was the
first to arrange The School for Scandal' for production in
this country; and while I have not seen Daly's production of
that play, I am satisfied from what I have read of it that he
produced The School for Scandal' as it was arranged by
Laura Keene. 'Hunted Down' and 'School' were other
plays which Miss Keene practically re-created. 'School', as
re-written by Miss Keene, was so superior to the original that
the author would not have known it. She introduced new
dialogue for the scholars never thought of by Robertson.
'Hunted Down' was no exception, and, as a matter of fact,
this was the rule in most, if not all, of her productions.
Laura Keene was one of the greatest actresses that has ever
lived. Her Rachel the Reaper, Effie Deans and Florence
Trenchard were great creations, while there was no Peg
Woffington but she. Miss Keene was equally great in any
part she played. It would be impossible to name her greatest
creation, as she was equally great in any character. I have
never known a woman who possessed so many noble, generous
and fine impulses as Laura Keene. And oh! what a fine
mind this woman possessed! She also had the rare faculty
of being able to transform herself from that of a middle-aged
woman into that of a very young girl, as was seen in her
creation of Naomi Tighe in School.' Miss Keene as a man-
ager was imperious, haughty, dignified and dictatorial. But
withal, she was full of kindness and forgiveness. I can give
no better illustration of Laura Keene as an actress and man-
ager than that of an incident which occurred at the Holliday
Street Theatre, Baltimore, where we were filling an engage-
ment. My work was not entirely satisfactory to Miss Keene.
She sent for me, and said, in tones of exquisite superiority,
Mr.Mordaunt, you must learn to act up to me, as it is quite
impossible that I should act down to you. I come on the stage,
and strew it with my exquisite scraps of oil-paintings. You
come along after me with a whitewash brush, and daub all
over my oil-paintings! This will not do, sir! You must
learn to act up to me!""-Interview with Frank Mordaunt,
October 28, 1896.
6

THE LIFE OF LAURA KEENE.
141
TO LAURA KEENE.
"Lightest and liveliest of Thalia's train-
To crush her merits envy strives in vain.
The sternest brow unbends when she is nigh,
Woo'd into kindness by her laughing eye;
There sporting loves and winning graces play,
To steal the gazer from himself away.
What heart e'er felt the magic of her smile
And paused to look for trivial faults the while?
Such graceful movements, mixed with courtly ease,
Such native elegance must ever please.
Her gay good humor and her countless charms
The coldest cynic of his frown disarms.
We lose ourselves, and, pleased-we know not why-
Forget to criticise when she is by!"
From Parker's "Spirit of the Times," New York, December
8, 1860.
"I do not understand why the renown and prestige of the
great name of Garrick do not attract modern actors to follow
in his footsteps. Do not tell me that the works of Shakespeare
are out of fashion, and that the public no longer want them.
Shakespeare is always new-so new that not even yet is he
understood by everybody; and if, as they say, the public is
no longer attracted by his plays, it is because they are super-
ficially presented. To win the approval of the audience, a
dazzling and conspicuous mise en scene does not suffice, as
some seem to imagine, to make up deficiency in interpreta-
tion; a more profound study of the characters represented is
indispensable. If in art you can join the beautiful and the
good, so much the better for you; but if you give the public
the alternative, it will always prefer the good to the beautiful."
-Autobiography, Tommaso Salvini, page 168.

142
THE LIFE OF LAURA KEENE.
CHAPTER XIII.
AS MANAGER.
L
AURA KEENE, as a theatrical manager, ranked in her
day and time on a par with not only the leading theatrical
managers of this country, but indeed of the world. She
was the first theatrical manager in America, if we have not
been wrongly informed, who had an agent in Paris, France, to
notify her of the latest productions of the gay capital of the
world. By this advantage she was in a position to be the
first to present at her theatres in New York the latest attrac-
tions known to the theatrical world of France.
Laura Keene, however, was more than an actress and
manager. She was an enthusiast, not only in her profession,
but in every branch of the polite arts. She probably had the
finest theatrical library in this country, and was more than
conversant with the compositions of all of the English drama-
tists from the era of Elizabeth down to her own day. Spencer,
Leigh Hunt, Wycherly, Congreve, Vanbraugh, Farquhar,
Dryden, Addison, Massinger, Ben Jonson, Fletcher, Southey,
Charles Lamb, Ford, Strong, Southern, and Hughes, were
names as familiar to her as those of Byron, Goldsmith, Sheri-
dan, Shakespeare, Corneille, Racine, Moliere, Caldron, and
Schiller-not neglecting at any time the living young dramatic
writers of her day In the columns of the New York Herald,
of about thirty years ago, we find this woman offering one
thousand dollars for the best play written by an American
author, showing her desire then to not only aid but encourage
American writers. In the same paper of that time, it can be
seen that as a manager Miss Keene spent more money in adver-
tising her New York theatres then, than is probably spent by
any half-dozen of the theatrical managers of New York to-day.
It is a question, indeed, if any pen can give a better record
of Laura Keene as a manager than her own, as may be seen in
her preface in her version of " A Midsummer Night's Dream,"
as produced by her at her New York Theatre; for which I am



THE LIFE OF LAURA KEENE.
143
indebted for a copy of that play to that sterling actor, Owen
Fawcett, who was later on a member of Miss Keene's company.
"PREFACE."
"A Midsummer Night's Dream' was, according to the best
authorities, written by Shakespeare at a period of life when
his creative mind glowed with all the warmth of a youthful
and lively imagination."
"The poet did not search very deeply into history or tradi-
tion for the story; but, relying on his own exquisite genius,
bequeathed to posterity one of those unparalleled composi-
tions which have rendered him the delight and wonder of
successive ages.' Apart from the supernatural agencies which
relate to the quarrels of Oberon (the fairy monarch) and his
queen (Titania), the classical figures of Theseus and Hippolyta
stand forward as the chief human personages of this most
harmonious of dramas.
6
Nevertheless, I have undertaken with enthusiasm the pro-
duction of the Midsummer Night's Dream;' not that the
range of its female characters present any one which I might
make peculiarly my own, but because this play, and that of
'As You Like It,' have been the chief objects of my admira-
tion and study in the Shakesperian Drama-the one abounding
in the most exquisite poetical imagery, and the other fascina-
ting by its beautiful pastoral simplicity. It has been my
earnest endeavor that the present representation shall be in
strict accordance with the text as far as theatrical capabili-
ties will allow, and I trust my endeavors will prove successful.
"I desire to render my warm and sincere thanks to Mr.
H —, of Harvard College, for the valuable information
he has afforded me on the subject of Greek, and more partic-
ularly Athenian, antiquities. Also to Mr. W, whose
knowledge of Shakesperian subjects and deep learning have
elucidated many of the ambiguous and obsolete phrases of the
original, and thus enabled me to arrive at the exact intentions
of the author. Mr. W's valuable library, which has
been placed at my disposal has greatly facilitated my search
after the historical information necessary to the faithful pro-
duction of the piece. To Mr. Genio C. Scott, also, I am

144
THE LIFE OF LAURA KEENE.
indebted for much valuable information on the subject of
costume, he having kindly supplied me many designs from
his sketches taken during his antiquarian researches at or near
the scene of the events represented. I must also acknowledge
my obligation to Mr. Charles Kean for the use of his acting
edition of the play, so admirably arranged for the stage; and
I should have availed myself more of his scholarly labors had
I not desired to blend with the poetry of Shakespeare the
music of Mendelssohn, and produce the chef-d'oeuvre of that
great composer, Ein Sommernachtstraum,' entire.
6
"New York,1859.
LAURA KEENE."
No manager, most assuredly, not even Henry Irving, con-
fessedly the greatest producer of plays known to the stage of
to-day, can be said to have delved so deeply into stage-craft
and its mystery as did Laura Keene then or nearly forty years
ago.
As to Miss Keene's stock companies, "She always had the
best that could be found in the market," says Charles M. Wal-
cot. It is a question, indeed, if any English-speaking theatre
in the world surpassed this woman in the selection of her
actors, as may be seen by the following names which are taken
from the cast of her plays as published in Col. T. Alston
Brown's "History of the New York stage:"
"Walter Lennox, George Jordan, Charles Wheatleigh, J.
H. Stoddard, Joseph Jefferson, C. W. Couldock, E. A. Sothern,
Milnes Levick, Dion Boucicault, Mark Smith, Charles Fisher,
H. F. Daly, George W. Lingard, J. Burnett, W. R. Blake,
Frank Bangs, Charles M. Walcot, D. Leeson, T. B. Johnson,
Owen Marlowe, John T. Raymond, D. W. Waller, W. J.
Florence and Sol Smith Russell. Mary Wells, Madame
Ponisi, Kate Reignolds, Ada Clifton, Jesephine Manners,
Marion Macarty, Eliza Couldock, Agnes Robertson, Mrs.
Mark Smith, Mrs. Charles W. Walcot, Effie Germon, Sara
Stephens, Cornelia Jefferson, Mrs. J. H. Allen, Polly Marshall,
Mrs. W. J. Florence, Mrs. F. S. Chanfrau, Mrs. Emma Waller
and Charlotte Thompson.
These names, it should not be forgotten, are but those who
were attached to Miss Keene's theatres in New York; there


THE LIFE OF LAURA KEENE.
145
is no mention of the stock companies which she had in her
theatres in California or Baltimore, while her company at
the Chestnut Street Theatre, Philadelphia, already referred
to, proves that such a woman could not or would not be sur-
rounded with any but artists; while her last starring tour, in
which she was supported by her own company, was made
up of the best members of the Chestnut Street Theatre
stock company, Philadelphia.
With such material to work on, it can readily be seen
that the plays as presented by Laura Keene were probably
never surpassed at any theatre in this country, even at a
time when great stock companies were the rule and not the
exception. Laura Keene, however, was more than the crea-
tor of great stock companies. She was, in fact, the creator
of great stars; for very many of the most successful stars in
this country during the past quarter of a century were largely
indebted to the great school of dramatic art handled and
presided over by this woman.
Among the artists who practically graduated as stars from
Miss Keene's theatres may be mentioned Kate Reignolds, E.
A. Sothern, Dion Boucicault, Agnes Robertson, Mrs. F. S.
Chanfrau, John T. Raymond, Stuart Robson, Mr. and Mrs.
Waller, W. J. Florence and wife, Sol Smith Russell and
Joseph Jefferson. Madame Ponisi also starred at one period
of her life; as did Charles M. Walcot and wife.
Much stress has been laid on the artistic success of that fine
actor, E. A. Sothern, in Dundreary and Brother Sam.
In our opinion, his greatest artistic work was as David Gar-
rick and in "The Crushed Tragedian." The characters are
so dissimilar; Garrick's self-sacrifice and humiliation, to pre-
vent the girl who loves him from doing so, was so full of
pathos as to be well nigh tragic; while the serious blunders of
the "Crushed Tragedian" in always reading the newspaper
criticisms of his own performances just when he should not,
were efforts worthy of only a really great actor.
John T. Raymond's best performance, although he does not
as a rule get credit for it, was probably as The Babby in
"The Peep o' Day."
What should also recommend such a theatrical manager as

10
146
THE LIFE OF LAURA KEENE.
Laura Keene to the public was the fact that plays as they were
written originally commanded some respect from her, and were
not abbreviated or "chopped up" in the interest of any one
performer. "Our American Cousin," certainly not a great
play as a literary production, while probably not common-
place, was not blank verse. It possessed elements of human
interest, however, which the masses could grasp without being
either erudite or stupid. As originally performed by Miss
Keene's great company, it became a great play owing to the
individual power of each individual actor. As subsequently
presented by Mr. Sothern it consisted largely of a one-part
work of art. It is true that it made more than a fortune for
Mr. Sothern as such, but it is none the less true that as pre-
sented by Mr. Sothern it lost its charm for the few, but re-
tained its imbecility for the many.
Joseph Jefferson, on the other hand, who has been equally
successful, if, indeed, not more so, with "Rip Van Winkle,”
has not found it necessary to destroy the beautiful legend
of Washington Irving by making the fascinating vagabond,
Rip, a one-part play. It is probable that had he done so,
Rip would have been less successful. While, on the other
hand, had Sothern presented "Our American Cousin" as Miss
Keene did, he might have met with financial disaster. These
are nice questions to consider. It is certain that at no period
of her professional career was Miss Keene guilty of literary
sacrilege in the interest of her own vanity; while "Our
American Cousin" as originally produced by Miss Keene was
one
one of the most successful plays in the history of the Ameri-
can stage, and at a time when our population was probably a
third smaller than at the present day.
Serious dramatic writers, or those who are not such, but
who cannot be influenced financially in matters of dramatic
art, have always deprecated, among other evils of the stage,
the liberty taken by actors and managers at the expense of
authors. We can conceive why a writer's composition should
be improved on by a manager of experience, not only to the
interest of the author, but also the manager, without injuring
the former while it may greatly benefit the latter. At the
same time the writer of plays cannot be entirely a cypher-



THE LIFE OF LAURA KEENE.
147
metaphorically speaking. It is true that he may lack the ex-
perience of a manager, but it is equally true that the man-
ager does not always possess the ability to write plays. Even
Augustin Daly, who ranks very highly, and justly so, among
the foremost of our managers, has been tainted with this evil;
while a prominent American star, who recently gave a very
elaborate stage setting of "Richard the Third," was so fasci-
nated or conscious of his own importance that Richard was
not only "himself again," but practically occupied or mon-
opolized the stage during the entire performance.
The transition, or revolution, which the American stage is
now passing through is one of the anomalies not easy to
comprehend or understand. The history of the drama until
about twenty years ago was confined entirely or exclusively
to members of the theatrical profession, either as actors or
managers, if not both. It is certain that as a profession it was
confined, handled and managed by those only who were prac-
tically born in the business; and, as such, was largely, if not
entirely, managed by those whose right it was, if not by in-
heritance, at least by experience and ability.
Laura Keene, the Wallacks, the Booths, Mrs. John Drew,
E. L. Davenport and scores of names too numerous to mention
were not only identified with, but, like their dramatic predeces-
sors, were the managers of, the business in this country from
the introduction of the drama in America until a comparatively
recent period. During an era which might reach far back
into the past century without any very great violation to
the imagination or historical facts, dramatic art in America
was confined entirely to those who had never known any
other business, calling or profession. Yet, in less than the
brief period of twenty-five years, we find this calling or pro-
fession, which once heralded to the world the names of the
most illustrious artists known to dramatic fame, has passed as
if in a night into the hands of an element who have no more
regard for dramatic art than that sacred (?) animal of the late
Phineas T. Barnum, known to the world as Jumbo!
This transition in so brief a period, during which time the
entire business has been so revolutionized that dramatic art
practically exists no longer in this country, is a phenomenon

148
THE LIFE OF LAURA KEENE.
which not only baffles the public, but those who have made
theatrical art a life-study. We can conceive why-by the
passing away of one generation of actors and managers-
another generation from the same school should succeed them,
as has been the rule and law of nature in other branches
of art, trade and mercantile business. There is no such
theory to work on, however, in the condition or history of
the American stage during the past twenty years.
Actors or
their offspring have existed as formerly, but, as if stricken by
a plague, they have been driven from their own temple as
managers and, very largely so, as actors or members of their
own profession; while those who usurp their place to-day are
not only a sarcasm as such, but largely a burlesque-if, in-
deed, not a stain or a shame on the name of dramatic art.
That the introduction of the combination system has been
largely responsible for this evil seems to be the general opinion
of not only old-time actors, or what there is left of them, but
of the public as well, or that part of the public interested in
theatrical events. As the theatre is a factor or school which
plays a very prominent part in almost every household in the
land where the morals and education of children are at
stake, it must necessarily follow that the attraction offered by
theatrical managers is scanned very carefully by almost every
father and mother. Art is of necessity of slow growth in almost
every branch. Dramatic art is no exception to the rule. By
the abolition of the stock companies and the introduction of
the combination system there were no longer art schools in
this country in which to educate young actors. Even old
actors or those who were trained in stock companies and have
been retained in their profession have lost much of their
former power of splendor, as was inevitable; and have devel-
oped, in consequence of playing one part during an entire
season or more, into mere machines or automatons, and possess
but the fragments of their former grace and elegance. This
is not surprising. They have been divorced so long from their
former idols and so grotesquely associated with the creations
of the showman, that they are practically no longer actors;
while their art, which was once so carefully inculcated into
them, has saved them from becoming mere buffoons or the


THE LIFE OF LAURA KEENE.
149
natural product of the showman's school. Nothing can be
said in favor of the combination system but the fact that a
few actors and very many theatrical speculators-the creation
of the combination school-have amassed a vast amount of
money. The actors who have grown rich are very few, but
they have become such at the expense of the many; while
the showmen or speculators who ironically pose as managers
have grown opulent at the expense of the drama which no
longer exists, for art and the auctioneer can scarcely be recon-
ciled in the same temple. The rich actor and opulent show-
man travel in palace-cars, while the poor actors can be conveyed
as best they may, if not frequently obliged to walk or borrow
money to convey them from one night's stand to another.
Much of this sort of business might be condoned were it
not for the fact that practically all theatres are now in the
possession of the showman and speculator. Essentially vulgar
in taste, this element cannot be expected to mingle, associate,
or affiliate with dramatic artists while there are prize-fighters
to be secured who are so much in harmony with their taste,
and so near their intellectual (?) calibre or level. While the
divorce courts and concert halls are carefully scanned and
watched to furnish female stars (?) for the stage of this country,
which has been honored by such names as Mrs. John Drew,
Charlotte Cushman, Modjeska, Agnes Robertson, Mrs. Jean
Davenport Lander, Mrs. Barney Williams, Agnes Booth,
Fanny Davenport, Madam Janauschek, and hundreds of
others, whose dramatic lustre is now a household word, while
the modern "idol" or heroine of the showman and speculator
has nothing to recommend her claims to histrionics but the
story of her debauchery, profligacy, degradation, and shame.
This state of affairs certainly did not exist in the theatrical
world of America during Laura Keene's day and time. The
theatrical speculator and showman; the woman of society
who has gone wrong; the faded beauties of the divorce
courts; together with the concert hall products, were ele-
ments of evil which, happily, Miss Keene never had the
misfortune of encountering professionally or otherwise. Pro-
fessionally she would not, personally it would have been
impossible. Had she lived, God only knows what professional

150
THE LIFE OF LAURA KEENE.
indignities and humiliations Fate might have had in store for
her, as has been the case with so many of her sister artists
during the past fifteen or twenty years. And yet there
seems to be an element of poetic justice in the present degra-
dation of the stage. Were dramatic artists true to them-
selves, the lewd of both sexes, the speculator and showman,
the women from divorce courts, very questionable society and
concert halls, never could have achieved a notoriety on the
stage which has been largely the result of a life that has at
least been questionable, if not revelling in gayeties, "splen-
dor," and infamy.
Laura Keene's stock companies have already been referred
to. Let us now glance at the cast of a few of her productions
while manager in New York. Most of the actors are now
either dead or living in retirement. Yet it is a fact that, to
students of dramatic art or stage literature, those who are
now living and professionally engaged, are but little better
known than those who have passed from the foot-lights for-
ever.
STOCK COMPANY.
Mr. W. R. Blake, Mr. Chas. Wheatleigh, Mr. Chas. Walcot,
Mr. J. T. Raymond, Mr. Chas. Peters, Mr. Walter Lenox,
Mr. Stuart Robson, Mr. J. H. Stoddard, Mr. H. F. Daly, Mr.
Levick, Mr. Marlowe, Mr. Hind, Mr. Barrett, Mr. R. A.
Baker, Mr. Bilby, Mr. Richardson, Mr. Fielding, Mrs. W. R.
Blake, Miss Ada Clifton, Mrs. Sedley Brown, Miss Isabella
Nickinson, Mrs. Charles Walcot, Mrs. Laura Leigh, Miss Clara
Leigh, Miss Emma Taylor, Miss Ione Burke, Mrs. A. Hind,
Mrs. J. H. Stoddart, Miss Mary Everett and Miss Laura
Keene.-Boucicault's chef-d'oeuvre, New York Herald, Septem-
ber 19, 1862.
SHE STOOPS TO CONQUER.
Mr. Blake, as Mr. Hardcastle; Laura Keene, as Miss Hard-
castle; Mr. Raymond, as Tony Lumpkin; Miss Ada Clifton,
as Miss Neville; Mr. Peters, as Diggery; Mrs. A. Hind, as
Mrs. Hardcastle; Mr. C. Walcot, Jr., as Young Marlowe;
Mr. Levick, as Hastings.-New York Herald, September 25,
1862.

THE LIFE OF LAURA KEENE.
151
MARY'S BIRTHDAY.
George Lordley, C. Wheatleigh; Vernon Lordley, J. A.
Smith; Beale, Mr. Reeve; Mr. Hawthorne, J. H. Stoddart;
Alice, Ada Clifton; Mary, Laura Keene.
PEEP O' DAY.
The MacCarthy, Mr. Waller; Nelly Brady, Emma Waller;
Mary Kelly, Laura Keene; Father Peter, Mr. Burnett; Peery
Roirdan, Mr. Dillon; Darby Kelly, Mr. Stoddart; The Babby,
Mr. Raymond; Capt. MacNeary, Mr. Marlowe; Terrence
McGown, Mr. Peters; Aleck Purcell, Mr. Daly; Capt. How-
ard, Mr. Levick; Larry McDade, Miss Burke; Johnny Gaul,
Miss Marks; Dennis, Mr. Richardson; Murphy, Mr. De Lit-
tle; Phadrig, Mr. Miles; Thady, Mr. Bilby; Helen Mac-
Neary, Mrs. J. H. Allen; Patsy Moore, Miss Ione Burke;
Mrs. Unbrooney, Mrs. Marlowe; Molly Flaherty, Miss Ever-
ett; Widow Malloy, Mrs. Dillon. Soldiers, peasants, "Peep
o' Day Boys," by a hundred supernumeraries.-New York
Herald, February 27, 1862.
JAYNE EYRE.
Rochester, Geo. Jordan; Col. Dent, H. Hall; John Downey,
T. B. Johnston; Jane Eyre, Laura Keene; Lady May, Ada
Clare; Mrs. Col. Dent, Miss McDonagh; Miss Temple, Annie
Walters; Miss Sencherd, Emily Lesdernier; Lord Theodore,
G. K. Dickinson; Brocklehurst, C. Bass; Mr. Wood, Mr. Car-
penter; Lady Blanche, Kate Reignolds; Dowager, Mary
Wells; Mrs. Eshton, Miss James; Mrs. Gryce, Mrs. J. R.
Scott; Grace Pool, Mrs. Carpenter; The Maniac Wife, Mrs.
Jarvis.
YOUNG NEW YORK.
Bacchus, Laura Keene; Jupiter, J. G. Burnett; Momus,
Charles Wheatleigh; Hymen, Cornelia Jefferson; Mars,
Mrs. Hays; Silenus, H. McDouall; Pan, B. Yates; Mercury,
Josephine Manners; Apollo, Miss Stella; Cadmus, J. H. Stod-
dart; Ampuleas, Mr. Alleyne; Vulcan, Mr. Donelson; Juno,
Mrs. W. H. Smith; Ariadne, Julia Goulde; Venus, Miss
Alleyne; Circe, T. B. Johnston; Hebe, Miss Howell; Cal-
liope, Miss Minnie; Diana, Miss Gray; Jola, Mrs. J. H. Stod-

152
THE LIFE OF LAURA KEENE.
dart; Ceres, Miss Mairs; Olio, Mrs. Harry Wall; Cupid,
Clara Taylor.
CAMILLE.
Armand Duval, Geo. Jordan; Count De Giray, Mr. Chan-
dler;
Dr. Lesage, Mr. McDonall; Arthur, Trevor; Gustave,
Howard; Louis, Tree; Nanine, Kate Reignolds; Mlle. Marie,
Miss Tree; M. Duval, Charles Bass; Gaston, T. B. Johnston;
St. Gauden, Mr. Wemyss; Pierre, Mr. Carpenter; Camille,
Laura Keene; Nichette, Annie Lewis; Prudence, Mary
Wells; Mlle. Anais, Miss McDonough; Spirit of Camille's
Mother, Emily Lesderneir.
TWO LOVES AND A LIFE.
Sir Gervase, Geo. Jordan; William, Mr. Chester; Musgrave,
Wemyss; Captain Donner, Mr. Howard; Standish, F. Trevor;
Hall, Mr. Watson; Fenwick, Mr. Tree; Ruth Ravenscear,
Laura Keene; Father Radcliffe, H. Hall; John Daw, T. B.
Johnston; Captain Jansen, F. Lyster; Gordon, Mr. Wilson;
Sampson Potts, Mr. Rea; Ridley, Mr. Wilson; Farmer, Mr.
Carpenter; Annie, Kate Reignolds.
JUDITH OF GENEVA,
Mons. St. Val, Hardenbergh; Henry St. Val, Carleton
Howard; Le Lanney, J. H. Stoddart; La Vogue, C. Wheat-
leigh; Nicholas, Joseph Jefferson; Robert, Harcourt; Foot-
man, Evans; Cook, Numeret; Countess, Laura Keene; Amy,
Charlotte Thompson; Rose, Mary Wells; Gardener, Burke.
BIRDS OF PREY.
Charles de Rennepout, Geo. Jordan; Viscount George Dar-
menonville, C. Wheatleigh; Mons. Lalonette, J. G. Burnett;
Henry De Clamarius, G. W. Stoddart; Mlle. Theresa Bernard,
Laura Keene; Duchess de Guarande, Annie Taylor; Mlle.
Georgina, Charlotte Thompson; Mons. Maugiron, T. Duncan;
Eustace, Brown; Gustave, Burke; Servants, Evans and
Numeret.
THE ELVES, OR THE STATUE BRIDE.
Prince Pomp, J. H. Stoddart; Prince Lubin, Kate Reig-
nolds;
Count Coldstreamer, C. Wheatleigh; Toadlyer, J. A.
Smith; Soft Sawder, Alleyne; Chringis, Hayes; Hyacinthe,
McDonall; Colin, T. B. Johnston; Corin, Jackson; Arcader,


CLARA STELLA TAYLOR.

THE LIFE OF LAURA KEENE.
153
Ben Yates; Colantha, Harcourt; Eglanter, Benson; Argenter,
Reeve; Melantha, Miss Alford; Sylva, Laura Keene; Prin-
cess, Miss Manners; Phillis, C. Jefferson; Eoline, Mrs. T. B.
Johnston; Mme. Chloe, Mrs. H. P. Grattan; Daphne, Mrs.
Stoddart; Phoebe, Miss Alleyne; Ifis, Julia Gould; Grundyne,
Mrs. Atwood; Zephyr, Miss Stella; Florinis, Miss Berkowitz;
Blondin, Miss West; Myrtillis, Miss Alice; Grimalkin, Mas-
ter Thomas.
VICTIMS.
Mr. Merryweather, C. Wheatleigh; Mr. Rowley, J. G. Bur-
nett; Herbert Fitzherbert, Geo. Stoddart; Joshua Butterfly,
Jefferson; Mr. Curdle, J. H. Stoddart; Mr. Meddlemust,
Carlton Howard; Mr. Hornblower, Hardenberg; Carfuffle,
Harcourt; Skinner, C. Peters; Mrs. Merryweather, Laura
Keene; Miss Crane, Mary Wells; Mrs. Fitzherbert, Charlotte
Thompson; Satchell, Annie Walters; Mrs. Sharp, Mrs. Thomp-
son; Mary Bustle, Mis Bell.
THE MONKEY BOY.
Pierre Renaud, C. W. Couldock; Jacques Renaud, Laura
Keene; Joseph Rouquet, J. G. Burnett; Hon. S. Spooner, T.
B. Johnston; Lucien Girard, H. F. Daly; Picket, Charles
Peters; Tanpin, Dan Leeson; Maurice, Milnes Levick; Ger-
vaise, Mr. Bernard; Paul, Mr. Barton; Kanoul, Geo. W. Lin-
gard; La Jeune, Mr. Arthur; Conjuror, Mr. Markham; Blind
Man, Mr. Clinton; Joseph, Mr. Goodrich; Mathias, Mr. Henry;
Officer of Police, Mr. Gledhill; Le Noir, Josephine Henry; Le
Rent, Master Wren; Fauvette, Polly Marshall; Rose, Mrs. J. H.
Allen; Madame Mignonnette, Mrs. H. Vining; Coralie, Lotty
Hough; Diana, Miss Oswald; Madame La Bridges, Miss
Everett.
THE MACARTHY, OR PEEP O' DAY.
The Macarthy, D. W. Waller; Nelly Brady, Mrs. D. W.
Waller; Mary Kelly, Laura Keene; Father Kelly, J. G. Bur-
nett; Percy Riordan, Mr. Dillon; Darby Kelly, J. H. Stoddart;
The Babby, J. T. Raymond; Captain Macneary, Owen Mar-
lowe; Terrence McGown, C. Peters; Aleck Purcell, H. F.
Daly; Captain Howard, Milnes Levick; Larry McDade, Miss
Burke; John Gaul, Miss Marks; Dennis, Mr. Richardson;
Murphy, Mr. De Little; Phadrig, Mr. Mills; Thady, Mr.

154
THE LIFE OF LAURA KEENE.
Bilby; Helen Macneary, Mrs. J. H. Allen; Patsy Moore,
Ione Burke; Mrs. Mulrooney, Mrs. Owen Marlowe; Molly
Flaherty, Miss Everett; Widow Molloy, Mrs. Dillon.
PHYSIC AND FANCY.
Argan, J. G. Burnett; Arnolde, Wall; Toinette, Laura
Keene; Louison, Mrs. J. H. Allen; Belline, Lotty Hough;
Bercalde, Geo. F. Brown; Angelique, Miss Willoughby; Dr.
Pargon, D. Leeson; Thomas Diaforius, C. Peters; Clantes,
Barton; Bonnefoi, Wren; Fleurant, Goodrich.
BLANCHE OF BRANDYWINE.
General Washington, Edwin Varrey; General Greene, Mc-
Douall; Sampson, Denham; Gilbert Gates, Frank Bangs;
Blanche of Brandywine, Laura Keene; Randolph, H. F.
Daly; John Walford, C. Wheatleigh; Col. Frazier, J. Burnett;
Seth Hope, Joseph Jefferson; Krout, C. Peters; Clerewood,
Arthur Alleyne; Rose Frazier, Miss Alleyne; Sally, Miss
Warde; General Howe, Mr. Martin; George Percy, Milnes
Levick.
JESSIE MCLANE.
John McLane, Chas. Wheatleigh; Arthur Marsden, Chas.
Walcot, Jr.; Mrs. Gimp, Isabella Nickinson; Marker, Chas.
Peters; Martin, Milnes Levick; Doctor, J. H. Stoddart;
Choker, Mr. Maxwell; Walford, Mr. Thompson; Phipps, Mr.
Bilby; James, Mr. Jones; William, Mr. Rouse; Footman,
Mr. Roberts; Jessie McLane, Laura Keene; Polly Wright,
Mrs. Robertson; Betsy Brown, Ione Burke; Signora Morton,
Miss Tyviell; Mrs. Grayson, Miss Everett.
NO REST FOR THE WICKED.
M. Genet, W. R. Blake; M. Fernand, Chas. Walcott, Jr.;
M. Pomaire, Stuart Robson; M. Courtaine, J. H. Stoddart;
M. Castelle, Owen Marlowe; M. Montar, Walter Lennox;
M. Antoine, Charles Peters; M. LeClaire, Mr. Florence; M.
St. Maur, Mr. Fielding; Mme. Fernand, Laura Keene; Ma-
dame Bidante, Mrs. Robertson (Brougham); Madame Claire
Genet, Laura Leigh; Madame Montar, Miss Thompson; An-
nette, Miss Everett; Maid, Miss Thompson.

THE LIFE OF LAURA KEENE.
155
OLD HEADS AND YOUNG HEARTS.
Messrs. W. R. Blake, Chas. Wheatleigh, Chas. Walcot, J. T.
Raymond, Chas. Peters, Walter Lennox, Stuart Robson, J. H.
Stoddart, H. F. Daly, Levick, Marlowe, Hind, B. A. Baker,
Bilby, Richardson.-Mrs. W. R. Blake, Miss Ada Clifton, Mrs.
Gedley Brown, Miss Ione Burke, Miss Isabella Nickinson,
Mrs. A. Hind, Mrs. Laura Leigh, Mrs. J. H. Stoddart, Miss
Emma Taylor, Miss Clara Leigh, Miss Mary Everett, and
Miss LAURA KEENE.-New York Herald, Sept. 2, 1862.
THE WIFE'S SECRET.
Sir Walter, Geo. Jordan; Richard, Henry; James, Evans;
Robert, Munerett; Neville, M. Macarthy; Maud, Mary Wells;
Lady Evelyn, Laura Keene; Lord Arden, H. F. Daly; Jabez
Sneed, J. G. Burnett; Bronillard, C. Wheatleigh; Lieut. Har-
rington, Levick; Harry, Jeffries.
THE CORSICAN BROTHERS.
The Twin Brothers, Geo. Jordan; Chateau Renaud, C.
Wheatleigh; Alfred Meynard, Geo. Stoddart; La Baron D.
Montgiron, Duncan; Le Baron Giordano Martelli, Howard;
Mme. Sevilla Del Franchi, Mary Wells; Servants, Chadler
and Churchill; Emilie De Lesparro, Charlotte Thompson;
Orlando, Wise; Colonna, Burke; M. Beauchamp, Munerett;
M. Verner, Dowton; Griffo, E. K. Burke; Antonio, Brown;
Boissec, C. Peters; Marie, Mrs. Thompson; Coralie, Miss
Lang; Celestine, Miss Walters; Estelle, Mrs. G. W. Stoddart.
VANITY FAIR, OR PROUD OF THEIR VICES.
Virginie Pate, Laura Keene; Rose, Agnes Robertson;
Edgar Lambert, Dion Boucicault; Old Lambert, J. G. Bur-
nett; Hector Pate, Felix Vincent; Chicken, Chas. Peters;
Bragford, J. A. Smith; Maxine Latour, Chas. Fisher; The
Duke de Calatrava, Chas. Wheatleigh; Jerome, Dan Leeson;
Foulard, Mr. Henry; Martin, Mr. Goodrich; Balaclava,
Annie Deland; Mlle. Celeste, Mary Wells; Francine, Mrs.
Fox.


HOUSE AND HOME.
Fanny Kelly, Laura Keene; Lady Castlecrag, Ada Clifton;
Miss Lipglue, Mary Wells; Col. Gable, J. A. Smith; Trim-
156
THE LIFE OF LAURA KEENE.
mer, Florence Bell; Hon. Mrs. Cruickshanks, Annie Deland;
Norman Castlecrag, J. G. Burnett; Hetty Stubs, Marion
Macarty; Daniel Dunlap, W. H. Stephens; Lady Fanny
Gabble, Mrs. Mark Smith; Morcea, Chas. Wheatleigh; Buz-
zard, F. A. Vincent; Harry Malpas, Geo. Jordan; Leonard
Ashton, H. F. Daly; Dazzey Browser, Chas. Peters.
PLOT AND PASSION.
Fouche, Burnett; Mons. Desmarits, C. Wheatleigh; The
Marquis, J. A. Smith; Berthier, Mr. Hayes; Cecile, Miss
Alleyne; Henri, Lingham; Jabot, McDonall; Grisboulle,
W. M. Reeve; Mme. De Fontagues, Laura Keene.
THE RIVALS.
Sir Anthony, W. R. Blake; Falkland, Frank Bangs;
David, Chas. Peters; Fag, Milnes Levick; Mrs. Malaprop,
Mrs. W. R. Blake; Lydia Languish, Laura Keene; Lucy,
Mrs. Sothern; Capt. Absolute, E. A. Sothern; Sir Lucius, J.
G. Burnett; Bob Acres, Jos. Jefferson; Boot Boy, Master
Bullock; Coachman, McDonall; Julia, Sara Stevens.
LONDON ASSURANCE.
Sir Harcourt Courtley, J. S. Browne; Dazzle, C. Walcot;
Chas. Courtley, E. A. Sothern; Meddle, Wm. R. Blake; Max
Harkaway, J. G. Burnett; Dolly Spanker, Chas. Peters;
Cool, Milnes Levick; Martin, Evans; James, B. Brown;
Soloman Isaacs, Mr. Wharton; Lady Gay Spanker, Laura
Keene; Grace Harkaway, Sarah Stevens; Pert, Miss Flynn.
HEIR-AT-LAW.
Lord Duberly, J. G. Burnett; Dick Dowlass, A. H. Daven-
port; Zekiel Homespun, C. Wheatleigh; Dr. Pangloss, Joseph
Jefferson; Mr. Stedfast, J. H. Stoddart; Henry Moreland,
Carlton Howard; Kerwick, C. Peters; John, Harcourt;
Waiter, Brown; Lady Duberly, Mary Wells; Caroline, Char-
lotte Thompson; Cicely, Laura Keene.
CLARISSA HARLOWE.

Lord Robert, G. K. Dickinson; Capt. Jas. Harlowe, Love-
day; Belton, Carpenter; Leman, Reeve; Williams, Barrett;
Clarissa Harlowe, Laura Keene; Jenny, Kate Reignolds; Pat-
THE LIFE OF LAURA KEENE.
157
rick, Geo. Jordan; Jas. Harlowe, Wemyss; Mr. Smith, Mc-
Donall; Tourville, Howard; Mrs. Harlowe, Mary Wells;
Arabella, Emily Lesdernier; Mrs. Smith, Mrs. J. R. Scott.
PEG WOFFINGTON.
Sir Chas. Pomander, Mr. C. Walcot; Jemmy Quin, Mr. C.
Peters; James Triplet, Mr. C. Wheatleigh; Snarl, Mr. Stod-
dart; Soaper, Mr. Lennox; Vane, Mr. Levick; Colly Cibber,
Mr. Marlowe; Mrs. Vane, Miss Ada Clifton; Kitty Clive
(an actress), Ione Burke; Mrs. Triplet, Mrs. Hind; Peg
Woffington, Miss Laura Keene.-New York Herald, Septem-
ber 29, 1862.
THE WILLOW COPSE.
Sir Richard, E. A. Sothern; Luke Fielding, C. Couldock;
Arthur Apsley, Marden; Augustus, Jos. Jefferson; Bubble-
mere, H. Wharton; Fungus, Mr. Clifton; George, Evans;
Lucy, Sara Stevens; Meg, Mrs. Sothern; Col. Vanguard, J.
G. Burnett; Dick Hulks, E. Varrey; Staggers, C. Peters;
Joseph, B. Brown; Lynk, McDonall; Lady Apsley, Mary
Wells; Rose Fielding, Laura Keene; Georgianna, Miss Coul-
dock; Miss Apsley, Mrs. Marden.
THE COLLEEN BAWN.
Eily O'Connor, Agnes Robertson; Myles-na-Coppaleen,
Dion Boucicault; Mrs. Cregan, Mme. Ponisi; Ducie Blenner-
hassett, Josephine Henry; Kyrle Daly, Chas. Fisher; Danny
Mann, C. Wheatleigh; Hardress Cregan, H. F. Daly; Corri-
gan, J. G. Burnett; Sheelah, Mary Wells; Father Tom, Dan
Leeson; Hyland Creagh, M. Levick; Bertie O'Moore, Mrs.
Henry; Annie Chute, Laura Keene.
RACHEL THE REAPER.
Rachel, Miss Laura Keene; Corporal Patrick (an old sol-
dier), Mr. C. Wheatleigh; Mr. Hathorne (an English farmer),
Mr. Stoddard; Rob't. Hathorne (his son), Mr. H. F. Daly;
Paddy and Thady (Irish reapers), Mr. J. T. Raymond and
Mr. W. Lennox; Dick Hickman (a dissolute character), Mr.
Levick; Dame Hathorne, Mrs. Robertson; Rose Mayfield (a
young widow), Miss Ione Burke.-New York Herald, Novem-
ber 20, 1862.

158
THE LIFE OF LAURA KEENE.
JEANNIE DEANS.
The Duke of Argyle, Mark Smith; David Deans, Charles
Fisher; Laird of Dumbredikes, Dan Leeson; Geordie Robert-
son, H. F. Daly; Reuben Butler, Milnes Levick; Madge
Wildfire, Marion Macarthy; Jeannie Deans, Agnes Robertson;
Counsel for the Crown, Charles Wheatleigh; Counsel for the
Defense, Dion Boucicault; Ratcliff, J. G. Burnett; Archibald,
Chas. Peters; Meg, May Wells; The Queen, Mrs. Mark Smith;
Effie Deans, Laura Keene; Lord Justiciary, Mr. Henry.
OUR AMERICAN COUSIN.
Asa Trenchard, Joseph Jefferson; Sir Edward Trenchard,
Edwin Varrey; Lord Dundreary, E. A. Sothern; Lieut. Ver-
non, Milnes Levick; Capt. De Boots, Clinton; Coyle, J. G.
Burnett; Abel Murcott, C. Couldock; Binney, Chas. Peters;
Buddicombe, McDonall; Rasper, Wharton; John Whicker,
B. Brown; Florence Trenchard, Laura Keene; Mrs. Mont-
chessington, Mary Wells; Augusta, Effie Germon; Georgiana,
Mrs. E. A. Sothern; Mary Meredith, Sara Stevens; Sharpe,
Miss Flynn; Skillet, Mrs. Levick.
OUR AMERICAN COUSIN.*
Asa Trenchard (a live Yankee), Mr. John T. Raymond;
Lord Dundreary, Mr. Levick; Benney, Peters; Coyle, Bur-
nett; Abel Murcott, J. H. Stoddart; Sir Edward Trenchard,
Marlowe; Fred Vernon, H. F. Daly; Capt. De Boots, Rich-
ardson; John Wickhen, Bilby; Buddicombe, Dillon; Rasper,
Smith; Florence Trenchard, Mrs. J. H. Allen; Mary Mere-
dith, Mrs. Chanfrau; Augusta, Miss Ione Burke; Georgiana,
Mrs. Lotty Hough; Mrs. Montchessington, Mrs. Marlowe;
Sharpe, Mrs. Dillon; Skillet, Miss Everett.-N. Y. Herald,
February 10, 1862.
THE SEA OF ICE.
Henri De Lascours, Charles Wheatleigh; Louise De Las-
cours, Laura Keene; Carlos, Geo. Jordan; Medoc, C. Peters;
Pasquin, Burke; Marie, Mary Bullock; Horace, G. W. Stod-
dart; Don Jose, Carlton Howard; Mlle. Diana De Theringe,
Charlotte Thompson; Barabas, Joseph Jefferson; Pierre,

* Different Cast.
THE LIFE OF LAURA KEENE.
159
Brown; Jano, F. Evans; Jose, Muneret; Georges, T. Duncan;
Countess, Mary Wells; Ogarita, Laura Keene.
THE SEA OF ICE.*
Raoul de Lascours, Captain of the Ship Urania, Mr. J. H.
Stoddart; Carlos (an adventurer), Mr. Waller; Barabas (a
sailor), Mr. Peters; Jean Medoc (a carpenter), Mr. Dillon;
Pierre Pacome, Mr. Bilby; Bouffard, Mr. Richardson; Jano,
Mr. French (sailors on board the Urania); Louise de Las-
cours (wife to the captain), Miss Laura Keene; Marie (their
daughter), Miss Le Brun.
Third and Fourth Acts.
Marquis del Monte, a Mexican nobleman, Mr. Waller; Ba-
rabas, Mr. Peters; George de Laval (an officer in Del Monte's
service), Marlowe; Don Jose (secretary to the Spanish envoy),
Thompson; Intandant, Henry; Ogarita (the wild flower of
Mexico), Miss Laura Keene; Countess de Theringe (mother
to Louise de Lascours), Mrs. Marlowe; Diana de Lascours
(sister to Mary de Lascours), Mrs. J. H. Stoddart.-New York
Herald, May 15, 1862.
THE MARBLE HEART.
The Sculptor, George Jordan; Alcibiades, Mr. Howard;
Phocion, F. Lyster; Aspasia, Laura Keene; Lais, Annie
Walters; Mlle. Dachatlet, Mary Wells; Diogenes, G. K.
Dickinson; Gorgias, T. B. Johnston; Straben, Mr. Tree;
Phryne, Ada Clare; Thea, Kate Reignolds; Marietta, Mrs.
Carpenter; Mlle. Marco, Laura Keene.
SCHOOL FOR SCANDAL.
Sir Peter Teazle, Wm. Rufus Blake; Sir Oliver Surface,
J. G. Burnett; Joseph Surface, C. W. Couldock; Charles
Surface, E. A. Sothern; Crabtree, Jos. Jefferson; Sir Benja-
min Backbite, Chas. Peters; Careless, Frank Bangs; Rowley,
Wm. Marden; Moses, Edwin Varrey; Snake, McDonall;
Trip, Milnes Levick; Sir Harry, Wharton; Lady Teazle,
Laura Keene; Lady Sneerwell, Mary Wells; Mrs. Candor,
Mrs. Wm. R. Blake; Maria, Sara Stevens.
*Different Cast.
160
THE LIFE OF LAURA KEENE.
THE SCHOOL FOR SCANDAL.*
Sir Peter Teazle, Mr. W. R. Blake; Lady Teazle, Laura
Keene; Charles Surface, Mr. C. Walcot, Jr.; Joseph Surface,
Mr. H. F. Daly; Mrs. Candor, Mrs. A. Hinds; Sir Oliver
Surface, Mr. J. H. Stoddart; Lady Sneerwell, Mrs. J. H.
Stoddart; Crabtree, Mr. J. S. Raymond; Maria, Miss Isabella
Nickinson; Sir Benjamin Backbite, Mr. Walter Lennox;
Moses, Mr. Chas. Wheatleigh; Careless, Mr. Marlowe ; Row-
ley, Mr. Hind; Trip, Mr. Leavitt.-New York Herald, Sep-
tember 26, 1862.
THE SCHOOL FOR SCANDAL.†
Sir Peter Teazle, C. Bass; Sir Oliver, Wemyss; Charles,
Geo. Jordan; Joseph, G. K. Dickinson; Crabtree, G. B.
Johnston; Sir Benjamin, Loveday; Rowley, McDonall; Moses,
H. Hall; Trip, Reeve; Snake, Chester; Careless, Howard;
Sir Harry, Wilson; William, Carpenter; Lady Teazle, Laura
Keene; Maria, Mrs. T. B. Johnston; Lady Sneerwell, Emily
Lesdernier; Mrs. Candor, Mary Wells; Mary, Mrs. J. R.
Scott.
A MID-SUMMER NIGHT'S DREAM.
Theseus, C. W. Couldock; Lysander, E. A. Sothern;
Demetrius, Milnes Levick; Egeus, Wm. Marden; Philostrate,
F. Evans; Hippolyta, Mary Wells; Hernira, Sara Stevens;
Helena, Ada Clifton; Nick Bottom, W. R. Blake; Quince,
Edwin Varrey; Snug, B. Brown; Flute, Chas. Peters; Snout,
J. Henry; Oberon, Marion Macarty; Titania, Eliza Couldock;
Puck, Laura Keene; Peas Blossom, Miss J. Henry; Moth,
Mrs. McDonall; Cobweb, Miss Taylor; Mustard Seed, Mrs.
Marden; Indian Boy, Mary Jane Bullock.
AS YOU LIKE IT.
Duke in Exile, F. C. Wemyss; Duke Frederick, Mr.
Chester; Le Beau, J. A. Smith; Oliver, M. V. Lingham;
Jaques, Mr. MacRae; Orlando, Geo. Jordan; Adam, Mr.
Burnett; Lord, H. Hayes; Touchstone, C. Wheatleigh; Corin,
J. H. Stoddart; Amiens, Julia Gould; Jaques, G. K. Dick-
inson; Charles the Wrestler, Mr. Harcourt; Silvius, B. Ring-
gold; William, W. Reeve; Rosalind, Laura Keene; Celia,
*Different Cast.
† Another Cast.

THE LIFE OF LAURA KEENE.
161
Mrs. Stoddard; Phoebe, Josephine Manners; Audrey, Mrs. H.
P. Grattan.
"In the demise of Laura Keene there is a befitting occasion
for a tribute of mournful respect. It is indeed difficult to
realize the solemn fact that this lady is now so early num-
bered among the silent dead. She who in life was so cheerful,
and whose benign influence shed such a kindly radiance round
the social circle; winning all hearts by her genial qualities,
alas! now 'sleeps the sleep that knows no waking.'
"Well may the monarch of the tomb defer his impartial
work for a season, and recline beneath the laurels he has
won, for he has robbed the stage of one of its brightest and
most valued jewels, the profession of one of its most sparkling
gems. Hers was no ordinary character. She was gifted with
a nature exquisitely rare and gentle; of unusual delicacy and
cultivation, to which were added the graces of a meek and
quiet spirit. She possessed a character of mind peculiar from
the many, in that it was always stern and inflexible for the
right, unwavering and jealous of the prospects of the success
of whatever she might be engaged in.
"It is only those who knew her well and intimately that
could estimate and properly appreciate her. The world gen-
erally supposes that goodness is more frequently extolled and
appreciated in the dead than in the living. In one sense this
is true, because we do not fully and plainly see the many noble
and generous traits in the character and lives of our friends
until they are taken from us. Miss Keene was a woman of
fine person and superior conversational powers; her inter-
course was full of dignity, and remarkable for its constant
display of intelligence, good sense and judgment.
"She was animated, witty and agreeable. She well under-
stood matters of business, and the adaptation of the best
means to the highest ends. Indeed, her solid qualities and
knowledge of the perfect workings of the stage equalled those
of any living professional.
"Her wisdom was not greater than her energy and tenacity
of purpose. She was strict in business; so decided and so
candid with every one, that she could never be misunderstood.


11
162
THE LIFE OF LAURA KEENE.
The charms of mind and firmness of purpose were crowned by
a love of justice, and made acceptable by that nobleness and
disinterestedness which ran throughout all her actions.
"As an actress Miss Keene was possessed of great talent.
Her voice was remarkably plaintive, yet capable of all the
firmness and exertion which the integrity of fortitude or im-
pulse of sudden rage demands. Her eyes
Her eyes were remarkably
effective; at once capable of disdain, and of dilating with the
emotions of sympathy or pity. So entirely was she the mis-
tress of her art, so collected, and so determined in her ges-
tures, tone and manner, that she seldom erred.
"When she first appeared in this city she soon was acknowl-
edged as one of the most finished actresses that ever trod
the boards. She was great in all her roles, and in her read-
ing perfect. Her natural talents were perfected by diligent
study. She not only comprehended, but she knew all the
parts she undertook. She knew the old comedies and stand-
ard plays so thoroughly as to be enabled to prompt any one
on the stage who needed momentary assistance. Her comedy
was richly imbued with the delicacy which constitutes the
principal charm of this delightful department of the drama.
"It would be difficult to select any one or two parts as
being superior to others in the long range of characters she
assumed. Many, before considered unimportant, she elevated
to respectability by the mere force of her acting. Her con-
ceptions required not the fostering hand of study, they were
not as the flower that grows in the dull earth, and matures
by facts; they, indeed, owned a richer soil, and, while you
looked, the peerless flower was up consummate in the birth.
"Her style was different from that of other actresses. It
was marked by a noble simplicity, of that chaste and quiet
character which, although critically correct, was neither cold
nor artificial; disdaining for the sake of mere effect to sacri-
fice sense and outrage propriety. Her personations were rich,
buoyant and graphic; never overstepping the modesty of
nature, yet strongly drawn and marked as being entirely sepa-
rate and characteristic portraits; and with an entire absence
of mannerism."-Col. T. Alston Brown, New York Clipper.


THE LIFE OF LAURA KEENE.
163
Mrs. Asia Booth Clarke, the sister of Edwin Booth, in her
"American Actor Series," says (p. 147): "Laura Keene, as
if to confirm the opinion he held of his own ability, offered
him the position of leading man at her theatre in New York;
but his continued successes had aroused the ambition of others,
if not of himself, and it was decided that he should hold
his place as a 'star.' Miss Taylor related an amusing inci-
dent in the life of her mother, while the latter was on one
occasion playing in Chicago. It was shortly after the mar-
riage of Edwin Booth to Miss Mary McVicker. Mr. Booth
at that time was living with his wife in Chicago; and as
Miss Keene was playing there then, she called to see them.
"Mrs. Booth was the first to appear, to receive her guest
with friendly and affectionate greeting, but Mrs. Booth had a
younger brother, then a very young boy, but very much like
the average young boy of the past, present and probably the
future. This youngster popped up just when he should not,
and addresing the newly arrived guest, said:
"Miss Keene, you must not call to see my Uncle Edwin.'
"Why not, my little man?' was Miss Keene's reply.
"Because my sister Mary is jealous of you,' was the
prompt but candid statement of young America."
LAURA KEENE AND LUCILLE WESTERN.
"MY DEAR MISS WESTERN:
"I witnessed your performance last evening, of 'East
Lynne.' I have been most anxious to avail myself of the
opportunity, especially since I understand the press have not
taken you up tenderly, but had advised you to 'reserve your
talents for the East Side of the city, for which you are more
adapted.' I smiled at the permission granted; yet wondered
how long since the West Side had ceased to import from the
Bowery.
"If there are two who can sympathize with each other it
is you
and I, as we have had bitter experience from unjust
criticism. I have lived through mine, and so will you. I am
convinced from what I witnessed last night that you cannot
fail. I cannot let the opportunity pass without sending these
few words of congratulation; and trust it will have at least

164
THE LIFE OF LAURA KEENE.
one good result-that of establishing a friendship between two
sister artists.
God be with you,
"LAURA KEENE."
Copy of letter furnished by Mrs. Jane English, Forrest
Home, Philadelphia, June 11, 1895.
"MR. JOHN CREAHAN:
"Dear Sir-Referring to the fact that you are writing a
life of Laura Keene, the celebrated actress, I recall an anec-
dote, which I had from James W. McDermott, when he was
proprietor of the Merchants' Hotel, of this city. One day he
showed me his autograph album, which contained the names
of many distinguished persons, and among others, that of
Laura Keene, under the quotation, which I give from memory:
"As a little candle throws its beams, so shines a good deed
in a naughty world.'
"He told me at the time when he secured Miss Keene's
autograph he was a clerk at Barnum's Hotel, Baltimore, and
the custom of putting candles in rooms and charging for them
was still in vogue. He went to Miss Keene's room, presented
the hotel bill, in scanning which, she said that she had not
used candles, whereupon he drew a line through the objec-
tionable item, and handed her his autograph album. You can
see by this anecdote, which is badly told, that she was a very
ready wit.
Truly yours,
66
Philadelphia, July 29, 1896."
"JAMES F. SULLIVAN.
"The novelty in this city, last night, was the production at
Laura Keene's Theatre, of the new spectacle, 'Blondette.'
There was a crowded house, of course, and everybody was de-
lighted. Miss Keene has always carried off the palm in the
matter of getting up spectacle plays. She has introduced
scenic effects absolutely without a parallel in the city. The
theatre-going public well remember the gorgeous mise en
scene of the Seven Sisters,' in which each successive scene
outshone its predecessor in point of display. But, however
gorgeous their effect, they fall far short of the magnificent
spectacle presented in 'Blondette.' The mechanical effects

6
THE LIFE OF LAURA KEENE.
165
are very ingenious, and the closing tableau of each act abso-
lutely dazzles the eye with brilliancy.
"To sum up, 'Blondette,' as an exhibition of what can be
done in this city in the way of scenic effect, is without a rival.
This fact alone will give it a long run, as a holiday spectacle."
-The Express, New York, November, 1862.
"One of the best dramas we have ever witnessed is Rachel
the Reaper, or Clouds and Sunshine,' as acted in this theatre.
It is by Charles Reade. The dramatist has confined the action
throughout the piece to a single scene, that of 'Hathorne
farm,' which we may well say at once is one of the most
natural and effective specimens of stage illusions it is possible
to imagine."-New York Herald, 1862.
"Miss Keene, in the slight part of Rachel, gave a sweet
and childlike picture of the heroine, a real country maiden.
Corporal Patrick, by Mr. C. Wheatleigh, certainly was 'got
up' like a picture, and acted with splendid vividness."-New
York Tribune, 1862.
"The scenery is the feature of 'Blondette.' All the scenes
are gorgeous in the extreme, and surpass Miss Keene's achieve-
ments in the Seven Sisters.' The first act ends with the
'Grotto of Love;' the second act with the 'Palace of Lace,'
and the third act with the Kingdom of the Magic Watch.'
These are the grand scenes of the piece, and that which con-
cludes the second act is magnificent and novel. The others
are magnificent."-New York Herald, 1862.
6
LAURA KEENE'S THEATRE-" BLONDETTE."
"This bijou theatre was densely crowded last evening to
witness the first representation of the most superb spectacle
ever produced in any theatre on this continent. This state-
ment may seem extravagant, but will be so regarded only by
those who have not seen Blondette.' Miss Keene has pro-
duced many tasteful and brilliant spectacular extravagances,
but in this one she has surpassed herself. Every scene is
new, and all are gems. The 'Abode of Love,' the Palace of
Lace,' the Diamond Court,' and the final scene display an
inventiveness-a mastery of color in all its combinations, and

166
THE LIFE OF LAURA KEENE.
a sense of beauty in grouping rarely seen off the Parisian
stage. Nor is the theme unworthy this sumptuousness of
illustration. This could not have been said of even the most
successful of the spectacles previously produced at this theatre;
but 'Blondette' is really a very charming fairy play, rather
than an extravaganza."-New York World, 1862.
LAURA KEENE'S.
"In the production of spectacular pieces, Miss Keene has
far transcended all attempts at competition. Whenever she
presents to the public a fairy extravaganza or pictorial bur-
letta she does it with a recklessness of pecuniary outlay, a
wealth of fancy, and an artistic finish that have never been
approached at any New York theatre but her own.
This
particular domain of dramatic entertainment she may be said
to have fairly monopolized, and such success as she has
achieved in it she has certainly deserved. In all things that
minister to the delight of the eye-in the arrangement of
scenery, the selection of costumes, the grouping of attractive
accessories-Miss Keene has a most exquisite and compre-
hensive taste; and so far as the public mind is affected by
the optical fascination, she has made herself absolute mistress
of the theatrical situation. The piece brought out by her last
evening is the most expensively brilliant and magnificently
showy of all the experiments of the same kind that she has
ever made. It is gorgeous enough to dazzle the senses beyond
the hope of their being amenable."-New York Times, 1862.
"Laura Keene's style is gloriously honest and independent.
The must of the stage does not stick to it. Tricks and tradi-
tions have been cast clean out of it. Laura Keene has been
bold enough to trample 'the authorities' under foot and to
take lessons of Nature only. Her sway over the heart is
absolute. She sends terror quivering to its inmost depths
or steeps it in the sunlight of joy. You weep with her and
laugh with her. This is the highest reach of art. Laura
Keene does not work her miracles in smoke and thunder.
That is, she does not vent passion-love, hate, fear, remorse-
in shrieks, gasps, and a general fuss. She says and does
natural things naturally. What higher praise is there?

THE LIFE OF LAURA KEENE.
167
When the stage mirrors nature it has done its best. All this
is said while the remembrance of last night's work is awake.
A simple little story-Reade's 'Clouds and Sunshine'.
simply and beautifully told from the stage. An every-day
familiar air pervades it all. The characters, like Charles
Reade's always, are in no wise monstrous or magnificent; but
they keenly smack of the world we live in, and stand out
bright and clear."-New York Evening Journal, Nov. 20, 1862.
L
CHAPTER XIV.
LAURA KEENE'S FAMILY.

AURA KEENE did not come of a theatrical family. Her
father by profession was a builder in London, England.
His wife, Jane Keene, had four children; two sons and
two daughters, Laura being the younger of the two girls.
One of the sons died in London at the age of twenty-one.
The other son was lost at sea-ship-wrecked off the coast of
Spain in 1874. The other daughter, Mrs. Stewart, lived with
her family in New York until her death, in 1878. The won-
derful knowledge which Miss Keene possessed of stage
mechanism was no doubt inherited from her father's profes-
sion. "Miss Keene," says J. H. Stoddart, "was the greatest
stage manager I have ever known; not even excepting the
elder Wallack." "Laura Keene," says Jane English, "could
take a piece of paste-board, a pencil and calipers, and in an
hour's time furnish drawings of stage setting or scenes for new
plays for her stage manager, scene painter and head carpenter,
such as could not be conceived or thought of by any other
actor or actress in the business." Her knowledge of stage
craft was not confined alone to her exquisite taste, which ap-
pealed to the eye. In the mechanical department of a thea-
tre, whether in the cellar or in the "flies," she seemed equally
at home; while her workmen, especially when engaged on the
production of a new play, never went home hungry or thirsty;
for while Laura Keene could handle her stage hands with
more than the rigor or severity of a man, she was a veritable

168
THE LIFE OF LAURA KEENE.
"Lady Bountiful" to them when their work was to her ap-
proval, satisfaction and liking.
Like many other actresses, and indeed very many women
who have never been on the stage, and probably some who have
never even seen a stage, Laura Keene was married very early
in life to John Taylor, whose god-father was no less a person-
age than the Duke of Wellington. There was nothing happy
about this marriage but the birth of two children, daughters,
Emma and Clara Taylor. In one respect at least this mar-
riage of Miss Keene's was fortunate; for no woman was more
beloved by her children than Laura Keene was by hers. Miss
Keene, with her mother and two daughters, lived together
"solitary and alone" until 1860; and, indeed, for the matter
of that, the two women and two children-or girls-continued
together very much longer. No four women, for we are writ-
ing of them when the children had grown up, ever loved each
other more affectionately than the Keene family. Laura
Keene worshipped her mother. The mother idolized the
daughter; while the love of the two children was divided
between the mother and grandmother; indeed, in point of
affection, it was never quite clear who the mother of the chil-
dren was, the grandmother or their "Aunt Laura," as they
always called their mother-even to the day of her death.
Laura Keene, her mother, and Miss Keene's two children,
continued to live with each other until death severed their
holy bond of affection, love and devotion. Miss Keene's
mother died at her daughter's home in Bond street, New York,
on December 11, 1872, in the seventy-fifth year of her age, or
nearly thirty years older than her daughter.
Even among Miss Keene's most intimate friends but little
is known of her married life to John Taylor It was a sub-
ject never referred to by any member of her family. On one
occasion, while Clara Taylor was visiting the home of the
writer, a child present lisped out the name of "father." Miss
Taylor was on the act of leaving for her hotel, and I to ac-
company her. "I never knew my father," said this poor girl,
in tones of deep sorrow, "I only know that he was a loafer."
The woman seemed to change in an instant from sorrow to
tragic fire, as she uttered the last words. I walked with her


THE LIFE OF LAURA KEENE.
169
to her hotel. We conversed on various subjects, but the pain-
ful one of her father was not among them. The death of
John Taylor is recorded in Col. Brown's "History of the New
York Stage."
Laura Keene's mother was a very attractive and delightful
woman to those who knew her as she really was.
She was
finely educated, queen-like in dignity and bearing, but not
always easy to approach. Her heart, however, was like that
of her distinguished daughter, full of charity, gentleness and
love; albeit one had to know her well before she could even
be approached to make this discovery. It was not the rich
that this woman was anxious to know or associate with. The
pure in mind and body was very much more preferable to her
than the gayeties and splendors of mammon, which are so fre-
quently tainted with guilt; if, indeed, not with crime.
Miss Keene's children, when not under the protection of
their mother and grandmother, were either in charge of a
governess or in the convent at Georgetown, Washington, D.
C., where they were practically educated, and remained until
they were young women. Miss Keene, however, did not
neglect their stage education, for while they did not appear
prominently, and practically are not known as actresses, they
were nevertheless on the stage almost from infancy, and were
even less nervous when before the footlights than their mother.
In 1860 Laura Keene emerged from the solitude of widow-
hood, and married John Lutz, her business manager, then one
of the most successful theatrical managers known to this
country. Mr. Lutz belonged to a prominent and well-known
mercantile family of Washington, D. C. This marriage,
happily, more than compensated for Miss Keene's first; as
John Lutz was not only a good husband, a strict business man
of the greatest integrity, but, so great was his attachment and
love for his wife's children, that he would not permit the New
York Clipper to enter their home, owing to the fact that it
published accounts of prize-fighting. The Clipper then was
under the personal supervision of its owner and founder,
Frank Queen, as it was up to the day of his death. It was a
great dramatic authority. Its founder was a man whose name
should be cherished by all right-thinking people. He was a


170
THE LIFE OF LAURA KEENE.
man of great, but unpretentious charity; and at one time
presented a poor struggling church in his native city, Phila-
delphia, with $40,000. All honor to the memory of Frank
Queen!
John Lutz died in Washington, D. C., on April 18, 1869.
Miss Keene, although a comparatively young woman-then
forty-three years old-never again married, but continued to
live in domestic solitude, when of course not professionally
engaged, which she was to the last, with her mother and two
daughters.

His
John Lutz was a man who was very fond of good living, or,
as Moore says in his "Life of Byron," "of full habits." This,
however, is nothing remarkable about the average man.
stomach as a rule has a vast contempt for his calling or pro-
fession if not adequately supplied with palatable dishes. Lutz
was no exception to the rule, and, "being very fond of frogs,"
says I. S. Case, of Tobyhanna, "on his first arrival here, he
informed the first small boy he met that he would give him a
cent for every frog he brought him." Lutz, of course, had no
idea of the capacity of Tobyhanna for frogs. The small boy
was not slow in keeping his part of the contract; and soon
returned with seventy-five frogs for Lutz's dinner! The as-
tonished Lutz paid the bill, but as he was the only man in
the place who would eat frogs, and not expecting to get over
five or six, he was the butt of the town during the summer.
Lutz, however, was determined to get even with some one
for his investment in frogs; and oddly enough Joseph Jeffer-
son was the victim. Miss Keene and her family spent their
summer for many years at Tobyhanna. Joseph Jefferson
visited them occasionally. Lutz and Case arranged with Jef-
ferson to have a day's trout fishing. The logs on the river,
there-which is very large-were in rafts; and as the three
men set out for their day's sport, Jefferson was soon requested,
in the language of Mrs. Malaprop, to "lead the way and we'll
precede you."
Jefferson got on the raft of logs, when to his surprise and
astonishment he was immediately set floating by Lutz and
Case, in the vast river, "solitary and alone," where he re-
mained during the entire day; while Lutz and Case betook


CLARA STELLA TAYLOR.

THE LIFE OF LAURA KEENE.
171
Poor
themselves to the mountain streams for their trout.
Jefferson, after his exposure to the hot sun for an entire day,
was rescued at night by Lutz and Case. Had Jefferson known
the story of the frogs, or remembered it, he would no doubt have
gotten even with Lutz in his charming autobiography; even
though Lutz was dead when the autobiography was written.
Not far from Tobyhanna there is a charming tract of coun-
try called Paradise Valley, where, if I am not mistaken, Joseph
Jefferson once lived. Nearly twenty-five years ago I was
notified by wire to "come home," as there was serious illness
in my family, who lived at Tobyhanna. I left Philadelphia
about six o'clock in the evening, and by the time the train
reached Paradise it was nearly ten o'clock. The clouds were
heavy, and as there was not a star visible in the heavens it
was as dark as pitch, or, in the language of Milton-
"All dark and barren as a rainy sea."
Most of the people in the car were trying to sleep, when,
all at once, the stentorian voice of the conductor yelled out,
"Par-a-dise!" One man present, who had evidently been
asleep, thought that there must be some mistake. He rubbed
his eyes, looked around, opened the window, stuck out his
head, pulled it back again, and, addressing those who were
looking at him, said, "Well, if this is Paradise, I wonder what
hell looks like!"
“TH
CHAPTER XV.
LAURA KEENE'S RELIGION.
HERE is not and there never was, on this earth, a work
of human policy so well deserving of examination as
the Roman Catholic Church. The history of that
Church joins together the two great ages of civilization. No
other institution is left standing which carries the mind back
to the times when the smoke of sacrifice rose from the Pan-
theon, and when camelopards and tigers bounded in the Fla-
vian amphitheatre. The proudest royal houses are but of
yesterday, when compared with the line of the Supreme
Pontiffs. That line we trace back in an unbroken series from

172
THE LIFE OF LAURA KEENE.
the Pope who crowned Napoleon in the nineteenth century,
to the Pope who crowned Pepin in the eighth; and far beyond
the time of Pepin the august dynasty extends, till it is lost in
the twilight of fable. The republic of Venice came next in
antiquity; but the republic of Venice was modern when com-
pared with the Papacy; and the republic of Venice is gone,
and the Papacy remains. The Papacy remains, not in decay,
not a mere antique; but full of life and youthful vigor. The
Catholic Church is still sending forth to the furthest ends of
the world missionaries as zealous as those who landed in Kent
with Augustine; and still confronting hostile kings with the
same spirit with which she confronted Attila. The number
of her children is greater than in any former age. Her acqui-
sitions in the New World have more than compensated her
for what she has lost in the Old. Her spiritual ascendency
extends over the vast countries which lie between the plains of
Missouri and Cape Horn-countries which, a century hence,
may not improbably contain a population as large as that
which now inhabits Europe. The members of her community
are certainly not fewer than a hundred and fifty millions; and
it will be difficult to show that all the other Christian sects
united amount to a hundred and twenty millions. Nor do
we see any sign which indicates that the term of her long
dominion is approaching. She saw the commencement of all
the governments, and of all the ecclesiastical establishments,
that now exist in the world; and we feel no assurance that
she is not destined to see the end of them all. She was great
and respected before the Saxon had set foot on Britain-before
the Frank had passed the Rhine-when Grecian eloquence
still flourished at Antioch-when idols were still worshipped
in the temple of Mecca. And she may still exist in undi-
minished vigor when some traveler from New Zealand shall,
in the midst of a vast solitude, take his stand on a broken
arch of London Bridge to sketch the ruins of St. Paul's."-
Macaulay.

"I am no enemy to religion, but the contrary. As a proof,
I am educating my natural daughter a strict Catholic in the
convent of Ramafus; for I think people can never have
THE LIFE OF LAURA KEENE.
173
enough of religion, if they are to have any. I incline, myself,
very much to the Catholic doctrines; but if I am to write a
drama, I must make my characters speak as I conceive them
likely to argue.
"BYRON."
Moore's Life of Byron, p. 889.
"Laura Keene," says Kate Reignolds, in her "Yesterdays
With Actors," "died in the comfortable faith of the Catholic
church." Miss Keene's family, that is, her father, mother,
sister and two brothers, were members of the Church of Eng-
land. Her mother would have embraced Catholicism had she
lived long enough, but she did not. Indeed, at the time of
her death she was probably more Catholic than Calvinist, sur-
rounded as she had been for years by her Catholic daughter
and two granddaughters. "Grandma was old and settled in
her ideas," said Clara Taylor to the writer; "she would have
become a convert in time, but it would have taken years."
The old lady was a Christian, not only at heart, but other-
wise, and like all who are such, it is to be hoped that "He
who cares for the fall of a sparrow" will guard with kindly
benevolence the Christian women of all denominations.
Religion, with Laura Keene, was even more serious than
life itself; as, indeed, it should be with all right-thinking
people. Miss Keene was a Christian woman long before she
embraced the doctrines of Catholicism. She was, however,
practically a Catholic at heart, years before she appeared, like
the infant, at the baptismal font.
It would be strange, indeed, if a woman with her vast and
comprehensive mind, brain and intellect were not such. She
was essentially a woman of the world, whose schooling had
given her an opportunity of delving deeply into all sides and
on all religious denominations. Courted, feted, and caressed
by one class to-day, she was no less so yesterday or to-morrow,
or for all time during her professional or artistic career or life,
a life which, it should not be forgotten, was, when choice and
inclination made it possible, spent only in the atmosphere
of the elite, the elegant, the educated, the cultured, the refined,
the religious and the charitable.
As "all roads lead to Rome," yet, while Rome may not


174
THE LIFE OF LAURA KEENE.
always lead to heaven, that largely depends on the purity and
sanctity of the traveler's life. It is certain, however, that
while Rome may not always lead to heaven, its teaching and
promulgations point in that direction quite unmistakably if
they are carried out; just as we hope the doctrines of all other
Christian denominations do; yet it is entirely beyond the ques-
tion of dispute, cavil, or peradventure, that Rome, when it
comes to the protection of its women, is as far ahead of all
other Christian denominations to-day-and has ever been-as
our Lord was, spiritually and otherwise, to those who crucified
Him and put Him to death upon the cross.
It was this protection, in a church which does not enact one
law for the man and another for the woman, which made it
possible for Laura Keene to seek its shelter. The divorce
court, when a man tires of his wife, or the wife of her hus-
band; the masculine female who consorts with the emasculated
male in long hair or otherwise; the wife who does not care to
be a mother, the husband who connives at not being a father;
the woman's right, strong-minded, or female advocate of politi-
cal hopes and aspirations, who frequently deserts her home at
the expense of her family; the female clubs and numerous other
sickening devices and abominations, which would gladden the
heart of a Henry the Eighth, but which sicken and cause the
mind of a pure woman to shudder; these, and various other ob-
vious causes, made Laura Keene, like many other women, to seek
protection under the dome of St. Peter's. Once a wife, always
a wife, until separated by death, is the law of Catholicism,
whether in Rome or in any other part of the Catholic universe.
What a painful object lesson has been taught the theatrical
profession in the story of the life of poor Agnes Robertson!
What man can hope for the future salvation of his soul and
contemplate it without a shudder? Here was a woman who
possessed almost every womanly attribute known or possible
to the most refined, gentle and fascinating of her sex. As an
artist in her day, she seemed to have been created for the roles
to which she gave life and inspiration. A model wife, more
than a loving mother, an ideal woman; and yet, cast off at
that period or time when a husband and father's devotion,
care and love were most needed; and for what? The story and

THE LIFE OF LAURA KEENE.
175
lesson of shame; and by a man whose more than gifted pen
was constantly engaged in the battle of right against wrong,
truth against falsehood, deception against integrity; the in-
famy of man against the honor of woman!
"O, Buckingham, take heed of yonder dog!
Look, when he fawns, he bites, and when he bites,
His venom tooth will rankle to the death!
Have not to do with him, beware of him;
Sin, death, and hell have set their mark on him,
And all their ministers attend on him."
Laura Keene was the religious protege of the late Arch-
bishop Hughes, of New York. In religion, as in art, her fine
mind seemed to mingle only, associate or affiliate with but
great minds; unless, indeed, in the home of the meek and
lowly on Christian missions of charity and mercy. In such a
cause no place was too humble for this woman on such a mis-
sion. That is the brief story of Catholicism when it refers to
women of the world. Everywhere else they may ostensibly
be the equal of man while it shall so please the latter. In
Catholicism there can be no compromise. Woman and wife
must ever be on an equality with husband and man. The
latter may protest or the former rebel, but the bond of matri-
mony is indissoluble, and can only be severed by the hand
which rules the destinies of the universe. That was why
Laura Keene died in the "comfortable faith" of the Catholic
Church, as Miss Reignolds so ingeniously puts it; but which
is strongly suggestive of hyperbole.
It has been stated that Laura Keene died a very poor
woman, if not in poverty. We have also read in the papers
from time to time of the vast estate left by this woman. Both
statements are wrong. Miss Keene died a comparatively poor
woman, as wealth is known now, or, indeed, even in her day.
To state, however, that she died in poverty, is as far from the
actual facts, as that she left a vast estate. There are many
actors on the stage to-day who would not be regarded poor
did they but possess Miss Keene's property at the time of her
death; and yet, as already stated, she was by no means rich.
It is not generally known that her life was insured, but it


was.
This money became a part of her estate after her death.
176
THE LIFE OF LAURA KEENE.
The Bond street house in New York, where Miss Keene lived,
was the property of her daughters, presented to them by the
mother. Such children, however, who were so lovingly
attached to their mother, could be but nominally the owner
of anything while their mother lived. Miss Keene also owned
a farm and summer residence at Acushna, New Bedford,
Mass., together with considerable very valuable personal
effects. A prominent actress* no longer on the stage offered
$3,000 for a point lace flounce which Miss Keene wore in one
of her stage costumes. The offer was refused by Emma Tay-
lor, Miss Keene's daughter, simply because the article in ques-
tion "
was over four hundred years old, and probably worth
more than double that amount." Miss Keene's personal
property was not on the market, valuable as it was. The
only article disposed of was a painting of Madam Vestris, for
$600, which was sold privately to the foremost actor on the
American stage of to-day. These matters are referred to, if
only to brush aside the babbling rumors or small talk of gos-
sips. Had Miss Keene died in poverty it would have been no
indignity. Artists as great as she have died penniless in the
past, and others no doubt will, until the end of time.
Edwin Booth, certainly one of the foremost actors known
to the American stage, became a bankrupt while managing
the noblest temple of dramatic art yet erected in this country;
and would in all probability have died without a dollar had
he not had the good fortune of meeting with Lawrence Bar-
rett, who had a genius for business, coupled with highly re-
spectable abilities as an actor. Booth had a genius for his
art, but as a business man he was probably no better or worse
than the average actor of the stage.
Lester Wallack, not only a great actor, but one of the
foremost managers ever identified with his business, was so
poor when he retired from the calling of his life that a benefit
was necessary to keep him for the balance of his days. This
was no indignity to the memory of Mr. Wallack. It was
more than earned and deserved. If, however, Miss Keene
did not become a bankrupt in her day, and was not obliged to
appeal to the public for a benefit after her retirement from
*Mary Anderson.

THE LIFE OF LAURA KEENE.
177
her profession, which she adorned as an artist quite the equal
of Booth, and as a manager certainly not second to Wallack,
we fail to see why she should not get credit for the same.
Miss Keene, however, did more than this. Her two daugh-
ters who survived her, one by nearly three years and the other
by nearly nine, lived on the estate left by their mother. It is
true that Emma Taylor was married, and at the time of her
death left three children; but it is none the less true that
Emma Taylor and her children lived on the property left by
Miss Keene, while the estate, or what there is left of it now,
has practically been in litigation almost since the death of
Miss Keene's daughter.
CHAPTER XVI.
CLARA STELLA TAYLOR.
"We wept when we came into the world, and every day tells us why."
-GOLDSMITH.
CLAR
YLARA MARIE CECILIA STELLA TAYLOR, the
youngest daughter of Laura Keene, was born in Lon-
don, England, in 1849, and was but some three years
old when she came to America with her mother, her sister
and grandmother. The multiplicity of Miss Taylor's names
was not the result of vanity, but that of religious fervor, en-
thusiasm or necessity. Her original name was Clara Stella
Taylor, by which she was known personally, privately and pro-
fessionally to the last. Her religious names, Marie and Cecilia,
were entirely to her credit. The former was in honor of the
Mother of God, the latter was taken in honor of St. Cecilia, the
patroness of music, and said to be the inventor of the organ.
At baptism in the Catholic Church it is necessary to give
the child or convert a Christian name. At confirmation, an
obligatory sacrament in the same faith, a middle name is
essential; which name must also be that of a saint. Hence
Miss Taylor's names.
Clara Taylor would probably be called a brunette, and yet,
strictly speaking, she could not be, as there was nothing dark
about her but her hair, which was dark-if not black. Her


12
178
THE LIFE OF LAURA KEENE.
complexion was not only beautifully fair to look at, but her
face was strongly angelic, which ever suggested a sadness or
minor chord in her young life, which clung to her with
remarkable tenacity unless one could read the story of a life
which was prematurely old before it had time to be that of a
young girl or woman. As a child, when not under the rigid
care of her grandmother or governess, she was in the convent.
And yet her mother, with her wonderful eye to business,
found time and place to put this tot on the stage, and so
educate her before the public, that when there she had even
more confidence than the mother.
Miss Taylor did not pose as an actress, but as a child
actress she figures in Colonel Brown's "History of the New
York Stage." In appearance as a woman, she was taller than
her mother, graceful, willowy, and as full of dignity as any
queen that has ever sat on a throne. Her voice was one of
the sweetest ever possessed by a child, girl, or woman.
Remarkable as this vocal gift was in the Keene family-from
grandmother to grandchildren-Clara Taylor's was the most
fascinating of all. It was like a human flute, so modulated
by nature that, in her conversation, one never grew tired until
she had ceased to charm by conversing no longer.
From her earliest girlhood Miss Taylor displayed remark-
able vocal powers. As practically a child, as already referred
to in this work, it was a question whether it was she or the
birds in the trees that had been singing. Miss Keene was not
slow in having such a vocal organ cultivated, but Miss Keene's
besetting sin, as she subsequently learned to her sorrow, was,
in her anxiety to have her daughters excel in all branches of
the polite arts, without impressing on their mind the import-
ance of excelling in one, especially when the mother's hopes
were centred in the future of her daughters, or would have
been had not the mother, like the subject of this sketch, met
with a premature death.
Clara Taylor was not only a fine linguist, but an accom-
plished musician. Independent of being more than a master
of many musical instruments, she could have made a fortune
as a performer on that divine instrument, the harp, had she
but devoted her talents in that direction. From her earliest

THE LIFE OF LAURA KEENE.
179
girlhood days, however, the one aim of her life, and that of
her mother, was to educate her for the lyric stage, for which
nature had so richly endowed her. Her voice was a pure
soprano of the greatest range or compass, reaching with ease
to F, F, sharp, or G above, while the tones of her low, or mid-
dle register, were so rich and full as to defy all competitors as
a contralto singer. This vocal gift is rarely given to any one
woman; although in isolated cases it has been known. Miss
Taylor was the one woman during the past decade known to
us who possessed this gift. She was not, it is true, known to
the public, as she was yet to come. The fact that she was
not known to the public was owing to the contempt which
she and her family entertained for public notoriety, so strongly
suggestive of the charlatan and empiric.
Miss Taylor was a pupil of Madame Seiler, a celebrated
teacher and authority on voice culture, a woman who was
probably better known even in Europe than in America. Her
works on the voice are standard authority among those who
rank first in the musical world. In Philadelphia, during her
day, she easily ranked first among such teachers and musicians
as Michael Cross, Henry G. Thunder, A. F. Dos Santos and
David Wood, and commanded the palm as being foremost in
an art which is said to be "the language of the angels." On
one occasion I had an interview with Madame Seiler, which,
if not entirely terrifying, was certainly amusing. This dis-
tinguished lady was one of the handsomest women, even in
maturity, for she was old when I first saw her, that I have
ever seen among women of her advanced age.
In stature she was medium; slightly inclined towards corpu-
lency. Her abundant hair was as white as snow, while her
beautifully rounded cheeks were as red as a newly polished
ivory light-red billiard ball. Add to this, the charm of ex-
quisite taste in dress; and you have a picture of Madame
Seiler. Miss Taylor lived in New York, but spent much of
her time in Philadelphia while being educated for her profes-
sion. Miss Taylor, of course, lived in the same city-Phila-
delphia with her mother while the latter managed the
Chestnut Street Theatre. Although educated for the lyric
stage, Miss Taylor was entirely free from all affectation and

180
THE LIFE OF LAURA KEENE.
other silliness or weakness so characteristic of the average life
of the average public singer. In a word, she inherited much
of the sound common sense of her mother. Having no super-
fluous time to waste on Madame Seiler or any one else, she
requested me to see Madame Seiler and arrange hours and
dates for the resumption of her musical studies.
I called on Madame Seiler with this mission in view; but
was informed that she was giving a lesson, and that I could
not see her until she was through. To me, at least, my time
was valuable, and having spent much of my early life among
musicians, I knew what that meant. I also knew that my
business could not possibly detain Madame Seiler more than
a few moments at the utmost, while I could not afford to wait
for probably an hour until she was ready to see me. I informed
the servant that I would detain her mistress but a moment,
and, as my business was urgent and my time limited, I would
either have to see her at once or not at all. My message was
delivered to the madame, who was up stairs. It had the desired
effect, as Madame Seiler came down stairs, taking not less
than two steps at a time.
By the time she reached me she was not only furious, but
literally hissed out, "What do you want?" Seeing her excited
condition, I endeavored to apologize for having interrupted
her. "What do you want?" was again her violent demand;
and had I not been a man, she probably would have mobbed
me. As it was, I doubt if she was not strongly inclined to do
SO. I made known the character of my business. Upon
hearing the name of Miss Taylor the old lady came nearly
fainting. Here was acting in real life! Much of my time
had been spent in the theatre, but never before had I seen
such a transformation from outrage (?) to profuse apology.
This affectation, however, I waived away, for, like Dr. Johnson
and Lord Chesterfield, it was then "too late." The name
of Miss Taylor also recalled the line from Brutus, "O Julius
Cæsar, thou art mighty yet." Miss Keene was then dead, but
her name was still a power, even with musicians, or her bank
account was, which of course was more to the point. I
arranged hours and dates for Miss Taylor, and later on both of
us laughed over my first and only meeting with Madame Seiler.

THE LIFE OF LAURA KEENE.
181
Miss Taylor continued to study for the lyric stage for some
time after the death of her mother. Indeed she never aban-
doned this idea until she was practically dead. In this
respect, as in so many others, she greatly resembled her
mother. Referring to Miss Keene in his autobiography Joseph
Jefferson says: "The last letter she ever penned was upon
her death-bed and was addressed to me. She sent me an ivory
miniature of Madame Vestris, and a water-color drawing of
Hardy, by Edmund Kean, as Richard III. Her letter was
cheerful and full of hope. She spoke of feeling better, and
seemed confident that in a few months' time she would be in
harness again. She died the day after this was written."
While Clara Taylor was possessed with the same confidence
and hope, it was feared by her sister and the few personal
friends who were permitted to enjoy the solitude of her private
life that the death of the mother would prove fatal to the
daughter. And yet, before the death of the mother, this
young woman gave every indication of physical longevity. In
disposition to strangers she was cold, dignified, haughty, queen-
like and imperious. Yet there was a latent gentleness beneath
all of this which made the nobility of her life the admiration
of her personal friends. She was wonderfully droll; with
strong appreciation for the ludicrous, and few could excel her
in relating any comical event in her life.
On one occasion while out walking in Central Park, New
York, she accidentally met Matilda Heron. It was during
the sad and unfortunate part of the life of the great actress,
when her mind was said to have been slightly unbalanced.
Miss Taylor had read of the eccentricity of Matilda Heron,
and being personally well acquainted with her as an old friend
of Miss Keene's, and a frequent visitor to their house, she hoped
to avoid a meeting to prevent a public "scene." She pre-
tended not to have seen Miss Heron, but the latter was more
observant. Miss Heron at the time carried a huge umbrella
in her hand, and upon seeing Miss Taylor exclaimed in loud
and tragic thunder-tones as she stretched out both of her arms
and flung her umbrella into the grass, "Great heavens! what
do I see! Laura Keene's daughter! Come here, my child!"
and poor Miss Taylor was fondled as though she had fallen

182
THE LIFE OF LAURA KEENE.
from the clouds, while the pedestrians who began to congre.
gate about the two women wondered who they were, and if
both were not a little daft!
Another amusing incident was related by Miss Taylor,
which took place at her mother's summer residence at New
Bedford, Mass., while Mr. and Mrs. Waller were the guests of
Miss Keene. On a Sunday night after dinner all hands
retired to the parlor. Miss Keene, ever restless if not doing
something, suggested that they should have some "private
theatricals." The Wallers were satisfied, but owing to the
paucity of the "stock company" decided on giving the dagger
scene from Macbeth. It was discovered, however, at the last
moment that there was no dagger in the house! "O! bless
you," said Miss Keene. "That's all right. I will get a carv-
ing knife!" She did so, greatly to the relief of Mr. Waller and
his wife, who were in tragic attitude ready for the bloody
work. The performance was certainly an artistic success,
until Lady Macbeth exclaimed: "Give me the dagger!"
and taking the carving knife from the hand of Macbeth drew
the edge of it over his fingers. "Damn it, Emma," exclaimed
Waller, "what are you trying to do-do you want to cut off
my fingers?" "The scene was so ludicrous," said Miss Taylor,
"and Waller's language so unexpected, that my mother came
nearly dying from laughter."
A good joke is on record at the expense of the Rev. Father
Lane, of St. Theresa's Catholic Church, Philadelphia, in which
Miss Taylor, quite unconsciously, took a prominent part.
Father Lane's choir was a volunteer one, with the exception
of the organist, Mrs. McKee. Father Lane decided to engage
a soprano singer. Having done so, the reverend gentleman
made his appearance on his altar in due time, and informed
his congregation that, at very considerable expense, he had
engaged a soprano, who would be heard there for the first
time that day. The organist, Mrs. McKee, being an old friend
of the writer, Miss Taylor, who was in the choir at the
time, by invitation, sang the offertory, and very naturally was
taken for Father Lane's new soprano! Father Lane was
overrun by his congregation at the close of the service, and
received such congratulations on the acquisition of such a

THE LIFE OF LAURA KEENE,
183
singer, that the veteran pastor began to think his new "in-
vestment" would prove to be a very valuable one to his
church. But alas! that was Miss Taylor's first and last ap-
pearance there, and it has been strongly hinted that for his
subsequent peace of mind Father Lane wished that Miss
Taylor had never upset his musical calculations.
Clara Taylor was a woman, young as she was, of great will-
power, confidence, and determination; again demonstrating
how she had inherited these traits of character from her
mother. Educated as she had been, from her earliest girl-
hood days, for the highest school of lyric art, she would sing
only in the Italian tongue in opera, and two operas-"Faust"
and "Traviata"-were so rigidly excluded from her reper-
toire, owing to her dislike for the subjects on which they
were written, that in all probability she would have forfeited
her future professional career rather than sing them. Not
even the combined musical genius of Gounod and Verdi could
alter her determination in this respect. And yet Marguerite
in "Faust and Marguerite," was one of Miss Keene's most
noted roles in her early career; while "the Camille of Laura
Keene," says Marian Strickland, "was the finest I have ever
seen on the stage."
Miss Taylor's determination to sing only in the Italian
tongue in opera, was not only to her credit as a vocalist, but
she had only lived up to the compact in which she had been
trained from the outset. No other language is so musical to
sing in; and no music so melodious as that of the Italian
school. The composers of other nationalities may delight and
entrance us, but they are never more likely to do so than
when they copy after the Italian masters.
after the Italian masters. Haydn's masses
are all strongly suggestive of the Italian school. The masses
of Mozart and Beethoven, while not so melodious, are cer-
tainly more devotional. Haydn never wrote any mass that
can compare with Mozart's twelfth, which is probably the
greatest work of its kind that was ever or ever will be written.
Next to this, Beethoven's Mass in C probably ranks as the
greatest work known to sacred music. And yet it is generally
regarded among writers on this subject as rank heresy to refer
to the masses of Mozart, Haydn or Beethoven as proper works
for the church or the house of God!

184
THE LIFE OF LAURA KEENE.
Gounod's masses, although more severe, or less melodious,
than those already referrred to, are strangely beautiful as
purely religious compositions, and probably come nearer to
purely classical church music than the works of any other
master. Rossini has, if I am not in error, been censured by
the same writers for giving the world his Stabat Mater. Yet,
if there is anything more beautiful in the whole range of this
divine art than "The Inflamatus," we have never heard it,
while his "Qui Est Homo" and "Fac ut Portem" would
have made his name immortal had he never composed any-
thing else.
Handel, like the other inspired and divine composers, has
also been accused of musical levity in his sacred compositions;
just as if his "He was Despised and Rejected," "Angels Ever
Bright and Fair," and "I Know that My Redeemer Liveth,"
would not convert even an agnostic to Christianity, were the
latter not so hopelessly a victim to his own exquisite (?) con-
ceit. Christianity is severe (?) and demands an observance
of the Ten Commandments. Agnosticism is more liberal.
To observe the Ten Commandments on the part of the agnos-
tic, would preclude the possibility of the agnostic being in
love with the agnostic, or this combination of human peacock.
No, the beautiful in church music, like the ornate in church
architecture, church sculpture, and church painting, cannot
be eliminated. While the world bows to the genius of
Raphael and Michael Angelo, as the foremost masters in
giving almost life to sacred subjects by the magic touch of
their brush, the same world will ever hold in reverence the
names of the men who have offered up their praises to God
through their music and the language of His angels.
Clara Taylor, as a ballad singer, was probably one of the
most charming vocalists that has ever appeared on the public
stage. Her faultless and perfect method, her gloriously fresh
voice, with tones as clear as they were full and round, literally
bubbling from her throat, her clear and distinct enunciation,
her inherited power to captivate all,-"Trust her not, she is
fooling thee "-and in the next moment to touch the heart or
dim the eyes-all gave evidence of her wonderful power in
her art. There was no trickery, no straining for effect. The

THE LIFE OF LAURA KEENE.
185
pure ballad singer should be free from all operatic tricks, and
should depend on the purity of voice and the solidity of
method. John Howard Payne's "Home, Sweet Home," or
Moore's "Last Rose of Summer," never would have become
household words, were it not for the fact that their simplicity
has made them immortal.
I have referred in another part of this work to the fact,
that Miss Taylor remonstrated against the wishes of her
mother to appear in light or comic opera. That was at a
time or period in Miss Taylor's life in which she was entirely
justified in taking the position she did. Older in years than
formerly, she had seen that comic opera, even when probably
at its best or purest, was at least tainted with vulgarity, with-
out having the redeeming qualities to compensate for the same.
The mere question of making money, and that was the one
point which Miss Keene neglected to ingratiate or instill into
the minds of her daughters until it was too late, now failed
as a potent factor in her argument. "Alice Oates," said Miss
Keene, “has practically made a fortune each year through
singing in light or comic opera. If she can do so, I fail to see
why a woman with your voice should not be equally success-
ful."
Miss Taylor looked at me and I felt her position keenly.
I was also greatly incensed at Miss Keene's negligence, which,
to me, appeared as nothing less than criminal, in having
educated her daughters as she had without placing them
before the public. As Miss Keene was on her death-bed,
however, that was not the place or time to moralize. Had
she suggested then to her daughter to appear with a company
of her own in such light, but classical operas as "Maritana,"
"Martha," "Fra Diavolo," "The Daughter of the Regiment,"
and such other light operas as Caroline Richings appeared in
for years, she might have met with some encouragement from
her daughter. As it was, Miss Taylor flatly refused to even
listen to any such suggestion as comic opera. For once I said
nothing, as that was not the time or place to talk, but I
entirely approved of Miss Taylor's determination not to
appear in comic opera. Had Miss Taylor wished to appear
in the "show business," there was no time when she could


186
THE LIFE OF LAURA KEENE.
not have done so by appearing on the concert or operatic-
concert stage. She did much of both, incognito and other-
wise, but only as a preliminary to her future career.
career was never vouchsafed her-
That
"There is a Divinity which shapes our ends rough, hew them as we may."
Miss Taylor was intended as a leader, not as a follower.
When she could not be the former, she declined to be the
latter. The truth is, Miss Keene realized her physical condi-
tion; she knew that she was on her death-bed.
Her oldest
daughter was married and out of her jurisdiction: she was
not then a rich woman, and wanted to see her youngest
daughter cared for professionally, knowing, as she did, the
value of her vocal organ.
While she was comparatively a young girl, I had consider-
able trouble of an amusing nature in handling Miss Taylor, or,
indeed, to be more accurate, she had considerable trouble in
handling me. Always a spoiled child in her own household,
where her every whim, will, and caprice were law, she could
not understand why the same law could not be carried into
effect outside her household as well as in it.
She also had
another advantage; she was my senior by two years, which,
to a woman of twenty, was very considerable over a lad or
"boy" of eighteen. She was not slow at that age in con-
sidering herself a woman, whose judgment was of course
superior to mine. At the same time I was much older in
worldly matters than she, together with the advantage of my
sex, which, after all, is an advantage, providing it is handled
judiciously.
She could not understand why I would not go to her
mother's theatre with her unless I purchased the tickets.
"Think of the absurdity," she said to me on one occasion,
"of buying tickets to go to our own theatre." "Miss Keene's
art is too fine," was my reply, "to permit any one to see it
without paying."
On the other hand, when she wanted to go to any other
theatre, it was with the understanding that she should pur-
chase the tickets! "No doubt you are older now than I am,"
was my reply, "but twenty years hence you will want to

THE LIFE OF LAURA KEENE.
187
reverse the order of age. I shall then be nearly forty, while
you will be but eighteen." This retort made it possible for
me to purchase the tickets.
In publishing a few of Miss Taylor's letters, I hope I shall
not be accused of any breach of confidence. It is true they
were personal, but it is equally true that biography is largely
made up of letters which were never intended to see the light
of day. Two years ago I had no idea of writing a life of
Miss Keene. To write of the mother it is impossible not to
refer to the daughter. The noble character of the latter can
probably be better seen from her own pen than from mine.
"ST. LAWRENCE HOTEL, PHILADELPHIA.
"Dear John:-I'll be very happy to accompany you to the
Walnut. I have been busy packing or you should have heard
from me before. Don't forget Liszt.
C. TAYLOR."
"ST. LAWRENCE HOTEL, PHILADELPHIA.
"Dear John:-You're a real good fellow; to use a slang
phrase, which I learned from a genius who sits at our table,
'I'm with you' Friday night. We're rather lively Catholics.
I think Old Nick will give us an extra turn on his warming
pan when he gets us. Next week, though, must end festivi-
ties. That must be kept sacred.
C. TAYLOR."
The "next week" referred to by Miss Taylor was Holy
Week. Here was the daughter of an actress, who had been
brought up practically in her mother's theatres since her birth,
and yet she would not enter a theatre during Holy Week.
I do not now refer to her presence there as a performer.
When not so, or not professionally engaged, she never entered
a theatre during that time. Personally, I fear I was less
scrupulous, and made no distinction, with the single exception
of Good Friday. On that day I have never visited a theatre,
although I fear I have done much worse. Miss Taylor was a
convert, and as such she was rigid, strict, severe, and enthu-
siastic in religious matters. Catholicism, to me, was more
generous, liberal, and broad-minded in its views, probably
owing to the fact that I was born in that faith, and that my
Catholic blood could be traced back to the days of St. Peter.

188
THE LIFE OF LAURA KEENE
"I have a passport," I would say to Miss Taylor, "from the
old man in the Vatican," or, "St. Peter will lend me his latch-
key; they all come from Ireland!" I might play myself false,
but Miss Taylor never.
She would even permit me to pur-
chase tickets, but if I bought them for Holy Week I would
have to go to the theatre alone.
"Many thanks, John, for your kind remembrance. It will
afford me much pleasure to visit the Arch to-morrow evening.
"Truly,
C. S. TAYLOR.
"ST. LAWRENCE HOTEL, Tuesday noon."
"ST. LAWRENCE HOTEL, April 6, 1870.
"John:-In our conversation you said 'Friday week,' which
was last Friday. I was not sure whether you would be here
next Friday, and so made an appointment to go to the 'Arch'
this evening. Will you think me very rude? I must offer
an apology; and if you won't accept it, I must keep my ap-
pointment with you. If you have purchased tickets, I will
go next Friday; if not, I will go to-night. Just send me word
on this point. I enjoyed the Patti concert very much. I
tried many times to 'catch your eye' on your entrance, but
you did not see me. I wondered that you did not, and come
over and speak to me.
"Hoping that your mother has improved in strength,
"Truly,
C. S. TAYLOR."
"NEW YORK CITY, 34 Bond Street,
"April 20, 1872.
"Dear John :-I think of returning to Philadelphia next
October, and I wish to ask you what the chances would be of
obtaining a position as soprano in one of the Catholic churches
of that city, and at what salary? In this city they make
their choir changes May 1st, but in Philadelphia it may be
different. I might obtain a position there October 1st. What
do you think? Write me what you know on the subject, and
if you would make some inquiries I would be much obliged.
It might be well to mention to you that I am familiar with
the Catholic service. I am now singing in St. Peter's, Brook-
lyn, and have also sung for two winters at St. James' Cathe-

THE LIFE OF LAURA KEENE.
189
dral, Brooklyn; and at St. Lawrence Church, New Bedford,
Mass.
66
'Hoping that your mother is well, I am,
"Very truly,
C. TAYLOR."
"John :-Absence from the city is the cause of your letter
remaining unanswered. I found it awaiting me on my arrival
from Baltimore, where I have been a little over a week.
Many thanks for the kind invitation. If your mother is yet
in town, present my regards to her.
"Truly
"ST. LAWRENCE HOTEL, Philadelphia."
In haste,
C. S. TAYLOR.
"John :-Sorry to break an engagement, but I am not well
to-day, and so shall not be at hotel. As it is in bad taste to
call on Catholics on 'All Souls' Day,' and seeing the Don-
nellys is unimportant. Some other day will do. Can also
see Miss Wells some other day.
"CLARA TAYLOR."
"Dear John :-Much obliged; but I don't want to make you
pay to see Raymond. Of course I wish to see him, and as it
is on my account you will let me do the paying. Recollect
I'm an heiress. Will be at hotel at 1.30.
"Yours,
CLARA TAYLOR."
"34 BOND STREET, Sept. 18, 1872.
"Dear John:-As I have returned home, and have a little
leisure time, I will now thank you for two letters, which up
to this time have remained unanswered. You know 'Man
proposes and God disposes.' My trip to Philadelphia is yet
a thing doubtful and uncertain, much as I desire to be in
that city. If I do reach there, it is also dubious whether I
will avail myself of Mr. Thunder's generous offer, or that of
any of the celebrated choirs of Philadelphia. Time will show.
But I thank you much for the trouble you have taken.


66
6
Hoping to see you some day,' and with kind remem-
brance to your mother when you see her or hear from her,
"Truly yours,

"C. TAYLOR."
190
THE LIFE OF LAURA KEENE.
"34 BOND STREET, New York,
April 29, 1873.
"Dear John:-I'm much indebted to you for your kind-
ness. You say you have engaged. . . I cannot leave home
before Thursday, if then; but I shall try to leave then. Is
it not provoking that I should have this cold just when I want
to use my voice? If it will be . . . I'll see her punctilious
ladyship on that evening between 7 and 8. I must have
seclusion for practice, and a properly tuned instrument by
which to tune my voice. I've been singing to every style and
tone of instrument lately; high, low, ill-tuned, and everyway.
Madam's ears and patience may, probably, have to suffer
thereby. I could swear at this cold, but I'll refrain. On what
flight is my room? . . . I'm much obliged for the . . . but
I might bore your aunt and 'her offspring.' Pardon scratch-
ing. I hope you'll be able to read this scrawl. In haste,
"CLARA TAYLOR."
"E. 13TH STREET, New York City,
"November 29, 1873.
"Dear John:-I thank you for the very pretty verses which
you sent to the Clipper. Any kindness to my beloved aunt's
memory, or recognition of her talents must always be treas-
ured by me.
Very truly,
"C. S. TAYLOR."
In the fall of 1874 Miss Taylor took a trip to Cannes,
France, for the benefit of her health, which became shattered
almost immediately after the death of her mother. Indeed,
Miss Taylor's life after the death of her mother greatly re-
sembled that of Ophelia after the death of her father. For-
tunately Miss Taylor did not lose her mind, but the brief
period she was destined to live was, to her at least, but a
prolonged tragedy.
"PENSION LERINS, Cannes, France,
"February 5, 1875.
"Dear John:-I was 'surprised,' and I add, pleased to hear
from you. What reason had you to . . . that a letter writ-
ten to me when away from home would be considered more


EMMA TAYLOR.


THE LIFE OF LAURA KEENE.
191
than one received in New York? And what reason had
you to think me so thankless as to forget your many kind-
nesses? It is evident that you do not hold me in high esti-
mation, notwithstanding the many candid observations you
have made me from time to time while I was in Philadelphia.
"There is no one whom I am more pleased to receive a
letter from than yourself. Please don't let this assurance
flatter you too much. I would not like to unnerve you for
business.
66
Now, I'd wager if it had been Mrs. Rawson, you would
not have . . . for writing. I'm jealous; but I'll endeavor to
survive it! If, on arriving here, broken in health and spirits,
I had received a little more . . . I should have been grateful.
Yes, I have been very ill, and am not yet well, though
better. To-day I feel pains in the same spot that I had the
pleurisy. I am, however, much better. My voice is like a little
mouse's, but at least I can sing a little in my room, which I
could not do before. This is forbidden by the doctor, but I
like to try occasionally to see how the voice is. If I could
remain here till April I might improve, but if I have to return
to London or America, I may have another illness, and this
change from a mild to a variable, damp and cold climate
might prove dangerous.
"We are in the spring; I cannot call it winter, although it
is February. I sit now with the window open, and outside at
the florist's are the violets, cornelias, jonquils and orange
blossoms that have just blossomed; while on the vines in the
garden peas are hanging fresh and green. I have done little
else than cry and worry since I have been here.

.
"And now
write to me at once so that I may receive
your letter as soon as possible, for it takes fifteen days for a
letter to reach me from America, and I could not hear from
you before the first week in March. . . of the arrangements
for my appearance in grand opera, that cannot be considered
at present. I heard Alboni in London, and was disappointed.
Adelina Patti sings without expression, and her upper notes
are in the nole, like most operatic singers. Wait until I ap-
pear, and then create your riot. If I can, I will be happy to
see the 'mansion,' and Mrs. . . . seated on her three-legged

192
THE LIFE OF LAURA KEENE.
stool. Remember me to her and to your cousin, and believe
Very truly, your friend,
me,
"C. S. TAYLOR."
"March 12, 1875.
"PENSION LERINS, Cannes, France.
"Dear John:-Your letter of the 23d ult. came to hand last
evening. I can find no words with which to thank you suffi-
ciently. . . . It only remains for me to beg you to accept
my assurance of sincere gratitude. . . . I think my last
letter proved that I had confidence in you. How, then, is it
that you write as though you doubted this axiom? . . . Last
winter I remained on Fourteenth street, in ill health, which
did not improve after repeated visits to a physician. I was
drugging myself without benefit; could not sing, so I deter.
mined to try what a trip would do, thinking to return to
America after a voyage of three months, strong and capable
of embracing my profession. Man proposes, and God dis-
poses.' . . . I depend upon my voice, which depends entirely
on my health-the most uncertain of things; for I shall never
be quite strong.
•
•
6
"And so you found my letter 'fearfully satirical.' I pre-
sume being sarcastic is a way I've got,' and sarcasm some-
times slips out unawares. My epistle did not, however, pros-
trate you, for you were able to write somewhat caustically too.
"You gave me news, indeed! Please present my congratu-
lations to your cousin, and my best wishes for her happiness.
I recollect the name (Munce), but cannot the gentleman. I
presume I met him at the old mansion?' West Philadelphia
is a pleasant part of the city in which to reside. And Aunt
R
has married. .. Wonders will never cease. What
a youthful couple! Long may they live! My health is only
'so-so.' I would like to remain here until May 1st, but do not
know whether I can. It was very cold in London in June
last year, so I do not wish to return there too early Here I
have my window open all day excepting when it rains. You
write very kindly, John-but . . . I am awaiting a letter
from my sister, and upon the contents of that depend my
actions. I hear the weather in London has been very cold.
My last letter from Emma informed me that the . . .
.

THE LIFE OF LAURA KEENE.
193
"Direct your next letter to . . . London, England, and I
shall be sure to receive it, that is if you write so I can get it
before the middle of April. I do not think I should leave
London for America before then. But a letter directed there
would be forwarded to wherever I am.
"With kind regards to all, and many thanks to yourself,
66
Always your friend,
"C. S. TAYLOR.
"PENSION LERINS, Cannes, France,
66
April 19, 1875.
My Dear John:-I also was surprised to hear from you so
soon, but why astonishment should seize you at my early reply
I know not. I should not certainly delay acknowledging a
kindness. Your letter was forwarded from London. I am
still here, and may be detained here until the end of May. I
say 'may be,' when indeed the chances are almost certain.
"You know that ill-fated Chestnut Street Theatre was a
terrible failure. Aunt lost heavily on that, as on Fourteenth
Street, New York. Also on the Fine Arts, and later on in
traveling. It makes me so sad to think of all these things.
She really killed herself-and for what?
•
"You think I have never been the child of adversity?
Well-my life has not been strewn with roses I assure you.
Trouble, trouble, trouble and endless trouble, it seems to me
has been my portion. All looks very fair to outsiders; but
who knows of the skeleton which is assuredly in every
family? My health is so precarious as not to be depended
on at all. A little cold-and I have pains in my side, hoarse-
ness, etc. When I return from a walk I sometimes see a little
red, hectic spot on my cheek, sometimes have a sort of rattling
of mucus in chest and throat, etc., etc. The doctor forbade
me to sing all last winter, and as soon as I arrived in London
the doctor echoed the same injunction. Now, if all these
things continue-of what use is it to have a voice better than
Kellogg's, and possibly as good as Nilsson's? I think myself
that I have been 'abominably handled,' but it's no use to 'cry
over spilt milk.' I have had so much worry of late--and how
can any one get well under continual mental anxiety? . . . I

13
194
THE LIFE OF LAURA KEENE.
think I have answered all your questions. . . . Pardon this
scrawl. Hoping to hear from you soon-soon means at least
a month for a letter to go and come.
Best wishes for your
success.
"In haste, yours truly,
"C. S. TAYLOR."
"PENSION LERINS, Cannes, France,
"May 20, 1875.
"My dear John:-I wrote to you some time since, and as I
have received no reply I begin to be anxious. Perhaps you
did not receive my letter, or your reply to it may have been
lost. I kept no account of the date of my writing to you, so
I have no idea when I ought to receive an answer, but judge
it to be somewhere about the present time.
"I scarcely think you could have posted a letter in time
for the 'Schiller' to take, which vessel was wrecked the other
day. . . . I depended so much upon hearing from you that,
hearing the weather in London to be very severe, I judged it
best to remain here until June 1st. . . . I don't know whether
I shall hear from you or not, and so I judge it best to let no
further time elapse-but to write to you again in case letters
should have miscarried. . . . Perhaps even now a letter from
you is on its way, and I may hear from you in a day or two.
I hope so.
"Just while writing this, yours of the 5th inst. . . . has
come to hand. Thanks are perhaps useless; I can only say,
John, that I ought not to regard you as a friend, but as a
brother. A true friend in such a world as this I value more
than gold! And I can value your friendship better now that
it comes so opportunely-comes when I am oppressed by the
world's deceit, and almost in despair. I thank you, too, for
the kind advice you give. It is another proof of your sin-
cerity. I beg you will always speak candidly to me.

.
"The gentleman of whom you speak writes to me occasion-
ally, and has offered to introduce me to Italian managers in
London. My illness prevented me from seeing him when
I was in London, but when I return I hope to form his
acquaintance. He regarded Aunt as a sister, and says he
would do what he could in remembrance of her. I have had

THE LIFE OF LAURA KEENE.
195
this intention for some time-of trying my luck in London,
but have not mentioned it, in accordance with an old super-
stition of mine, that as sure as I propose or talk of anything,
it's sure not to come to pass. So I will not rely on anything,
but await results. My voice is so uncertain a thing; always
hoarse or something the matter!
"I am so sorry to hear such sad accounts of your cousin's
health. She must take nourishing food, plenty of fresh air,
and not fatigue herself. I do hope she may improve. I'm
afraid she dabbles too long in cold water-this is poison to
some-and I remember she used to bathe when quite warm,
when I was at the mansion on Sundays. Flannels, winter
and summer, and not too much cold-water bathing. Tell her
what I say.
"With regards to all, and a . . . thanks to yourself.
"Gratefully your friend,
"CLARA STELLA TAYLOR.
"Let your next letter be directed to London, where I shall
be. I feel that I have not thanked you half enough, but if
you knew from what anxiety and sadness you have saved me,
you would know how grateful I am."
"LONDON, ENGLAND,
"June 28, 1875.
"Dear John:-I have not much time to answer your epistle
of the 3rd inst., which came to hand to-day, but 'where there's
a will there's a way' they say, and though I cannot endorse
the proverb as entirely true in all matters, I assert it infallible
in regard to letter-writing.
"My 'debut' will take place . . . Before leaving Cannes
I took cold, and was much troubled by a cough and irritation
of the throat, which kept me awake at night. I have not
been able to sing since my arrival in London; the climate here
affects me sadly. I cannot endure the fog, smoke, and
damps. The doctor says my throat is still congested, and
when I told him I could get an introduction to Mapleson, he
answered, 'I would not recommend that; I think you would
give way under it. Your throat is not strong enough.' You
see, John, Fate is against me. I fear I can never use my

196
THE LIFE OF LAURA KEENE.
voice, and I might as well abandon the idea bravely as to
cling to a forlorn hope.
"What is the result of the doctoring, drugging, travel, and
expense I have gone to in the past two years? Simply that
my throat is in a worse condition than it ever was.
You are
right in all you say regarding dress and appearance. I am
indifferent and careless in this respect, although I know it is
the best dressed who gain the most attention everywhere.
No blarney, John! . . . Pardon the remark. . . . I am sorry
to learn that your cousin's health does not improve. Present
my regards to her and your aunt. I suppose your mother is
well?
·
.
"I leave here to-morrow for Liverpool, whence I sail June
23rd, by steamship Queen,' of the National Line, for New
York. When next you write, therefore, address me at 34
Bond Street. Black girls receive the cognomen of Lily.
Why, therefore, should I wonder that I was dubbed?
"CLARA STELLA TAYLOR."
"34 BOND STREET, N. Y. City,
"July 6, 1871.
"Dear John:-Your letter was handed to me yesterday
morning. I arrived home on the 4th. When will I stop wor-
rying myself to death? Why, when prospects look a little
brighter; when something looks at least definite, and when
things appear less complicated and confusing.
"If you knew the illness and worry through which I have
gone during the past year, you would find in it nothing 'vision-
ary'-on my honor. In one thing I do agree with you,
wonder, indeed, that I am so well.
I
"Much that you remark concerning doctors is correct.
But although believing that in many instances it would be
well to throw physic to the dogs,' one cannot ignore the fact
that medical advice is necessary when disease begins its work
on the body and vital organs.

66
.
was studying for the medical profession when I
first took lessons of . . and had returned from Vienna
and commenced practice the last time I was in Philadelphia.
Although may be and are very clever, I have no faith
They are anxious to make money, and I fear
in their
•

THE LIFE OF LAURA KEENE.
197
.
and advise accordingly. I may be wrong, but I know
.
and had some experience of that.
doctor here is, perhaps, as clever as
. . I think my
.
.
•
(They met, I be-
lieve, in Vienna) and I am certain he will tell me the truth
His specialty is, also, throat
Having already had experi-
hospitality, there is no one
about myself as far as he is able.
and lungs, Dr. . . . by name.
ence of your aunt and cousin's
with whom I would rather remain in Philadelphia than those
good people; but I could not think of accepting an invitation
there while your cousin is in such ill-health.
"This weather is most oppressive! My sister is well, and
tells me she has not seen you yet. I thought you intended
paying a visit to N. Y.?
"Thanking you for you kind offers,
"Always your friend,
"C. TAYLOR. "
"34 BOND STREET.
"Dear John:-As I am keeping house in the absence of Mr.
and Mrs. Rawson this afternoon, I may as well take this
opportunity to answer your last sage epistle, especially as you
make one remark that needs a retort: Women are, as a
rule, prone to complain.' Now, pray, express no barbarous
ideas to me! If anything makes me savage it is to hear
a man talk like that. Why, if men had one-quarter of
women's endurance, this life would be more tolerable; woman's
destiny higher than it is at present! Selfish, impatient man,
who has nothing to endure, and makes fuss enough, always,
over very slight things, has no right to express surprise or
indignation over an occasional weary sigh from women. For
my part I marvel at and admire the uncomplaining patience
of most of the women I see and hear of.
"I shall endeavor to leave the city for a month at least, if
at all possible. The doctor recommends absenting myself
during August, as the heat will, he says, only weaken me.
He can tell me nothing about myself at present; I can only
wait patiently and see whether I improve. If I do I shall be
very thankful-if not, I must succumb to the inevitable.
"The weather is less warm than when I arrived.


66
Hoping to see you next Sunday, and with regards to your
198
THE LIFE OF LAURA KEENE.
aunt and cousin, Mrs. Barili, the three ladies whom I visited
one Sunday . . . and all inquiring friends.
"Truly yours,
"CLARA STELLA TAYLOR."
"34 BOND STREET, New York City,
"July 30, 1875.
"My Dear John: - Don't worry any more about me;
you have done quite enough. I don't wish to tax you when
you have your own affairs to attend to. I presume that
Water Gap. . . . It is not of much importance, however, for
I expect to spend the rest of the summer in New York. I
received a letter from England to-day, but no news of the...
It is almost too late to expect it now. It ought to have been
here long since, for there is no excuse for the office not return-
ing the letter to Penton Place; unless, indeed, it reached the
boat and was. . . I'm always like Micawber waiting.
.
.
"On my voice I place no reliance whatever. My health is
just the same, consequently my throat is just the same. I do
not despair; neither do I hope. I simply succumb to the in-
evitable. I've hung upon a forlorn hope so long that I am
not going to deceive myself any longer.
"She's fooling thee!'
"I've fooled myself long enough. Without health, what is
a person? Worse, far, than without money. I shall be very
happy to note the improvement of which you write, and to
inform you of it-when it comes.
"What a strong, fat woman Titiens looks in her pictures!
With such a physique she ought to have a powerful voice.
"What a very wicked son you are! How can you be so
savage? I hope your mother will not keep to her resolution.
But probably she will wish to live long enough to see Barney
Williams. If she has never seen him that ought to be a treat.
"You must give woman another sarcasm, eh? If ever I
find a woman vainer than I have found the men-I go even as
far as to say as vain-I shall have to open my eyes in aston-
ishment.


THE LIFE OF LAURA KEENE.
199
"We have had rainy weather here. Mrs. Rawson is quite
well. With kind regards to all,
"I remain (being a woman),
"Yours,' Prone to complain,'
"C. S. TAYLOR."
"34 BOND STREET, City,
"August 11, 1875.
Dear John:-I thank you for the advice given in your
last letter; but, my dear child, I know no more of art than
Mrs. Rawson's black cat, Friday, and might as well attempt
to write upon it as that quadruped. I often think you
have a very bad opinion of me, judging from all you say;
and then again you cause me to laugh with amusement at the
exalted opinion you have. I think you go to extremes.
"Between ourselves, I'm nothing but an idiot, but I take
the privilege of saying this, not, of course, wishing that every
one may become impresssd with the fact, nor desiring that
any one should call me so to my face. How often I have
mourned my idiocy would be difficult to state. Caring always
less far for study than for play, I have wasted much useful
time. Always spending more time in writing notes to
the girls, trifling, and, as Sister Genevieve, used to say
sweetly, 'robbing my relatives,' the education I received was
anything but 'profound,' as you seem to imagine it.
"There is nothing under heaven that I know myself capa-
ble of doing, save teaching. Writing requires a particular
gift, which I have not, and have never had any practice in.
One of the convent reports sent to Aunt announced the fact
that I did not evince much talent for composition.' What
your cousin and other people find to write about I don't
know. I have often, particularly at Cannes, where nature,
in the spring especially, was so lovely, wished earnestly
that I had Mrs. Spofford's talent, or could give expression to
my feelings in verse. Olive Logan and Kate Field are clever
writers, but every one don't have a scribbling gift, any more
than every one has the gift of gab.' If I could use my voice
I wouldn't teach, but, good heavens! I must do something.
How would you like to be so situated . . . ? I've lived

200
THE LIFE OF LAURA KEENE.
for years on the hopes of one day having the 'glorious priv-
ilege of being independent,' but, like all other hopes, that's
doomed to disappointment.
I don't well understand how
any one can disbelieve in Fate.
"Since my return home I have translated two short stories
from the French, and sent one to 'Harpers,' and the other to
the Graphic. Mrs. R. thinks I'd better leave the city and
spend the winter in a milder climate, but I don't know how
I'll manage. All my books are here, and I could get along
better than in a strange place. I have no plans, however. I
don't make up my mind to anything.
"You see this letter is all self. I'm glad that your mother
is better, though I did not know she had been ill.
"Remember me to your aunt and cousin. Always,
"C. S. TAYLOR."
"34 BOND STREET, N. Y. City,
"April 16, "75.
"Dear John:-I have to... every time your letters are
handed to me... I never wrote so many letters before.
However, this last must be answered, and quickly, too. Do
not be offended when you perceive that I have returned the
which your kind-heartedness prompted you to send me,
which kindness I thoroughly appreciate, and for which I cor-
dially thank you. Much as I thank you, and much as
.
.
·
.
I refuse, positively, to encumber myself with further un-
necessary My lot may sometimes seem hard to me, but
since it is my lot, I must submit to it.
with Fate. We only get worsted, and
lessly.
It's foolish to wrestle
spend our forces use-
·
.
"For the present, my sister. . . As I may die without . .
cannot, of course, foresee what other sweets Fate may have
in store for me in the future. I think you will agree that
no reasonable person would object to me refusing to
Situated as I am it would be dishonorable to . . . I have no
health . . . Disabuse your mind of the fallacy that my
throat is worth anything. It seems that no one believes
that I am ill. A doctor who occupied a room next to me at
Cannes, said one day, 'Why, Mademoiselle, I cannot under-


THE LIFE OF LAURA KEENE.
201
stand that anything is the matter with you; I never hear
you cough. You look well.' While an Austrian smiled
derisively every time I mentioned that I was not well. And
now you expect every letter will announce an improvement,
and a capacity to sing.
"I can only tell you, John, that if I continue as I am I
must succumb to an illness, or the lungs give way; either
that or I must improve and be patched up for a time. Strong
I never was, and really well I may never again be. I was ill
on arriving in London; have been ill ever since my return
home. I have suffered greatly from indigestion and billious-
ness, probably from the hot weather. I never know what it
is to feel bright and well. . . . Add to this occasional pains
in the sides, moaning from the congestion on my chest (which
I have had more than a year now), irritation of the throat,
and you may be able to comprehend that all this is unnatural
and arises from some trouble, and that I am, to say the least,
not in robust health. I don't write to bore you with my pains
and aches; I simply mention this in response to your ques-
tions. I have no voice, cannot sing, having neither practice
nor sufficient strength of lung and throat. There are days
when I cannot touch a high note-nothing but a wheeze comes.
Would this do for singing in public? Ask your own sense.
Besides, the doctors say I must not attempt it, and I think
the thing speaks for itself.
"As to doctors! They're decidedly humbugs. I'm disgusted
with them. Mrs. Rawson read me an excellent article from
Appleton's Journal on the 'Mismanagement of Doctors,'
and that stated the case clearly and truthfully. I repeat,
John, that I know nothing of art, and have no talent for com-
position. I wish now, more than ever, that I had, for it
might prove useful. If the worse comes to the worse . .
Mrs. Rawson's cat is by no means a gifted animal, but, on the
contrary, a very dull quadruped.

66
I
When you wrote to me last you imagined yourself writing
to your mother, for you applied the 'blarney' very thick.
see nothing heroic in submitting to what one is obliged to,
when there is no other alternative. I believe that I am mat-
ter-of-fact, and that I look things straight in the face. For

202
THE LIFE OF LAURA KEENE.
that reason I am often called morbid, and it has been said
that I look on the dark side always.
·
•
"On the other hand, I find myself far too hopeful, very
foolishly so, as is so often proved to me. It is true that Aunt
thought I could make a fortune with my voice, but some-
thing more than voice is necessary. I didn't consider
myself just ready to appear in opera. However, as I haven't
even voice now, I may dispense with further thoughts upon
that subject. It's well that you and I write. I'm afraid we'd
get into terrific ructions if we talked.
"Well, I'll conclude, thanking you for your goodness to me,
and with best wishes for yourself and relatives.
66
Always your friend,
"C. S. TAYLOR."
"34 BOND STREET, New York City.
"August 27, 1875.
"Dear John:-Time is running on again; a way Time's
got.' Here we are nearly in September! We'll be old men
and women presently. There cannot be more teachers in your
city than here, so why should I not be able to do as well there
as here? Though, to be sure, there is a vast difference
between both cities, and people. . . . When I took French
lessons (some years since, too) I had to pay $60 per quar-
ter.
"I certainly consider myself a good singing teacher; su-
perior to many voice-splitters who are now earning five dollars
per hour, and think my services worth at least . . . If I go to
your city it would be the first of October I think. . . . As
to my health, John, I am of the opinion that if I could
The doctor on board ship told me that I ought to take a pint
of strong beef tea every day at 11 A. M., live on rare roast
beef, brandy, cod-liver oil, anything and everything nourishing,
so that the disease would feed on these instead of the lungs;
disease would be arrested and I should find myself much better
and eventually well. . . . With lady pupils it would be all
right, but what could I do with the he critters? . . . I am
glad you do not consider my.. but I hate to bore people.
I would be quite independent if I could, but we can't be in

.

THE LIFE OF LAURA KEENE.
203
this world. . . . I am sure you are interested in my welfare.
You have proved that to me.
"I went to a little German Swiss doctor who used to tend
Aunt and grandma, and he says my lungs are not affected, that
the other doctors make a mistake, that bronchial catarrh is
my trouble. I am to take cod-liver oil and phosphate of lime,
throw away other medicines which are useless and I shall be
surprised at my improvement. I have taken his advice, and
am going to give this a fair trial.
·
.
"Always your friend,
"C. S. TAYLOR."
"34 BOND STREET, New York City,
"August 30, 1875.
"Dear John:-It gratifies me to be useful. I detest super-
fluity. I may say, therefore, that if my letters . . . I am
very glad. My life from earliest childhood has been anything
but strewn with roses; there has been but little sunshine, and
very much cloud, except just before Aunt's death, and I
was saying last evening to Mrs. Rawson that never before have
I had so much trouble crowded into one short year. A friend
who saw me for the first time since my return home says my
illness has made me look older. Yes, I know I look older; I
saw that at Cannes! but illness has not aged me; it is trouble,
and anguish of heart. God alone knows what I have suffered.
I feel as though I could not bear any more trials; at least for
a time. I want to have time to recover a little from the
shock of past cares. It is not my health, or my mind, but
my heart which feels too sore at present to bear anything
further.
"Life seems to me a sad thing. Ah, well! We've got to
bear our burthens, and many of them are of our own making!
I am not without some consolation, poor though it may be. I
have at least learned some useful lessons. If I haven't, then
I deserve to suffer more.
"John, how can I follow the ship doctor's directions?.
Have I not told you.
Mrs. Rawson is very good to
Artists are usually as poor as church mice. They
have a large amount one week, and then nothing again for

me.
204
THE LIFE OF LAURA KEENE.
months. . . . I cannot drink malt liquors. They do not agree
with me, and a doctor once told my sister that her constitu-
tion was very much like mine, and that neither of us should
ever touch a drop of malt liquor. He had a wonderful gift
for his profession. He prophesied that Aunt would die of pul-
monary consumption, and that was years ago.
•
.
"I sometimes think that I have not pride enough in some
cases. Yes, pride is a 'curse.' Underline it well, John!! . . .
And I think it very natural pride that I should feel thus.
It is this sentiment which makes me shrink from. . . . I see
that Rose d' Erina (the Rose of Erin) is asking that price.
Have you ever heard her sing? There's nothing like . . . in
this world. . . . You see I am becoming very mercenary. As
Aunt regulated my lessons and paid the bills, I had nothing to
say in the matter. Consequently my 'not earning the money'
to pay for my French lessons was not my fault at that time.
I shall not . . . If, therefore, the Ledger shall be preferable
to the Press, why the Ledger shall be the paper.
"Don't imagine that if I go to Philadelphia I am going to
pester your aunt in any way. I have no such intention, and
especially now your cousin's married. Mrs. Duffy's cook book
'may now rest in peace.' I shall do very little visiting. It
wearies me to talk much, and, as my health is so delicate, I
must keep quiet. The least little thing and I get groaning
and moaning like an old cow. This is a thing over which I
have no control-this moaning.
.
9
But one thing I would like,
that is some of your mother's home-made wine. I have so
often thought of Aunty' Case's wines. They are better than
all the adulterated trash one could buy. Falls on the
'unlucky' day, and I may as well begin. Now you are
insulted if I attempt to pay you. I hate paltry meanness, but
there is so much of it in life. It has altered my nature. I
delight in being very particular with such people. At the same
time I would scorn to be like them. The last part of your
letter made me laugh. Now, if the children and your mother
go to such trouble. Understand, I cannot accept favors
unless those of very trifling nature. . . . I can but offer the
thanks of
C. S. TAYLOR.

.
"P. S.-They pay taxes here every year."

THE LIFE OF LAURA KEENE.
205
"34 BOND STREET, N. Y. City,
66
Sept. 6, 1875.
"Dear John:-Your letter has just come to hand, and as I
am about to start for the Post, I will answer now. If that
.
.
. . of which you write is to be the . . . . why the . . . it
must be for you seem to have set your heart on it. As
nothing better can be done, I must . . . and you know to
is exceedingly unpleasant to me. I have already said
that . . . and this blessed (?) . Of course, all will depend
upon the . . . and it will probably be with the . . . etc.
I have received this morning a note from the Steamship Co.,
Liverpool, saying they know nothing of my . . . The query
is, Where is it? It may be in the . . . and may reach me
'twixt this and the next five years. But what a goose I am
to hope for it at all! . . . Will my room be heated by grate
or stove?
"Barili used to be very popular, but 'Every dog has his
day.' The wine business is between your mother and myself;
you have no word in this matter. The old lady ought to
make a fortune out of such wines. The grocers profess to
have the same, but it's a very different article. One never
can rely on the purity of anything bought in stores. On the
impurity you can rely implicitly.
"I heard Rose d'Erina in New Brunswick. I paid her a
visit, and she sang a Spanish ballad and With Verdure Clad'
from the 'Creation.' Singing in six or seven languages is no
criterion of talent. Any one can do that, and understand only
one. Many prima donnas sing who know little or nothing of
Italian. I would like to see her entertainment, I hear it is
egotistical and in bad taste, but I did not notice her being . .
She seemed a quiet, unostentatious body.

"Yours,
C. TAYLOR."
66
'Sept. 12, 1875.
"34 BOND STREET, New York City,

"Dear John:-Not being used to making out bills, I can't
get what I wish just at once. The bill I sent you Saturday
.. Don't fear further charges. . Mrs. Raw-
son In speaking of me I hope you say nothing of me
will not do.
.
206
THE LIFE OF LAURA KEENE.
being Miss Keene's daughter, etc. I wish to be known simply
as Miss Taylor, and don't wish' aunt's' name, or anything
about myself, mentioned. Were I about to appear in public,
the matter would be different. There is a line of distinction,
you know, between a singer and a plain (perhaps insignificant)
teacher. I open the letter once more to say get . . . What
do you think? What I have must be good,
that.
Yours pathetically,
.
you know
C. S. TAYLOR."
"34 BOND STREET, N. Y. City,
"Sept. 13, 1875.
"Dear John:-I seem to have a very depressing influence
on people. Once Mrs. Rawson informed me that my letters
'always gave her the blues.' I was intensely disgusted, and
resolved thenceforth to trouble her very little with correspond-
ence. Now, you can never read one of my letters without a
melancholy sigh.' The query is, How am I to . . . if I pro-
duce this exhilarating influence over . . . ? The effect will
be charming if I set them all yawning, or send all home in
the 'dumps.' I'm neither attractive nor entertaining, I know.
That's another part of my fate. My name, Clara Stella, sig-
nifies Bright Star. Could I have received one more ironic?
Especially as I was called after a beautiful and accomplished
cousin of my mother's, and Stella from the opera of 'Stella,
the Enchantress.' So are darkies called 'Lily' and 'Rose,'
the most awkward girls 'Grace,' etc.
"Well! well! it's all in a life! and so is the losing of one's
voice when most needed. . . . I am indeed 'disgusted,' and
the unjustness of Fate has cost me many a weary sigh and
bitter tear. So many with less voice, perhaps less talent, and
not. . . are earning thousands. . . . Ah, well! I cannot dwell
on this, my position is too painful (and I shall be causing you
a 'melancholy sigh' again). But don't ask me any more about
this, John. I don't, . . . and I've worried myself sick over
these reflections. I've had too much worry, and I only seek
forgetfulness. I do so crave rest and quiet, which I trust I
shall find in my . in Philadelphia. . . . My fate may
pursue me there as everywhere; I can only wait and see. At
present I need neither hope nor despair, . but what on

.
.
THE LIFE OF LAURA KEENE.
207
earth you want . .
want . . . I can't tell. . . . which is a 'played
out' affair. We don't do things so here. . . . Will the girl
light my fire? I had a surfeit of this on Fourteenth street,
and did probably more swearing (?) than ever before. . . .
Where is Race street? Beyond Market, is it not? I think
of going on two weeks from to-day, 27th. The first, I had no
idea you were . . . I know Girard street; but how, John,
how is it for breath? . . . However, I'll wait till I hear from
you again. . . . I'll take your advice, but I ought to be in the
city, or where could a letter go? . . . One can be sure of
nothing in this world. I'll await further particulars from
you, as you may think as I do when you have read this letter.
"As to Fox's 'Humpty-Dumpty,' I thought it as lively as
you did.
"Well, I think we're all a little silly and insane, don't you?
Inquiringly yours,
66
"C. S. TAYLOR."
"34 BOND STREET, New York,
"September 16, 1875.
"Dear John:-Your letter caused me a 'melancholy sigh.'
Now, so what I wrote half in jest you took in sober earnest?
I understood your letter perfectly. I knew you put no such
construction upon your words-but I merely soliloquized.
You may not think me depressing, but most people do. I
remarked to Mrs. Rawson, only last evening, that whenever I
talk to people they invariably begin to yawn. I do not think
I am unjust to myself. Nature was not very kind to me
from a worldly point of view, though it may be all for the
best! Those who don't like me are not obliged to court my
acquaintance. People usually like me-like me very
much
(or pretend to), and then tire of me, or find some one they
like better. What a fate that is for any one with a heart.
"It would be far better to always be hated. Some people
were born to suffer. I firmly believe that.
There seems
really to be an unchanging fate in it. I cannot look back on
my life without thinking so. And then, too, how much some
have to suffer, while others live in apparent ease, always be-
loved, always without a care! Last winter was the only time



208
THE LIFE OF LAURA KEENE.
in all my existence that I felt that there is nothing in the world
worth living for. I understood the feelings of a . . . I could
believe trouble could render one's mind frenzied and insane
enough for anything. I never thought I should have such
feelings, but then I never suffered quite so much! If I only
felt sure of Heaven I think I could willingly 'turn up my toes
to the roots of the daisies.' This life is such a sad thing!
"And so you expect . . . and receive nothing but'
You think me, then, always ungrateful? If so, it is
you who do me an injustice. I have a very unhappy faculty
of saying outrageous things, which I don't at all mean. I
have repeatedly noticed it, and can't tell whether it is attribut-
able to a want of thought or a poor phraseology. Both I think.
If you blame me for wishing to be independent, your censure
must continue; for it is not my nature to be otherwise, and
only strengthens the spirit. I cannot see what right
I have to permit you to
.
.
thing as you would.
·
•
.
•
.
to let you give me every-
Do you imagine I should not be
quite as independent under any circumstances; I am very much
pleased with . . . and the
does credit to your taste.
I trust you will accept my thanks for your kindness, and
what is more, believe that they are sincere. I hope the
Things get so creased from folding.
·
.
"With many thanks for your kindness, and regards to Mrs.
Duffy and Mrs. Munce and all inquiring friends.
..
"Always your friend,
"C. S. TAYLOR."
"34 BOND STREET, New York City,
.
66
September 18, 1875.
My Dear John:-There is every probability now that I
shall not go on to Philadelphia. I may be obliged to
'daddle' on here, doing nothing all winter. . . . I can get no
news of the . . . or there is swindling somewhere. You see
everything I undertake falls through; and everthing goes
wrong. Do you not think there is a curse on me? . . . But
enough of that
of Cook's had not, . . . but you see what
my fate is, and I think you will begin to believe there is such
a thing as fate.

.
You had better not.
•
You see my hands

EMMA TAYLOR.

THE LIFE OF LAURA KEENE.
209
are tied. I am quite helpless. You have said yourself that
a man without . . . is but a miserable creature.
"Yours miserably,
"C. S. TAYLOR."
"34 BOND STREET, New York City,
66
September 22, 1875.
"Dear John:-As I write . . . has called. . . . It may
·
be .. the trustee. . . Mrs. Rawson opposes my going to
Philadelphia, and I
'awful rumpus.'
.
·
may not be able to get off without an
.
I told her she was only content when I
was beside her. I being of age. That last remark
never originated in Mrs. R.'s brain, of that I'm sure. . . .
Now, this sort of life does not suit me. Many a time I have
felt that I would relinquish all claim to the . . . if I but
could. Beside (just Heaven!), here I am and must be all my
life. Why it's like a bird in a cage! The thought would
drive me wild if I dwelt upon it. I went last evening to
Dr.
who finds me looking very much better. (Of
course, as I am taking his medicine.) He is sure I weigh
more. I told him I felt just the same; which was the cause
of my calling on him. When I saw him before he said I
should regain my voice in three months. He says I have
scarcely taken enough medicine yet. It acts slowly. He also
says Denver (Colorado Springs) would be the place for me to
live.
"I heard Julia Mathers in three operas. She got £40
($200, in London). I am more convinced than ever that to
make money one must sing badly. I don't blame Strakosch
for not giving opera. What a horrible operation poor Clara
Morris went through in Paris!

... an actor who traveled
"Is the man who spoke of my
with Aunt before she came here to die?
"Yours,

"C. S. TAYLOR."
"34 BOND STREET, New York City,
"September 27, 1875.
"Dear John:-I did not say it (the story) contained errors.
Philadelphians are great
but not reasonably so.
14
210
THE LIFE OF LAURA KEENE.
How can I make up my mind what I am to do? I am not
anxious to waste time-but I am obliged to. . . . I am quite
' awake,' my boy! Painfully so; for it is painful to see year
after year slip by without any thing accomplished. Next
Sunday will be my birthday. Why I'm ready to cry at the
age I'm getting; nothing done. . . . It's ruinous! when I
ought to have by this time accumulated a fortune. It's all
very well for you to talk, John-but under present circum-
stances it's impossible for me to act. Without a voice, what
can I do? I am awake,' but that don't mend matters. Why
I get wild when I think that I shall be an old woman in a few
years, and look around me. I believe Julia Mathers has a
face.
"Yes; Titiens has a nice voice. But she's German, and
I . . . Germans. She may be a pleasant woman. She looks
jolly. No; I have not seen Sullivan. . . What can ..
want with my address? . The MS. I sent to-day is to go
to 'Lippincott's Magazine.'
•
.
"Gratefully yours,
"C. S. TAYLOR."
"34 BOND STREET, New York City,
"September 29, 1875.
"Dear John:-I am obliged to you for the trouble you have
taken with the MS. . . . I thank you for the Herald. Mrs.
Rawson takes it every day. The American Bureau . . . for
membership . . . ask impertinent questions, and I will have no
nonsense of that kind . . . I tried to sing the other day and
could not. These battles with the world may appear to you
immensely advantageous, but I've had so much and so many
that I'd like a change by way of variety. Too much money
brings ruin to men, but I'm not a man . . of the filthy
lucre,' . . . I did not expect a birthday present from you. I
thank you just the same, although I shall have to live many
years before I am old. What are years? Like weeks 'now-
a-days.' None of us are getting younger, and mine seems a
wretched life. Every time I take a step forward, I seem to
be pushed two steps backward. To say the very least, it is a
little discouraging; and sometimes I think it too cruel.
.

THE LIFE OF LAURA KEENE.
211
"But there's a divinity that shapes our ends.' So what
can I do in the matter? Mr. Couldock used to quote that-
'There is a divinity that shapes our ends rough, hew them as we will.'
"I am not likely to win the battle of life,' for I find my-
self less brave of heart than ever.
"Yours with broken spirits,
"C. S. TAYLOR."
"34 BOND STREET, New York City,
"September 23, 1875.
"Dear John:-I have told you all . . . has said, whether
it is surprising' . . . I could act for myself if I were not
saddled with this . . . There's the rub,' . . . Mrs. R. thinks
.
I've always had my own way too much. I've not. . . How do
I know whether . . . takes an interest in me? I'm nothing to
him. Why should he? If he dislikes me as much as I do
him there's no 'love lost between us'. . . I would not injure
my peace of mind; will not unless I am forced beyond
bounds, . . . nothing remained but to agree to . . . being
trustee as unfortunately we could not have too . . .
It may prove very fortunate that you have met this man.
But nothing can be said in a letter. Were I talking with you
I could say more.
.
.
"Could I but get away from here I'd get well. How many
times I've said to myself, 'O, for a little . . . and some of
Dame Creahan's wine.' And you talk of me not drinking it.
Distinctly understand, no one's to have a . . . 'it's all my
own.' My throat is so parched sometimes, which Dr.
says is symptoms of bronchial catarrh. I often long for the
I hope I'll get to Phila.; but if I don't you can keep it
in reserve to be sent to me when I am settled. (When will
that be?)

.
.
"Yes, I saw at . I did cry when I read of Miss Morris'
barbarous tortures. To think that next Monday I had hoped to
be in Phila. . . . I passed Raymond in his carriage on Fifth
avenue yesterday. Some years back he was glad of a situa-
tion in Aunt's theatre and live in a... house. Now he
a night...
In haste,
earns
. .
"C. S. TAYLOR."
212
THE LIFE OF LAURA KEENE.
"34 BOND STREET, New York City,
"October 2, 1875.
"John:-How can you be so unreasonable? I see you are
like the rest of the world, not understanding a position fully.
You find it very easy to advise and censure, which is always
easy to do; but were you in my position you could not fail to
act differently from myself, I think. You talk as if it were
my fault that I'm not in Philadelphia, after all I've told you,
too! If your enthusiasm is dampened I can't help it. I'm
the last person to wish to trifle in . . . but I cannot possibly
foresee events and alter them, although I was born with a
caul. Why vision does not extend so far, and if you expect
this, you are a little unreasonable. I don't like the tone of
your letter at all.
•
"Do you think, too, that I wish to sit still and cry over
my fate?' I expected fully to be in Philadelphia last Mon-
day altered that arrangement. It is no use reiterating,
and going over my letters. If you have not understood them
I cannot elucidate. If the Medici MS., Lippincott . . . but
without any satisfactory excuse for Mrs. Rawson, I cannot
go before. . . . Mr. R. went to Philadelphia to-day to draw
the Centennial Buildings for Jenkins-Cook's partner. As to
.. you're right there. This world's full of imbeciles. When
I can-when Heaven permits it, I'll stop worrying. But you
must cease to expect impossibilities from
"C. S. TAYLOR."
.
"... NORTH 18TH STREET, Philadelphia.
"Dear John:-Let my . . . read as enclosed. The ..
who read the Ledger misconstrue "professional" for variety
performer. I have just received a letter from Mrs. Rawson.
I am
she will let me know when he arrives in New York.
·
. •
They had a slight fall of snow two days ago. . . . I
bought a filter. . . . I do not expect to have anything more
to buy. To-night is the second anniversary of Aunt's death.
I told my cousin that she would have blessed you could she
have foreseen how good a friend you would be to me.
"My Aunt Hannah is very ill.
day. Stomach upset all the time.

Still ill to-day; never a well
They don't cook well here,
THE LIFE OF LAURA KEENE.
213
and it's so easily upset. Cauliflower not done; meat over-
done. . . not enough cooked, etc.
"C. T."
"... NORTH 18TH STREET, PHILADELPHIA.
"I received a letter from Mrs. Rawson to-day. Talk of a
return to health! I felt deathly sick this morning, and said
to the servant, 'If a person has to be sick and suffering all the
time, such a one is better out of the world.' She laughed, and
replied, 'Oh, well, we must wait.' So we must! We must
grin and bear it; but I declare I lose patience at times. If
things continue I shall really, without affectation, wish to
shuffle off my mortal coil. I may have a livelier time in the
next world. It's rather hard on us if we have to suffer in the
'next' world; but I suppose we'll get our deserts.
"Did you tell my sister I weigh 300? I was weighed be-
fore leaving New York, and weighed 118 lbs., and Mrs. R.
124. Mrs. R. said she thought the scales incorrect, as she
had weighed 135 lbs. shortly before. I believe I weighed but
21 lbs. when 9 or 10 years old-I don't recollect the exact
age-but when I was quite young. Can you send me . . ?
"CLARA TAYLOR."
"... NORTH 18TH ST., PHILA.
·
·
but I sometimes even
"Dear John:-I'll have to
doubt getting well again. What weather we are having!
Miss Booth says Fechter cannot live, but I shall wait to hear
something further before believing. If he dies, that stage car-
penter will deserve punishment. How many times poor Aunt
has sustained an injury through the carelessness of stage car-
penters! One's life is in jeopardy with them. . . . it would
puzzle a fairy to know. . . . If it isn't enough to make a
man get up and sit down again'
·
"CLARA TAYLOR."
"Dear John:-I find I did make a mistake in the ..
Since you would set no . . . on them. Received letter from
Mrs. Rawson, in which she says the weather has not been bad.
Now, please imagine my disgust when I hear that; I coming
here for better weather. What I dread in New York is the

214
THE LIFE OF LAURA KEENE.
For many reasons I would rather remain here. . . . is
absurd. So is remaining here if the weather in N. Y. is better.
"CLARA TAYLOR.
". . . N. 18TH ST., PHILA."
"Nov. 29, 1875.
"Dear John:-I sent a paper to you which contains notice
of Fox and Belmare. I've written to my sister that I have
to . . . and that my . . . It's 'heads or tails' to me now,
whether I go or remain; I am so weak and disgusted. I shall
. . and Miss Carroll.
also see
•
"Yours acridly,
"... N. 18TH ST., PHILA."
CLARA TAYLOR.
"34 BOND ST., N. Y.,
"Dec. 9, 1875.
.
6
"Dear John:-When I said 'good-bye' it occurred to me
that I might have thanked you for all your kindness. The
weather here since I arrived has been cloudy, rainy, and light
fall of snow. I find . . . just the same. She is so fond
of him; he knows it and works on her feelings. . . most irri-
tating, and will . . . her. She says she's worried about. . .
health, and . . . plays on her feelings thus. I can see
through. got chill; teeth rattled as if with ague, until
drank hot . .. 'Big morning glory,' . . . which ought to
roast us,
Have to wear woolen jacket and shawl all the
time. . . smell paint and gas. all wretched as usual. . .
in all day. I saw your note to Mrs. R. Doors and windows
are open all the time, and if you think I ought to . . .
Permit me to say, you please . . . immensely by such a
suggestion.
CLARA TAYLOR."
"34 BOND STREET, New York.
"Dear John:-This ink is . . . which accounts for its
appearance.
"Since my illness I have had swollen tonsils so I have
been scarcely able to swallow. I am very weak on my legs.
Heaven only knows when I shall be better. Throat is better,
thanks to my doctor, but still sore. Kind remembrance to all.
"CLARA TAYLOR.
"I thank you for your interest in me. The terrible nervous-
ness is over."



THE LIFE OF LAURA KEENE.
215
"34 BOND STREET.
"Dear John:-I have left your letter unanswered, but
really I don't feel as if I could write. My hand is so un-
steady-it will be on the Forney style. I have had chills
lately. Congestive the doctor says. I shall be glad to see
you when you come on. Regards to all. Pardon brevity. I
can't write.
"CLARA TAYLOR."
"Dear John:-Many thanks for wine. I am taking it.
That house ran me down. Medicine doctor gave me was too
strong. Have electric shocks, and fainted yesterday.
"Cannot write.
"CLARA TAYLOR."

Miss Taylor took up her residence in Philadelphia early in
the fall of 1875, with the hope that the change would be
beneficial to her health, just as if the climate of New York
was not practically the same as that of Philadelphia. Indeed,
she was not, as may be seen from her letters, satisfied in any
place. This poor girl recalls the hour of Desdemona before
the Moor puts her to death-
"The poor soul sat sighing by a sycamore tree,
Sing all a green willow;
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow;

The fresh streams ran by her, and murmur'd her moans;
Sing willow, willow, willow;
Her salt tears fell from her, and soften'd the stones;
Sing willow, willow, willow."
In London, where she had made up her mind to make her
debut in grand opera, the fogs were fatal to the use of her
voice on the lyric stage. I met her in New York immediately
after her return home, and to me she seemed the picture of
physical health. I assured her of this fact, and suggested
that she should apply to Augustin Daly or some first-class
theatrical manager in New York to become a member of a
metropolitan company, knowing, as I did, that by so doing
her wonderful voice would soon place her in the front rank of
216
THE LIFE OF LAURA KEENE.
the singers of the world. Just why she did not put me to
death there and then, for even making such a suggestion, I
have always marveled at, so great was her indignation. Un-
fortunately I was younger then than I am now; or her fate
might have been different. To me it always seemed that
Miss Taylor's heart was gradually breaking ever since the
death of her mother. She seemed to have made up her mind
to die; as there was nothing in life worth living for now that
she had lost her mother.
While in Philadelphia, where she had many very warm and
devoted personal friends, who were untiring in their devotion
to her every wish-she was no more happy. On one occasion
during 1875, when the Centennial Buildings were being erected
in Fairmount Park, I took her there. She was charmed with
the outlook and said: "How I should like to sing there next
year!" That wish or hope was never realized. Early in the
following December, at the request of her sister, she returned
to her home in New York, like Schubert's wanderer-
66 Whose life's young blood is growing cold."
Miss Taylor never married. On January 7, 1876, in the
twenty-seventh year of her age, Clara Stella Taylor, whose
professional name was Mlle. Stella, ceased to weep, as she was
at rest with her beloved mother.
"Nature is fine in love, and where 'tis fine,
It sends some precious instance of itself
After the thing it loves."
"PHILADELPHIA, January 9, 1876.
"My Dear Friend John-How grieved and how shocked I
was to learn the sad intelligence of Miss Taylor's death.
'Like an untimely frost death rests upon her,' but may her
crown be more resplendent in its lustre than any earthly one
we could bestow. She was the soul of honor and the embodi-
ment of all that was noble; and my sincere prayer is for her
eternal rest.
"I called on you twice to see how she was, but learned you
were away. I did not like to crush your hopes as to her
recovery, but I feared she was doomed. That insidious

THE LIFE OF LAURA KEENE.
217
disease had fastened its venomed fangs upon her fair young
body, and it never gives up a victim.
"Poor, dear girl, how sad that the earth should so early be
the possessor of so much talent and many accomplishments!
But thus it is, another proof that there is naught certain but
death. I sympathize with you, for I know you were her best
friend, and knew it from herself.
"If I am in town to-morrow I will stop and see you.
Kindest regards to all, from
"THERESA CARROLL,"
CHAPTER XVII.
EMMA TAYLOR.
"There's a special providence in the fall of a sparrow. If it be now,
'tis not to come: if it be not to come, it will be now; if it be not now, yet
it will come: the readiness is all."-Hamlet.
MMA TAYLOR, the oldest daughter of Laura Keene,
EMMA
was born in London, England, in 1846, and was three
years older than her sister. Both children were prac-
tically educated alike, in the convent, when not by a gover-
ness at their home. Their talents, however, ran in a different
channel. Like her sister, Emma was a musician, but less
accomplished in this respect. Her tastes, desires and inclina-
tions were for painting, literature and business. A strange
combination, certainly, for a young woman who had been
reared in the school of her luxurious home. In this respect,
at least, she closely resembled her mother; although the
resemblance must close there, unless, perhaps, that she was
more inclined to be prudent in business matters than her
mother. This may have been owing to the fact that Emma
Taylor was financially more far-sighted than her mother.
the time of which I write Miss Keene had lost her husband
and business-manager, John Lutz. Miss Keene, however, was
not a woman to realize that at forty she was less potent as an
attraction than she had been at thirty. To such a woman as
she, whose resources were so great, this was probably pardon-
able, although it may have been indiscreet, and entail great
financial losses.

At
218
THE LIFE OF LAURA KEENE.
Emma Taylor, when not in the convent, spent much of her
time in her mother's theatres, and found herself on the stage
as a performer when but a mere child; where she continued
off and on while her mother was identified with the business.
One of the fondest hopes of Miss Keene's life was to make a
great actress of her older daughter, and later on a great vocal-
ist of the younger. In many respects nature was responsible
for this hope. Had Miss Keene but lived five or ten years
longer, the latter wish, desire or hope might have been realized;
but she lived long enough to be bitterly disappointed in the
former; for, while Emma Taylor was probably one of the
handsomest women seen on the stage of her day, she evinced
but very little talent for acting. She could work in the thea-
tre with heart and soul, translate plays, and even write them,
but she could not act.
I do not wish to infer that she was not up to the average
stock actress in certain roles. Indeed, in some characters,
notably where pathos and religious fervor were essential, she
was delightful. This, however, did not satisfy her mother,
who had taken the time and trouble to prepare her for a star
actress; and on one occasion she made her appearance as such,
at Buffalo, N. Y., if I am not mistaken, but the result was
such a disappointment to the mother that she abandoned all
future hope of her daughter ever being an actress. Mary
Wells was present on that occasion, to whom I am indebted
for this information.
If Emma Taylor was not a great actress, however, she was
a most fond, affectionate, devoted, loyal and loving daughter.
These two women-mother and daughter-were practically
inseparable.
"And whereso'er we went, like Juno's swans,
Still we went coupled and inseparable."
I can well recall the time when the mother in her youthful
loveliness looked practically as young as the daughter; for
Emma Taylor developed into the full-blown beauty of woman-
hood at a very early period of her life. It has always seemed
to me, however, that Emma Taylor was more intended for the
cloister than the stage. She was nominally an actress, and
had always been identified with theatrical life; but no sister


THE LIFE OF LAURA KEENE.
219
of charity ever entered the cloister whose life was purer or
more noble than this daughter of the stage.
At the death of Miss Keene, whose property was equally
divided between her two daughters-although Emma was
then married-the latter practically became a mother to her
sister, and continued as such to the last. There was no con-
flict of authority. The wish of the one was the desire of the
other. At the death of Clara Taylor her interest in her
mother's estate reverted to her sister; just as it would have
done in the interest of Clara had Emma died first without
issue. Had Clara Taylor married, her interest in the estate
would of course go to her children if she had any.
At the death of Emma Taylor, which I have referred to
elsewhere, Miss Keene's property, which was now, in fact, that
of Emma Taylor, was left to her three children; a daughter,
Clara, the oldest, and two boys who were twins. Clara
Rawson, the daughter of Emma Taylor Rawson, received
half of her mother's estate, the other half being left to the
boys. "I make this distinction," said Emma Taylor Raw-
son to the writer, "as it is more difficult for girls to live
and earn a living than it is for boys. My sons will be able to
look out for themselves, but I am not so confident about
Clara."
Clara Rawson, at a very early period of her life, was mar-
ried; and happily. I refer to this fact here, knowing as I do
how great the sense of relief will be to Emma Taylor's friends
who are still living, to learn that her daughter is the wife of
an honest man.
The life of Emma Taylor since the death of her sister shall
be related in her own letters; together with some others
which may be of interest.
"34 BOND STREET, New York, '76.
"My Dear John:-Many thanks for your kindness in tele-
graphing, and, indeed, for many other kindnesses. Clara is
very weak. While talking to me last Sunday she fell forward
on her face. She has spasmodic motions of the hands, as if she
were taking electric shocks, and is scarcely able to walk. To-
day she is in bed. Clara attributes her weakness to her . . .

220
THE LIFE OF LAURA KEENE.
in Philadelphia. I do not think that has anything to do with
it. It is the progress of the disease.
“Miss Keene wilted suddenly, so did our grandfather and
Miss Keene's eldest brother. Clara ran about in the rain the
day before she started for your city, and, I fear, got her death-
blow then. I doubt her living until the spring. Indeed, I
have never looked forward to her living any length of time
since Miss Keene's death.
"When you write do not intimate anything I have said;
she is so nervous, and I always show your letters.
"I must apologize for not writing before; but at times I am
nearly crazy with worry. Mr. Rawson is very ill; fainted
away the other morning on getting up. As I am nervous
when he goes out in the street, there are so many things con-
stantly calling for attention about the house, and any amount
of business connected with Miss Keene's affairs and our home
business. So you see I am not intentionally rude. I did not
answer by telegraph because I could not say all this by wire.
Pray remember me to your mother and all friends, and
believe me,
"Very sincerely yours,
"EMMA RAWSON.
66
Saturday."
"ST. LAWRENCE HOTEL, Philadelphia, 1870.
"Dear John:-I am sorry to say that I shall be unable to
go with
with you
this evening to Mrs. Drew's. I could not let you
know sooner, because I did not know myself. An accident
has occurred with the MS. of Toinette,' and I am obliged to
translate in order to remedy the evil. As the piece is to be
played on Monday, I have not a second to spare.
"Yours in haste,
"E. TAYLOR."
"34 BOND STREET, New York,
"Dec., 1875.
"My Dear John:-Will you see that my sister gets this
letter at once, and will you use your influence to urge her to
return home? From her letters, I imagine her health is no

THE LIFE OF LAURA KEENE.
221
better; and for many reasons it is best for her here. It is
very difficult to keep the fast element out of Bond street in
its present state of transition, and we have had a difficulty of
that kind. . . . I am afraid Clara's chances of getting.
are not good.
"With many thanks for all your kindness, and kind regards
from Mr. Rawson,
"I am, very sincerely yours,
"E. RAWSON."
"My Dear John :-I send a few books and pictures that
belonged to my sister for yourself and relations who were so
kind to her. I had a very beautiful letter from Miss Carroll
yesterday. I will answer it when I feel more settled. It
seems ten thousand years since Clara left us, yet I would not
have her back to so much pain and suffering.
"I hope you took no cold at the cemetery; my cousin has
been very ill ever since.
"34 BOND STREET, New York, 1876."
Yours,
"E. RAWSON,

"34 BOND STREET, New York City,
"Dec. 8, 1874.
"My Dear Friend:-Pray don't start at this paper. My
stationery has given out, and this lively stuff my worser half
got in the Holy Land or some other land. I was very glad to
hear from you, and hope to hear the continuation of the
criticism.
"My last letter from my sister was brief. It was only an
acknowledgment of the receipt of that necessary evil, which
is a nuisance when you have got it, and a nuisance when you
have not-money. Clara did not speak of her health, but
she has been improving, and in that lovely climate ought to
continue doing so.
"My husband returned a week sooner than expected. I
was just starting to inquire about the vessel, when in my lord
walked. He looks very well, and has made discoveries of
222
THE LIFE OF LAURA KEENE.
inscriptions while wandering with the Arabs in the desert;
and now we are run down with old antiquarians and parsons
coming to see the sketches and inscriptions. I, too, have
made a discovery; it is this: One good old parson can out-
talk any two women. I always knew they were very sound
on the provender question, but now I can see how well they
can use their mouths in another direction.
66
My spouse is to give two lectures in . . . in your little
town this month.
"As the holidays are approaching I may as well make my
compliments of the season. So, with kind regards to your
family, and wishing you all a merry Christmas and happy
New Year,
I am, very sincerely yours,
"EMMA RAWSON."
"34 BOND STREET,
"AUG. 21, 1877.
"My Dear John:-I was very glad to hear from you, as I
feared you had been ill, or that the strike had affected your
family, since they are in the midst of the 'striking' region.
"I hope you will not think me very ungrateful if I say that,
although I shall be very glad to see you on Sunday, I cannot
go to Philadelphia now. I have succeeded in getting Mr.
Wallack sufficiently interested in a play to say he will read it
himself when he returns to the city. I am, therefore, anxious
to have the manuscript ready. I also want to finish two plots
for two lady stars, and they ought to be done now. Business
before pleasure, you know.
"Don't ask me to come to Philadelphia again; I don't
deserve it. Some day I will surprise you by running on by
myself. Miss Rawson is well and fat. I attribute her getting
so nicely through the summer to the fact of not weaning her.
I took her to Coney Island the week before last, to spend a
couple of days with Will and his wife: they were having
their vacation there. I spent the immense sum of ten cents
for a wooden spade, and Miss Clara was the happiest little
mortal you ever saw, when she had that wonderful shovel in
her hand and was paddling in the sand. I could not get her
into the water though, she was so afraid of people in their


THE LIFE OF LAURA KEENE.
223
bathing dresses. I didn't wonder. It is astonishing to see
how a bathing dress will change a handsome woman into a
regular guy.
"I am glad to hear you are doing well; no one deserves it
more than you.
"It is scarcely necessary for me to express my regret at
hearing of your sister's death. You know that both yourself
and mother have my greatest sympathy. Dear! dear! it
seems but the other day that Julia was a little slip of a girl, and
now she has gone to rest while we are left to go toiling on;
and yet, a few days and we, too, shall be gone. This life's a
mere dream to us.
Yours,
"E. RAWSON."
"34 BOND STREET,
"June 14, 1878.
.
"My Dear John:-Many thanks for your kindness in attend-
ing to the Times for me. Having troubled you once in the
matter, I want to do so still more. I want about ten copies of
the paper. I cannot get a fifty . . . anywhere, even at the
bank, so I have to send you.
instead of the money to pay
for the newspapers. I want to send a copy to Mrs. Briggs
herself. I was asking Mr. . . ., a gentleman who has visited
Mrs. Briggs, about her, and his description does not agree at
all with that of the lady I spoke about. So I was wrong. It
only shows how careful one ought to be in judging any one. I
should have done, in fact have done, the lady I spoke of a
great injustice.
"Clara has been ill, caught chicken-pox from the little
ones; .. but is getting over it nicely.

•
"With kind regards to all your family from all mine,
Friday included, I am
Very sincerely yours,
"EMMA RAWSON."
"34 BOND STREET,
"June 18, 1877.
"My Dear John:-The box was only delivered yesterday.
Many thanks for the duck eggs, but it was too bad to rob your
cousin. The box was delayed through the stupidity of the
express man and the dignity of the lady who rules in my
224
THE LIFE OF LAURA KEENE.
kitchen. The man asked for Randon, and she did not exert
herself to go down and see about it, because I was out on
Saturday. Besides the eggs there was a . . . . I discovered
you had sent the box just as it came from Tobyhanna . .
from. . . I thought I had better copy the message, as it
would be better than sending the I also send you by the
same mail as this letter the .
.
.
"I am in luck to-day. Polly's father sent me down some
lovely roses this morning. So you can imagine me running
from the poetical to the practical; inhaling roses one hour and
eating duck eggs the next.
"Don't you find Philadelphia pretty warm this weather?
You don't have our nice sea breeze in that old Quaker City of
yours. If our city fathers were not such a grasping, swindling
set, and would only keep our streets clean, there would not
be a healthier city in the world.
"Your god-daughter is thriving, walks everywhere now,
and climbs too sometimes, to the infinite delight of her fond
father; but to the great trouble of Polly and myself who are
forever running after her. She has a mania for the hall, and
those long steps would make such fine neck-breakers.
"How are all of your family?
stand the warm weather well?
Do the little Miss Munces
Please remember me kindly
to your aunt and cousin. With kind regards from my worser
half and many thanks for all your kindness, I am
"Very truly yours,
"E. RAWSON."
"34 BOND STREET,
"My Dear John:-To-day is lovely.
out in the sunshine and I am at liberty
"October 18, 1878.
All my younkers are
do what I ought to
You ask about the
to
have done before-write you a few lines.
boys' names. The eldest (one hour and a half before his
brother) is called Alpheus Edward, named first for Mr.
Rawson's father, and secondly for my uncle. The younger
one is called Albert William, after Mr. Rawson's grandfather.
The little ones are all well, but they are a great care. I do
not get time to live. I rush along.

THE LIFE OF LAURA KEENE.
225
"I cannot understand. . . The babies happened to be
cross and I was worried and did not see the man . . . I hope
your family are all well. This weather is so fine one can
hardly give way to sickness. I should like to live where they
had these glorious sunny-dreamy days the year round.
"Yours,
"E. RAWSON."
"... LAFAYETTE PLACE,
" June 1, 1880.
"My Dear John:-You are very kind to think of us and
plan for us, and your description of your friend's place* is
tempting, but we are not in a position to buy it, and I am
afraid we are like the old woman Dr. Bellows rescued from
dreadful poverty and sent to the country. Believing her to
be safe and comfortable in rural parts he was astonished to
meet her again, and when he questioned her why she had re-
turned, received for a reply-Ah, your reverence, human
creatures is more sociabler than trees and rocks, and I couldn't
stand it.'
"I should have answered sooner, but, as usual, I have an
excuse. We could not get all our rooms when we moved, and
were dumped down in a heap right in the midst of paint and
kalsomine. My girl got discouraged, seeing the things piled to
the ceiling, and left me, so I had quite a time getting straight,
for children are a great drawback to getting ahead with work,
and, of course, they had to take this time to cut a tooth
or two.
"But we are nearly to rights now and have a very com-
fortable place, nice and open at the back overlooking gardens
and lovely sunset views. But I must cease. I am very tired.
Please remember me to friends, and believe me

"Very sincerely yours,
66 E. TAYLOR RAWSON.

"I went with uncle to Greenwood two weeks ago. It looked
beautiful. It was all white with dogwood blossoms, and
*A property at Mount Holly, N. J., which Mrs. Rawson talked of buying,
with a view of going there to live.
15
226
THE LIFE OF LAURA KEENE.
purple with lilacs; while the ground was thick with violets.
It is the loveliest time in all the year to go there."
"... LAFAYETTE PLACE,
August 5, 1880.
66
My Dear John:-I have deposited in the East River
Bank. . . . If I am mistaken, please set me right. Mr.
Rawson sailed for Brussels yesterday. I have been very sick.
I had a bad hemorrhage the other day which frightened my
friends; but I am better now.
"With kind regards to your mother, cousin and aunt,
"I am, yours in haste,
"E. RAWSON."
"... LAFAYETTE PLACE,
66
August 9, 1880.
"My Dear John:-Your letter and . . . received. I am
very sorry you will not take the.
•
.
.
It makes me feel badly,
because if I had not been I am sorry we did not see
you when you were in the city, but business and children are
tyrants that surpass all others. I know that people live for
years with weak lungs, but I cannot recall one of my family
that has lived more than a year after the first hemor-
rhage. I hope, however, I am going to prove the excep-
tion to the rule, as I should like to live until the little
ones are old enough to take care of themselves. If I do not,
the same Providence that cares for the sparrow will care for
them.
"I am very much better, though, and I do try to fight off
sickness. I think ill health is partly caused by imagination.
I think sea voyage bad for the lungs. I have always said
that if Clara had gone to Colorado she would have lived
longer, for she was never well at seaside places, even when a
little girl.
"Mr. Rawson will be gone two or three months. The
babies are well and fat as ever. I have not been to the thea-
tre for a young century. I think there are a great many
sticks starring about now. Have you seen Mary Anderson?

THE LIFE OF LAURA KEENE.
227
They say she is very clever, and if she is like her pictures.
she is certainly beautiful.
"With kind regards to all your family,
"I am, yours in haste,
"E. RAWSON."
"... LAFAYETTE PLACE,
August 23, 1880.
"My Dear John:-The . . . received. Many thanks. I
expect to go away about Wednesday. I do not know exactly
where; but at Cairo in the Catskills, somewhere.
"In haste,
"E. RAWSON."
"October 4, 1879.
"My Dear John:-I don't know what you must think of
my apparent negligence, but Bertie has been very ill for some
weeks. I feared we should lose him. Every minute I could
get was spent in taking him about to get all the fresh air pos-
sible. He is now better, but still far from well.
"I enclose a . . . with this, with kind regards to all.
"Yours in haste,
"E. RAWSON."
"July 11, 1881.
"My Dear John :-Many thanks for the flowers. I should
have written before, but as usual have an excuse. I have
rented my rooms in New York, except the back one, which
Mr. Rawson retains for an office, and moved down here hoping
to get better; for I am always running down in warm weather.
The place appears to be healthy, and I hope to improve.
"I find the children are not anything like the care they
were in the city. I have also received three papers from you,
one with an account of Lincoln's death. Many thanks for
all three. I must get this off in time for the mail, so will
conclude by sending love to your family. My address is
Pascack, Bergen County, New Jersey.

"E. RAWSON."
228
THE LIFE OF LAURA KEENE.
"PASCACK, Bergen Co., New Jersey,
"September 18, 1881.
"My Dear John :-Don't think the world is really coming
to an end because I am answering your letter two days after
receiving it; I own it is an unusual proceeding on my part;
but, nevertheless, the world is safe. By the way, your letter
went to Passaic, a thing that often happens, Pascack and Pas-
saic being somewhat alike. I have been out of health all
the summer. I never felt more discouraged than about four
weeks ago, but I went to Cairo again, and picked up just as
I did last year. My cousin, Will, is not well; he has been
having pieces taken from his palate and tonsils, and the doctor
told him to spend his vacation at the Catskills. So when he
went I accompanied him. We were only there a week and
did not have very pleasant weather, yet Will gained five
pounds. The week before I went there, the mere effort of
going up stairs would bring on a bad fit of coughing, and make
me, without having any nausea, throw up whatever I had been
eating. The third day I was at Cairo I walked five miles in
the middle of the day without feeling tired, and the fourth,
climbed an exceeding steep mountain a mile and a half high,
rode twenty miles with my cousin, and yet did not feel stiff
or weary in the evening. I never knew such a climate, and
the good effect lasts, for I feel quite bright now. My lung
troubles, and I feel the congestion; but I have had no hem-
orrhages, and feel encouraged about getting well. It was a
pity we could not have stayed longer, but Will's vacation
came to a period; so we have cause to rejoice over our week
at Catskill.
"About our future movements we are rather in the dark.
Our present landlady wants to serve us a mean trick. We
took the parlor floor when we moved into Lafayette Place.
Last May, rather than venture to move, Mrs. . . . bought the
house. We also hated to move, and remained at a higher
rent. . . . Mrs. . . . made no objection. Now the summer is
over she does, but when Mr. Rawson pinned her down to facts
she admitted she wanted to get the floor because she can make
twice the money by letting furnished rooms. In fact, she has


MRS. JANE KEENE.
LAURA KEENE'S MOTHER.
THE LIFE OF LAURA KEENE.
229
been making use of us during the dull season. We have right
on our side, and I can remain till May if we wish; but I fear
she would make it very unpleasant for us, and so we are in
statu quo. The children and myself may remain here for the
winter, and Mr. R. just take a studio, or we may go to the city.
"Mr. Rawson has been in the city all the week, but so ill
he could not attend to business. I am going to run up to-
morrow, I feel so anxious about him. He gets such faint
spells and terrible congestive chills. He has never recovered
from the gastric trouble he had just before we left Bond street.
"Well, this is anything but a cheerful letter, and as usual, a
great deal of ego in it. I am glad to hear . . . is married
again, and hope she will be happy. Your mother and father
will be both proud and happy when they move to the home*
you have built for them. Where is it to be? Near the old
home? Please remember me to all the Naglesville friends,
also to your aunt and cousin, and believe me,
"Very truly yours,
"E. RAWSON."
"My Dear John:-I have been trying so hard to answer
your letter, but I am feeling so miserably under the weather,
that my brain as well as my body is affected, and I cannot
think. I really have not energy enough to want to live, and
if I could take Clara with me would be willing to go any
time.

66
Well, all this is not very cheerful. As regards the book
-I have not yet read the article. It came the day Prof. came
from the city to Pascack to help pack my books; he arrived
at two, and had to hurry back by the 4 o'clock train. His
daughter Lizzie had nearly been killed the night before by an
escape of gas in her bedroom, through the key's being loose
and slipping back after she turned it off. As it was her first
visit to her father and New York, and her grandfather with
whom she lives never lets her out of sight, you can imagine
the state Mr. Rawson was in. In fact, we were all so excited
over the affair that we hardly knew what we were doing, and
in the confusion your book was packed, and only came to
*Both died before this home was built.
230
THE LIFE OF LAURA KEENE.
light last week. My intention was to read it the night I re-
ceived it, and return it to you before I left Pascack.
"I read the article on Caroline Richings in Progress. There
is a great deal of talk about actors not saving, but few under-
stand how heavily they are taxed, more particularly the stars.
Fees, fees, fees. Every carpenter, property-man, dresser,
scrubwoman, excepts a parting gift, and many of the attaches,
such as carpenters, think nothing of a five dollar note, and a
scrubwoman don't think much of a dollar. There is the same
thing to meet in hotels, for there you find chambermaids and
waiters and stewards; and you know things are not done for
you if you neglect these gifts as they are if you do not. Then
you must spend money on stage dresses-and spend to a large
amount, for it is business. Then, too, when you do lose in
the theatrical business, the losses are so heavy.
You can
imagine how money would go like water if the patronage of
the Continental were to fall off.
"Poor Caroline Richings! her troubles began when her
father died, just as my mother's did when Mr. Lutz went.
No one can be in front of the theatre and playing at the back,
too, and the consequence is, if they have no relative in the
box-office, they are both mismanaged and robbed.
.
"You ask me about the house in Bond St. We have had
no answer yet from
because he has been so ill for
weeks that Mr. . . . has not been able to talk business at
all with him. Mr. H. is very anxious . . . should buy the
house for him, because he has spent two or three thousand
dollars on the place already, and has only another year's
lease.
"There is no doubt property will go up with a rush when
the tunnel under the river is finished next year, for the en-
trance for vehicles will come out in Bleecker St., only a block
or two away.
"We ask . . . for the house. I send you a little diagram.
You will see by it that our lot is extra wide, and the house
itself is so well built that the foundation and walks could be
used in making a change of building. Our neighbor at the
back wishes to sell. His lot is ten feet short, because we have
He asks... but will, if we can sell the whole thing to

it.
THE LIFE OF LAURA KEENE.
231
.
one purchaser, take . . . This puts the whole lot, from Bond
to Great Jones St. at and I expect, in two or three
years, the whole thing will be worth from sixty to seventy-five
thousand dollars.
"I do not think I need say anything about the house, for
Mr.
.
can look for himself, and would probably tear down
all but the walls if he bought.
"If you
have no objection I will keep your Review a little
longer, and if my brain ever grows a little less muddy I will
read it and return it to you.
"My children, who were so ill at No. 12 they could not eat,
are now getting fat and strong; I cannot cut bread and butter
fast enough.
"Mr. Rawson's appointment is still in statu quo. . . . the
present Consul wishes to remain until he gets a higher place.
So a lot of Senators are working for him, and Sunset Cox has
just had an extra $500 added to the Jerusalem's Consul's
salary. Senator Hawley, who is a cousin of the Beecher's, is
working for Merill, a young minister, and is, of course, backed
up by all the dominies. Prof. comes in third (and I hope, but
don't expect, a winner) in this triangular duel. I can't see,
so will conclude, and get this off to-night.
"... AVENUE, March 13, 1881."
"Yours,

"E. RAWSON.
"PASCACK, N. J., October 21, 1881.
"My Dear John:-Many thanks for the flowers. I have
some of the buds still, and think they will open out. I have
also to thank you for a number of papers. It is very cold
down here; a heavy frost last night; everything looks white
this morning. Mr. Rawson's sister has been paying us a visit.
I went with her Monday to see Patience,' and enjoyed the
performance very much.
"Mr. Rawson has been very ill for about a month; the
same gastric trouble which so nearly killed him before we
moved from Bond street. I hoped the trip to Chicago would
do him good, but was sorry to find it had not done so. It is
near mail time, so I must conclude. With kind regards to
all your family, I am,
Very truly yours,
"E. RAWSON."
232
THE LIFE OF LAURA KEENE.
"... LAFAYETTE PLACE, New York City,
"November 15, 1881.
My Dear John:-Your letter is just received. I need not
tell you how much I was shocked to hear of your great loss.*
Words are so weak at such a time to express sympathy felt;
and you know that outside of your own family there is not
one of your friends that feels more for you in this time of
sorrow than I do.
Yours,
•
"EMMA RAWSON."
My Dear John:-Enclosed find. . . I
I am very much
obliged, and mean the words in their literal and fullest extent.
We were all getting ill from sewer gas at No. 12, so have
moved to . . . Avenue, third flat, corner Sixth street.
"I suppose you saw an account of Mr. Waller's death in the
papers. He was such a gentleman, and such a good man.
He and his wife were devoted to each other. They were
among the very few who proved kind and faithful to my
mother when misfortune came.
"I received Times. I do not like the flippant I know
more than any one else style' of Howard. Bijou Heron is not
twenty-five. I don't think she will be twenty until 1884.
She was a little girl, like my Clara, when 'Champagne' was
brought out at the Chestnut.
"Prof. is waiting to mail this, so will conclude.

"Yours,
"E. RAWSON."
"... LAFAYETTE PLACE, New York City,
"December 8, 1881.
so I am going to. . . .
"My Dear John:-You have so often told me if I found
myself bothered to call on you,
I expect to have
.
·
.
•
all my affairs soon.
"I suppose that is a story you have heard often in other
transactions.
Yours, in haste,
*The death of my father and mother.
"E. RAWSON."
THE LIFE OF LAURA KEENE.
233
My Dear John:-Many thanks for the . . . which reached
me Saturday evening. How did you manage to get it here so
quickly? I only wrote on Friday. I hope when you got my
letter you didn't say to yourself-Confound that woman; I
wish she was in Heaven or some other comfortable place.'
"Yours, in haste,
"Dec. 12, 1881."
6
66
"E. RAWSON.
"My Dear John:-Many thanks for the bracelets you sent
Clara. She is very proud of all her finery, and she has been
very lucky this Christmas. As regards my going to Phila-
delphia, or going to thunder'-if you will give me a prefer-
ence in the matter, I decidedly should prefer 'going to thun-
der.' I am sorry to say I am silly enough to be superstitious
about your city, and cannot rid myself of the idea that my
going there will be followed by some calamity; so please do
not urge me to go any more. I really should like to see your
aunt and cousin, but I would not go to Philadelphia willingly,
even if I knew a large fortune would follow my doing so.
"Wishing you all a happy New Year,
"I am, very sincerely, yours,

"E. RAWSON."
My Dear John:-Many thanks for information concerning
'American Cousin,' but I have no right to it. Miss Keene
sold the piece to Sothern, reserving only a right to play it
herself while she lived. I presume Geo. Holland has bought
a copy from some of Sothern's family.
.
•
"I should have written before, but the . . . on the Bond
street house expired to-day . . . we are over the bother
for lawyers are so tiresome, and worry you with trifles so as
to increase their bills.
"Remember me to all friends.
Yours, in haste,
"EMMA RAWSON."
"My Dear John:-I am very much bothered just now.
Can you
.
I feel... but I really need it.
"Feb. 16, 1882."
"Yours,
"E. RAWSON.
234
THE LIFE OF LAURA KEENE.
"My Dear John:-We were all getting ill from sewer gas at
No. 12 that we had to move. So have taken flat at
avenue.
.
I will answer your questions in a day or so regards
book and house.
"March 2, 1882."
In haste,
"E. RAWSON.
"March 17, 1882.
.
"My Dear John:-Mr. . . . and Mr. . are coming to
see me Sunday. Before I see them I should like to hear from
you about Mr. . . . Will you telegraph me? If I get your
answer Sunday morning it will do. Just a word or so to say
whether you have heard anything.
Yours,
"E. RAWSON."
".. AVENUE, New York City,
"March 25, 1882.
"My Dear John :-Your letter received. Many thanks for
taking so much trouble and wasting your valuable time. My
reason for feeling more disposed to sell while I still hate to do
so is, that my health is failing so. I feel that my only chance
of living is to get to the Catskills. There is a house for sale
next to the place I boarded at last summer. I could live
there and have no bother of thinking what to get for the next
meal, for Mrs. . . . would board the whole family for
about. I per week, and give us such milk, fruit and vege-
tables as money cannot procure in the city.

·
"Formerly it was a day's journey up there; now the railroad
is completed, and the depot at Cairo will be about opposite the
house for sale, but on the other side of the creek. The rail-
road makes the journey shorter by a half day and increases
the value of property. The old gentleman who owns it fell
from an apple tree and so injured himself he cannot rise from
his sofa, where he has to keep on his back, and will to the day
of his death. The old lady, his wife, although brave and
energetic, feels she cannot keep the place, so they want to
sell. But I am taking up a great deal of time with this.
"It was very kind of you to think of . . . but let me give
you a word of advice. Never have a business transaction with
a friend! I have said this to myself all my life, and I have
never departed from the rule without suffering badly. I

THE LIFE OF LAURA KEENE.
235
should not have . . . now I think, had I kept strictly to that
rule.
"I hope you are not working yourself to death. It does
not pay. I would give ten years of my life for the health I
lost through the hard work and mental care our business en-
tailed after Mr. Lutz's death. There is not a gift on this earth
like a light heart and good health. I never envied any
persons more than three ragged little nigs that went whistling
through a street in Norfolk. Had I been a millionaire I would
have given thousands for the power to whistle in that happy
way. Not a care, not a thought of the morrow bothered their
little cocoanuts of heads.
"Have you seen any of our friends lately? Mr. Dodge-
the old gentleman-has written to the Secretary of State
recommending Mr. Rawson for the Holy Land Consulship;
and General Dodge, his son, with whom Mr. Rawson is on
very friendly terms, has interested the Secretary's nephew in
the case.
66
Speaking of old friends made me think of the Hebards,
and from them my thoughts went to Mr. Dodge. I think you
told me Mr. Hebard was no longer a partner. How are the
McLaughlins and Salter? It seems hundreds of years ago
since we used to go to the mountains, and it is over six years
since Clara left us. Does it seem possible?
"I am writing too long a letter. Please remember me to
your aunt and cousin, and believe me

"Very sincerely yours,
"E. RAWSON."
AVENUE, New York City,
"April 26, 1882.
"My Dear John :-Many thanks for the . . . and flowers.
I will send ..
bed.
for the...
to-morrow; am writing this in
Yours,
"E. RAWSON."
“... AVENUE,
"May 1, 1882.
"My Dear John:-I have been too much under the weather
to write. I never had to give up so and stay in bed before.
236
THE LIFE OF LAURA KEENE.
This lassitude is horrible, and nothing I take rouses me. I
would swallow aquafortis if it would only stimulate, but
nothing does. I have to sit down three or four times while I
am dressing myself. Every day at eleven I begin to freeze.
I don't shake, but all my blood turns icy cold then. I get
sick and have to lie down. The thoughts of eating make me
sick. I have not been to the dinner table for over two weeks.
I wish I could get away, but it all depends on the . . . busi-
ness.
"I think we are going to have some nice weather now.
The city looks queer to-day, and the draymen hold high car-
nival. Everybody and his uncle are on the move. Lots of
women hurrying along with kerosene lamps in their hands;
they don't trust the lamps to the tender mercies of the cart
men. It makes you think of the ten virgins in the Bible;
only these feminines are mostly too antiquated for virgins, and
I am pretty sure the lamps are not trimmed.
"I laughed at your description of Emma Abbott. Travel-
ing about must have spoiled her. I heard her over three
years ago, and she was very nice; not great, but very engag-
ing in her manners; acting well and singing with great dram-
atic fervor.
"Many thanks for your kind wishes that in sending flowers
you could send health and vigor. I have to thank you so
often for so many kind acts. Some day I hope I may be
able to offer more than simple thanks.

"All here send kind regards.
"Yours at freezing point,
"E. RAWSON."
"May 15, 1882.

"My Dear John :-The letter and . . . reached me safely.
I should have acknowledged them before, but I have been
very ill this past week. If we could only see the sunshine
once more; but this weather is so discouraging. Your letter
was so lively I judged you had been deluding some poor man
into not buying tables from the other fellows and had sold
him a dozen of Collender's.
In haste,
"E. RAWSON."

THE LIFE OF LAURA KEENE.
237
66
My Dear John:-When I left for the Catskills, Daisy had
a severe cold in his eyes; the cold afterwards settled in his
stomach, and when I returned I found he had a very bad
.. from that he has not recovered; he is well . . . a day
or so, then he is troubled again. So I cannot make up my
mind to leave him. Saturday he was quite bad again. I
shall have to give up my visit.
"Hannah leaves me this week. Her being with me was
only a temporary arrangement, made on account of my health.
I could leave the house and children with her and feel
comparatively safe; but I cannot . . . I do not like to keep
her another month, just because I cannot . . . and it would
be unfair to her. Secondly, it would be unfair to her later in
the season; she is not likely to get such a good place. I am
sorry not to go to Philadelphia, after your setting the day;
but everything seems to work against my doing so just now.
"With kind regards to your aunt and cousin.
"I am yours,
"E. RAWSON."
"My Dear John:-I really cannot live over this summer if
I do not get away.
As long as I am here I am in the
traces, and shall probably drop in them. I want to do three
things: Make my will, because, Mr. Rawson having been
married before, the interests of Lizzie (his daughter) and my
children might clash. Further, I want to try and provide
against lawyers' suits and fees. Secondly, I want to be sure
there is money enough for their use and to pay a trust-
worthy woman in my absence. Thirdly, I do want some
for my own use to go to the Catskills, and get such
things as will make me well. Now, will you

"Yours,
.
"E. RAWSON."
"My Dear John:-The
·
•
.
received. I wrote down
what I wanted put in my will. I felt too weak to go down
this afternoon. Shall go early in the morning, and as soon
as that is signed I shall go.
"The nice girl I had left me this afternoon. Got word her
238
THE LIFE OF LAURA KEENE.
mother was dangerously ill and left for Wilkesbarre, Pa., to
nurse her.
"I think I am better. I tell you Dr. Heussey knows more in
a minute than half a dozen of those airy doctors who depend
on books and experiments. Heussey has a talent for his pro-
fession. I wish I had sent for him sooner. I am a little
bothered to know how you are to send me the other . . .
Would your bank deposit it in mine so I could send by cheque
for what I required? Please also draw up the . . . yourself
and I will sign it. With kind regards to your Aunt and cousin,
"I am, yours,
66
"E. RAWSON."
Drop me a line suggesting about . . . before you send it,
or do so before I go away, and oblige,
"E. R."
"My Dear John:-Can you . . . ? Will you also let me
know the . . . ? You did not acknowledge the last, and I for-
got to ask you whether you received it. Loyd, the real estate
dealer, is looking for six houses for a firm, and thinks ours,
the houses on either side, and the three in rear may do. So
far as I know, all our neighbors are willing to sell. Loyd
does not think our price too high. So I hope we shall
make a bargain and get the money, which will be a better
arrangement than that of Mr.
who only says . . . and

.
An
in case he fails to pay. of course leaves us responsible.
"You are to have Barnum and Jumbo this week.
old lady sent me four tickets for my little ones last week.
They came home delighted, and have talked circus ever
since. Your cousin will have to take Miss Munce. I have
heard several quite old people say they would willingly pay
a dollar again to see such a circus. But the fifty-cent
seats are better because not too close to the ring, and it is
only twenty-five cents for ye younkers.
"Hoping you are all well; I wish I was.
Yours,
"E. RAWSON."

"My Dear John:-No, I don't think I am worse, for I've
just been eating a pretty good lunch; but I found myself
somewhat in the position of Miles Na Copaleen with a differ-

THE LIFE OF LAURA KEENE.
239
ence.
Instead of 'my love being nipped like a bud in the
frost,' it was myself. The weather was so cold, I got the
toothache so badly I was crazy. Then I fell a victim to
pleurisy in my left side, which was all right when I left the
city. Then, too, I was all out of medicine; so I made up my
mind to see the doctor, get him to tell me what to do-have the
tooth out and bring warm weather.
"Every day I tried to get down, but it rained for four days.
One morning the sun peeped out; off I started in ten min-
utes; down came torrents, but I reached New York all right
and surprised the family. So they did me, for they were
packing to move. The sewerage was defective there and the
nothing, so Prof. moved up to 71st street.
We have two more rooms; they are every way larger, several
feet higher, and open at the back on such pretty gardens. In
front we are only two blocks from Central Park.
landlord would do
"I enclose the . . . how I wish it was the . . . doubled
and trebled. I go back to Cairo Thursday. I have been
waiting for Prof. to go to the dentist with me, which I could
not do alone. Our new address is . . . avenue.
"Write to me at Cairo.
"E. RAWSON."

"My Dear John:-Your letter received. Place the . . . to
my account in the Manhattan Bank, corner Broadway and
Bleecker streets.
"I succeeded in starting the will this morning; I had to
show the draught to Mr. Heyward. He was away yesterday,
and on Tuesday I could not go, but I hope to get away on
Saturday.
"I can't put my hand on your letter, and can't remember
if you asked me anything more. I am so silly in the head,
and there are stars dancing between this paper.
"... AVENUE, N. Y. City,
"June 15, 1882."
"In haste,
"E. RAWSON."
"My Dear John :-Monday I made rough draught of my
will; Tuesday I was ill, could not go out. It was necessary
Mr. Heyward should see it before the lawyers, to see if there
240
THE LIFE OF LAURA KEENE.
was money enough to carry out my wishes. Wednesday I
could not see Mr. Heyward; he was away. Thursday I did,
and we talked over it. We contrived to get the lawyer
Thursday, and he was to meet me yesterday here; made a
mistake-went to the bank and waited until he could wait no
longer, I presume. While I was writing this, Mr. Heyward
dropped in with the will, and Mr. . . . is to be here to-night.
You know, as long as this matter has not been finished and
has been begun, I cannot get away. Then, too, a will involv-
ing trusts for three little ones cannot be rushed, and has to
be carefully considered. I, too, cannot rush. I am not up to
race-horse speed. I am not Maud S., and cannot run back
and forth to the bank. Every time I climb those stairs I
think it will be my last. Mr. Heyward's name is Robert.
The first thing in the will is that my debts are to be paid.
Do you know . . . my will will probably be expensive. .
I wanted, if possible, to pay my . and be able to send
some money if the children needed, but my main object-after
the will-(which is more important in my eyes than my life)
was to get away to Cairo and get well. Look over my letters
and see what I said, and try and remember what I said here.
"I have to get away Monday night by boat; shall reach
Cairo less tired for sleeping all night, although I believe rail-
road goes all but three miles now to Cairo. I am so anxious
to get away; this week has seemed like two, owing to these
unavoidable and vexatious delays. If you have any sugges-
tions to make further, please do, . . because I would not.
I am horribly nervous to-day, can't write very well or even
sense. I expect, in fact, after years of strain on them, my
nerves have run down, like the strings of a guitar, to almost
the last note.
Yours,
•
.
...

"June 17, 1882.
"E. RAWSON.
"I shall spend to-morrow packing."
66
CAIRO, Greene Co., N. Y.

"My Dear John:-It was very negligent of me not to
acknowledge the but I was so bothered, tired, and sick.
·
I did really silly things in forgetting the day I left, which was

THE LIFE OF LAURA KEENE.
241
the day your . . . arrived. I don't quite understand the
you have sent me. Is it ...? My reason for asking
is this-I have . . . coming to me, and it is out of that I
expect to . . . But the time of my getting it, and whether I
shall get the whole amount at once, is uncertain. That is why
I hardly know what time to put . . . I might have this . . .
within a month or so, and perhaps not for a year.
"I am feeling better, so have concluded to try it longer
here. I hate moving and yet dread a backward step.
"Poor little Clara is ill with a sort of fever; she had it last
June. I remember my sister used to have the same thing for
several years.
66
Pray remember me to your Aunt and cousin. Take good
care of yourself this warm weather.
Yours,
"E. RAWSON."
"MONDAY MORNING.
"My Dear John:-Your letter just received. Mr.
sent a friend yesterday to say he wanted to buy the house,
but he can only pay . . . and I, of course, would rather get a
purchaser who will pay the whole down, and have the
.
off my mind- which, I presume, Mr. . . . would be able to
do. In fact, I feel loath to part with this house at all, and I
feel as though it was throwing it away just as it is growing
valuable. I need not give Mr. an answer for a few
days; and if you think Mr. . . wants a factory, there will
be time to write to him.

.
•
"You should not have paid for that telegraph message. The
least I could do would be to pay for my own business. You
lay me under so many obligations.
are capable of feeling gratitude.
They say only the noble
Well, then, I am noble now.
"In haste,
"E. RAWSON."
"CAIRO, Greene Co., New York.
"My Dear John:-Your rebuke somehow came behind time.
Just as soon as I was able I wrote you and Prof.; but as I
only had a pencil, your letter may have miscarried. Prof.
got his. I wrote you how we both got sick from the cold
16
242
THE LIFE OF LAURA KEENE.
weather we met here, and when we left New York it was
roasting. So we felt it. I am sorry to say I am not improv-
ing at all. I always did before; but I am getting so weak I
cannot walk, and it is such an effort to do anything. Per-
haps, having been here before, I need a change. The valley,
too, is hot, and I never could stand heat. I have always been
here in the Fall, and, of course, the air was cooler. It's too
bad. I expect I had better write to the doctor. He advised
me to change once in a while. He says Professor Loomis is
himself consumptive, and he says the disease is climatic, and
only curable by striking the right climate. It is hard work
to get my letters to the post. All the men are busy with the
crops, and the only other boarder is a young man whom I
could not ask to go, for he is ill. I came away without any
little things like stamps. People will often carry a stamped
letter, but they look bored if you ask them to buy stamps.
I felt as though I had found a gold mine when I found two
stamps and a pencil. Mrs. . . . was kind enough to go, after
a hard day's work, to the post for me, and I felt quite rejoiced
to get off my letters. But I must stop; have other letters to
write. I will telegraph if I move, for it may be this week.
"Yours,
"E. RAWSON."
"My Dear John:-Do not think me ungrateful. I meant
to write on arrival. We left New York steaming-baking.
We reached Catskill to find it almost at freezing point. The
railroad is not quite finished, so we had to stage. We were
so cold we could not feel our feet when we got out. The cold
struck right to Mr. Rawson's stomach. I got a bad chill.
They made a fire for us, and we sat over it all day. In the
middle of the night Prof. was taken very bad, so he left the
next day. We thought it best he should be home for fear of
cold continuing.
"All day yesterday I was in a sort of stupor; kept falling
asleep. To-day I feel much better; had no night sweat last
night. If I can get rid of them and my chills and fever, I
shall get strong, and be able to walk and strengthen my lungs.
"The will business once over, I made Prof. get boat tickets.


THE LIFE OF LAURA KEENE.
243
Just as I was going to get stamps a thunder-storm came on,
and kept up so I could get nothing. I never went from home
so illy provided with such things before. I cannot yet go to
the village-too far, so was in a quandary. Fortunately found
two stamps in writing book, and with them write first to Prof.
and yourself. Must stop; with kind regards to all,
"CAIRO."
66
Very truly yours,
"E. RAWSON.
"A little stupid yet from journey and cold. To-day is nice
and warm, so I am thankful."
"My Dear John:-At last I send the . . . and hope it is
all right. I am sorry it did not get to you before, but writing
is such an effort to me now. I have had a great deal of fever
since my return, and it has been mostly in my head. A week
or so ago it was in my feet. I hope, by the hopping round, it
is going to hop off. I've had several days without chills-
but not altogether. To-day I feel much better, and the
weather is so lovely-if I don't write often, know it is because
I want to be out in the fresh air to try and do away with this
fever; it makes my eyes feel as though they were boiled.
"With many thanks for all your kindness, and kind re-
gards to all your family, I am,
66
"Very truly yours,
CAIRO, Greene Co., New York, July 20, 1882."
EMMA TAYLOR RAWSON.
"E. RAWSON.

Emma Taylor Rawson, daughter of the late Laura Keene,
died at her home, in New York, on Wednesday, August 23d,
at the age of thirty-five. Although but little known before
the footlights, the deceased was well known to professional
artists, especially "behind the throne," where most of her
professional years were spent. After the death of her step-
father, John Lutz, Emma Taylor, although a very young
woman, if indeed more than a girl, entered the managerial
arena with her mother and remained there to play even
more than a man's part in the management of Miss Keene's
theatres until the death of that lady. Although Emma
244
THE LIFE OF LAURA KEENE.
Taylor had no great talent for acting, she played off and
on in different parts of the country for nearly twenty years.
Strictly speaking, however, it was only in case of an emer-
gency that she appeared as an actress. While Miss Keene
managed the Chestnut Street Theatre, her daughter was
known to take the leading rolé in a play at a few hours'
notice in order that the mother might take the part given
another lady who could not appear in consequence of sickness.
It was as a writer, however, that Miss Taylor was best
known; and it was in the field of literature and the arts
that she was most anxious to spend her life. The number
of plays she translated from the French is only known to
herself. She was a fine French and Italian scholar, a close
student of music, and more than conversant with nearly every
branch of the polite arts. She took a prominent part in the
editorial management of the Fine Arts, a journal so rich in
erudition that it soon starved to death, which would no
doubt have been the fate of its owners if they had not wisely
discontinued its publication. Miss Taylor was educated at
Georgetown Convent, D. C. On the fatal night of President
Lincoln's assassination she was in the convent, and was driven
nearly crazy at the intelligence, as it was her mother-Laura
Keene-who played Florence Trenchard on the night when
the cowardly assassin fired the fatal shot. Miss Taylor was
a woman of great virtue, great piety, great charity, and of
rare, if indeed not transcendent, beauty. She possessed the
rare faculty of making almost every one who knew her love
her. The simplicity and chastity of her mind, the soft,
gentle mellowness of her voice, her brilliant conversational
powers, together with a mind rich in its treasures of informa-
tion, made her one of the most fascinating women to be found
in a life-time. Like her mother, she lived and died in the
Catholic faith.
About ten years ago Miss Taylor was married to Mr. A. L.
Rawson, an artist, and while she was blessed with three chil-
dren, who received that devotion and love which can only
come from a mother, yet, so great was Mrs. Rawson's grief
over the loss of her mother, who had been her almost in-
separable companion during life, that even time would neither



THE LIFE OF LAURA KEENE.
245
erase nor obliterate it, until "concealment, like a worm in
the bud, fed on her damask cheek." Speaking of her children,
in a letter to the writer not long before her death, she said:
"I should like to live until the little ones are old enough to
take care of themselves. If I do not, the same Providence
that cares for the sparrow will care for them." On August 26th,
in that beautiful city of the dead-Greenwood-and under
the shadow of the cross which points out her mother's grave,
Emma Taylor Rawson was quietly buried, and even the birds
seemed to sing a benediction to heaven for the repose of her
soul.
Forney's Progress, Phila., Sept., 1882.
JOHN CREAHAN.
Tomy
CHAPTER XVIII.
RETROSPECTIVE.
10 my mind, there is nothing in the whole career of Laura
Keene more calculated to show to the world the nobility
of her life than the character and lives of her two gifted
daughters. Highly educated, and accomplished in most
branches of the polite arts, as they were, surrounded always
with every luxury to be desired; dignified, without money pride,
ever shunning publicity and notoriety, which might have been
theirs without asking-as they were, practically the creation
of the foot-lights; the seclusion of their lives after the death
of their mother, and at their own death the desire to be
unknown, unlamented and unsung, could only be possible with
Laura Keene as their mother. It was my pleasure and
good fortune to have been more than attached to these women
from boyhood days, or from the time they were very young
girls to the day of their death; and while in my professional
capacity in my day I have had much business with almost all
classes of people, including very many ministers of the church,
yet I have never met any who were more scrupulously honor-
able or punctilious in business matters or otherwise than the
daughters of Laura Keene; and my business career covers a
period of more than thirty years.
Laura Keene,who was rarely separated from her mother and

246
THE LIFE OF LAURA KEENE.
children during life, was not long in death until she was
surrounded by those who had ever loved and cherished her.
It is a strange coincidence in the lives of these four women,
who clung together with such loving tenacity during life,
that fate should have so decreed that they, who had lived
so long and lovingly together in life, should be at rest side
by side in Greenwood, New York, which place Laura Keene
secured during her life. There is a tinge of romance about
it, if not a halo of sanctified holiness. And even on the great
Resurrection day, "when the sea and the grave shall give up
their dead," I can picture these four women clinging together
awaiting their final resting-place. Surely the great Ruler of
all, without whose will they could not have continued together
during life, or found a resting-place together in death, will not
then part them.
Laura Keene had but about thirty years of actual profes-
sional life, or, at the utmost thirty-two. Her father died
when she was but fifteen years old. Shortly after this she
was a member of Madame Vestris' Company, where she must
have made rapid strides in her art, as I saw a water-color
picture of Miss Keene as Pauline, in "The Lady of Lyons,"
which she played while at Madame Vestris' theatre. Prac-
tically from that time to her death, Miss Keene was a very
powerful factor in the theatrical world. During her career
she owned and managed theatres in New York, Baltimore,
California and Philadelphia; together with being the creator
and publisher of the Fine Arts. The characters created by
Laura Keene-whose art was probably more like nature than
art-not only lived while she did, but it is certain that very
many of them died with her.
The domestic, or private, life of Laura Keene was quite as
remarkable, energetic, and probably untiring, as that of her
professional career. For herself, or personally, she seemed
to care but little; and probably devoted very much less care
to her own health than she displayed anxiety in looking after
that of others. It should not be inferred from this that Miss
Keene was not always Laura Keene. To her, and to those
who knew her, there was but one such woman; and her name,
whether the woman was present or absent, privately or pro-


THE LIFE OF LAURA KEENE.
247
fessionally, was synonymous of the stately and imperious
woman who was known as such-there was no Laura Keene
but she. This was not pride, but womanly dignity, which
she never forgot. In its remembrance others were forced to
feel the potency of her presence, and pay homage to so dis-
tinguished a woman.
There has probably never been a more womanly woman
than Laura Keene. For that strong-minded element of her
sex, who sighed for the franchise, short hair, social clubs, and
other masculine creations, she had nothing but abhorrence.
And yet this exquisite creature, who was physically like so
much point lace, was in her own sphere, time and day, more
than able to cope successfully with the most brainy and
experienced men in her profession.
The charity of Laura Keene has not only passed into a
proverb in the theatrical world, but is quite as well known off
as on the stage. Her work in this field was not confined to
any one class. To "feed the hungry, clothe the naked, visit
the sick, and bury the dead," was as sacred a duty to her as
to care for her own family.
It has been stated that Miss Keene was proud and addicted
to such ornaments as were generally calculated to enhance
her personal beauty. It is possible that even this woman
tried to improve on nature or "paint the lily." This has
been a pardonable weakness of her sex-if, indeed, it can be
regarded as such-since the creation of time; and most
assuredly will be, if we are to judge from the present indica-
tions, until the end. The pictures of Miss Keene, however,
or the few of them that are extant, fail to prove to me the
veracity of this rather petty, if not splenetic, assertion.
"There are no pictures of Laura Keene on sale anywhere,"
said Sarony to the writer. Certainly not. In the days of
Laura Keene the women of the stage depended on their
brains for success in their art, not on the camera of the
photographer.
Vanity, however, is by no means the sole prerogative of
woman. As a patented or purchasable commodity, man
always holds two-thirds of the right, while the other third,
which through courtesy may belong to woman, is compensated


248
THE LIFE OF LAURA KEENE.
for on the part of man, who spends more money, as a rule, on
his riotous living in one year than the average woman would
devote to personal decorations during a lifetime. To me it
seems deplorable, that nearly a quarter of a century after the
death of so distinguished a woman, scholar, actress, artist,
manager, wife, mother and daughter, such pettiness should
emanate from a fine mind, but more especially from the pen
of a man and professional brother, who is largely indebted
to Laura Keene for probably the most artistic part of his
dramatic art.
No actress, actor, or manager of her day or time did more
for dramatic art in America than Laura Keene. It is a ques-
tion, indeed, if any one did as much. She was among the
first of American managers to encourage native writers. She
purchased plays and paid for them as liberally as she was
known to be prodigal in their production.
Her stock companies were always among the finest to be
found in any theatre in America, if, indeed, not in any Eng-
lish-speaking theatre. She did not sacrifice her dramatic
company at the expense of stage-craft, or the latter to com-
pensate for the ability and superiority of the former. Plays
as they were written, if acceptable to Laura Keene, were
generally so produced, for her fine intellect was such as to pro-
tect, or at least have some consideration for, those who could
write plays.
This, it is true, involved her financial success as a manager;
but Laura Keene, while a prudent and shrewd financier, was
no lover of money for the mere sake of amassing wealth. She
was essentially an enthusiast in her profession and art, and
preferred it to money; and rather than abandon it died a
comparatively poor woman. There is a compensation, how-
ever, for so noble and heroic a mind, which money or its
acquisition cannot purchase-that of lasting gratitude. Laura
Keene is no exception to the rule, for while the history of
dramatic art shall exist, her name will be entwined with
historic laurels, and occupy a niche among the highest in
dramatic art, which has been brought closer to the heart of
every fireside and home by this woman, actress, artist and
manager-Laura Keene.


LAURA KEENE
DIED
NOVEMBER 4.1875
LAURA KEENE'S TOMB.

THE LIFE OF LAURA KEENE,
249
IN MEMORIAM TO LAURA KEENE.
She's dead! and may she sweetly sleep
Within the silent grave,
Where willow-trees around her weep,
And dews her cold house lave;
And history, with her golden pen,
May she record her name,
Whilst memory wreath's a diadem
Of honor and of fame.
New York, November 8, 1873.
COL. T. ALLSTON BROWN.

IN MEMORIAM OF LAURA KEENE.
Under the dome of the temple fair,
Clad in robes of grief's despair,
Clad with a mantle of darkened hue,
Sits Thespia weeping for you, ah, you.
Under the dome of the temple proud
Thy glee oft rang both long and loud;
Art thou, oh, silent, no more to see
On Thespia's boards fair "Mary Leigh ?"
Under the dome of the temple pure,
Where thou fond daughter of the art did lure,
There, where thy teaching the soul cast upward,
Cold now in death thou art "Florence Trenchard.".
Hast thou, too, "Rachel the Reaper," fled?
With the laurel wreath 'round thy fair, fair head?
Clad now are thy sheaves not in golden tresses,
But entwined with the sprays of the willow's caresses,
Is the "Soldier's Daughter" of histrionic art,
Whose memory deep is engraved on our heart,
With her silvery voice, like the minstrel's lute,
In the vault of death with the loved "Ann Chute?"
Sleep on," Ogarita," the storm has past,
Safely at home thou art sheltered at last;
'Neath the cross and the crown rest thy lone, weary head;
There, too, slumbers "Marco," whose heart is now dead.
New York Clipper, November, 1873.
JOHN CREAHAN.
INDEX.
A.
Academy of Music..
Actor's life.
Adams, Edwin
•
•
A good joke at the expense of Rev.
Father Lane
•
Allen, Mrs. J. H.
American stage.
•
A Midsummer Night's Dream
Anderson, Mary.
.
An ideal heroine of Shake-
speare
.
.
An Unequal Match
•
Appeal to public for new Theatre.
Arch Street Theatre.
Art Treasures in New York.
182
.
151
13
Burnett, J. G.
142
·
.
Burton, Wm..
•
•
122
Byron, Lord
PAGE
PAGE
Bradshaw, Charles. .
98
. . . . .
17
Brewster, Florence
15
•
16
Brown, Mrs. Sedley
.
•
150
.
26
Browne, J. S. . .
156
.
Brown, B.
Brougham, John
Burke, Miss Ione
.
156
•
29
.
.
150
.
156
.
18
142
•
.
•
.
•
122
C.
California
.
128
.
18
18
Case, I. S.
•
.
170
138
Cast of American Cousin
.
26
•
81
Cathedral at Seville.
80
Assassination night in Washington.
24
Carr, Mary.
31
Australia.
18
Centennial Exposition of '76
111

•
Chanfrau, Mrs. F. S..
144
B.
Bailey, Mr..
78
Chestnut Street Theatre, Philadel-
Baker, B. A...
150
phia..
25
Bangs, Frank.
156
Clarke, John S..
·
102
.
Barnum, Phineas T..
.
.
147
Clifton, Ada
.
150
.
Beatrice
Barrett, Lawrence.
Becky Sharp
Belle's Stratagem
Bernhardt, Sarah
Bilby, Mr..
Blake, W. R..
Blondette
Bob Acres
.
Booth, Agnes.
.
Booth, Edwin.
.
Booth, John Wilkes.
Booth, Junius Brutus
Bowers, Vining
Boucicault, Dion
250
. •
.
150
Clipper, New York
•
37
127
Clouds and Sunshine.
.
117
•
.
104
Coghlan, Rose
.
.
•
.
111
•
101
Continental Hotel.
.
.
93
.
119
Costello, John
31
.
.
150
Couldock, Eliza.
.
144
.
.
•
•
150
Creahan, John
.
75
164
Creese, Mrs.
.
32
.
•
149
•
89
D.
.
23
Daly, Augustin
.
.
.
.
147
Daly, H. F.
32
Daily Evening Bulletin
93
.
Davenport, E. L..
.
Cross, Michael
101
Cushman, Charlotte
.
·
•
179
122
•
.
.
.
147
•
150

48
134

INDEX.
251
Davenport, Fanny.
Deans, Effie.
Death of Booth.
Deland, Annie
Dos Santos, A. F.
Downing, Robert
Dramatic historians
Drew, Mrs. John
Duff, John...
Dundreary characters
Duke of Wellington.
Dyott, John
Eldredge, Mrs.
.
English flunkey.
English, Jane.
English Painters
Fawcett, Owen
Fielding, Mr,.
.
·
E.
F.
·
.
•
•
PAGE
PAGE
...
.
120
Henry the Eighth.
.
.
.
123
.
133
Heron, Matilda .
.
181
.
29
History of the New York stage
.
178
.
•
156
History written in earth and stone.
85
179
.
.
Hogarth and Turner.
•
.
81
120
Holland, George, Jr.
•
31
15
Holliday Street Theatre, Baltimore. 140
120
Howard, Miss May
46
.
132
Hunted Down
•
48
47
Hunt, Leigh
142
.
168
.
133
I.

Irving, Sir Henry.
.
•
•
.
140
Irving, Washington
.
124
.
Ireland, Joseph N.
•
129
92
15
164
.
.
80
J.
143
Jack Lofty.
.
124
Jack, John.
•
129
150
.
Janauschek, Madame
149
Fine Arts, The
.
77
.
First experience of stage life.
Jefferson, Joseph
92
•
•
17
Fitzgerald, Colonel
Florence, William J.
Florence, Mrs. W. J.
Ford, John R.
•
Ford's Theatre, Washington
Forrest, Edwin
Forrest Home.
Frou-Frou
•
Jefferson, Cornelia.
. •
144
•
57
. •
Jordan, George
.
144
·
.
144
144
.
26
.
23
.
.
101
112
.
•
52
•
Galton, Susan..
Garrick, David
•
Gilbert, Mrs. G. A.
G.
•
Globe Theatre, Boston.
"Good-Natured Man"
Goldsmith, Oliver.
Graham, Miss F.
Grant, President.
Hackett, James.
Hawk, Harry.
K.
118
144
181
•
33
141
Keene, Laura.
•
A child of art.
.
A most remarkable woman
And Lucille Western
15
15
102
.
.
•
.. 163
.
.
.
134
As a lecturer
•
.
135
As a manager
124
•
•
118
31
92
142
.
As a star very popular . . .
As manager in New York.
A womanly woman
23
15
247
72
12
Battled against adversity.
63
Beloved by her children
168
H.
Born in London in 1826 ..
15
88888
89
Could not master the Irish
33
brogue.
110
Kate Hardcastle.
•
Kean, Charles.
. •
Keen, Edmund
.
.

252
INDEX.

PAGE
Keene, Laura.
18
99
Died at Montclair, N. J., No-
vember 4, 1873, in the faith
of the Catholic Church.
Buried in Greenwood, N. Y. 173
First appearance in Wallack's
Theatre
•
Her art
· •
Laurens, Miss Josephine.
Ledger, Philadelphia.
.
·
Lenox, Walter
Levick, Milnes
Letter of John Creahan
Letter of J. Jefferson
Life-size painting of Hamlet
PAGE
.
.
46
.
137
150
•
. 156
75
.
·
•
76
111
.
Lincoln, President Abraham
•
26
•
22
247
·
.
216
177
167
248
.
•
94
58
109
.
Her Benefit..
Her charity.
·
Her domestic life
Her estate in litigation.
Her family.
.
Her financial success as a
manager
Her illness.
Her judgment in selecting
plays.
Her Olympic Theatre
Her own leading lady . . . 139
Marco played by Miss Keene was
Lingard, W. H...
135
.
·
.
Lingard, George W..
Lord Bolingbroke.
.
.
144
85
Lutz, John.
136
M.
McManus, Charles.
.
McVickar, Miss Mary
.
163
•
Macready, W. C.
Manners, Julia.
+ ཋ
19
Marble statue of Medea
112
.
Her property
·
.
Her religion
·
Her reputation as an artist. 123
Her statement of the assassi-
nation.
Her stock companies.
Highly esteemed
.
Home in Bond Street.
In her spiritual beauty
Married John Lutz in 1860. 169
Married John Taylor
More than actress.
life-like
.
•
•
.
104
177
Marlowe, Mr. Owen
·
150
.
•
171
Matthews, John.
.
.
.
138
Mayo, Frank.
•
134
Metropolitan Theatre, New York.
18
27
144
Miss Donnelly's Poems.
•
97
100
Mitchell, Maggie
.
131
Modjeska, Madam.
•
•
.
149
.
.
95
Montclair
15
·
.
100
Moore, Thomas
.
170
.
168
.
142
Mordaunt, Mr. Frank
Much Ado About Nothing
.
46
•
67
Munroe, Seaton
·
.
29
Played all the principal parts 139
Played tragedy
•
Presented with diamond
brooch.
102
Worshipped her mother.. 168
Lady Macbeth
·
L.
Lady Teazle..
Lamb, Charles
•
Lander, Mrs. Jean Davenport.
Lane, Rev. Father.
•
N.
Naglesville.
13
.
20
Napoleon Bonaparte.
·
172
•
.
Nickinson, Isabella
119
Neilson, Adelaide
122
.
New York Herald.
.
155
129
New York World.
79
120
New York Sun
•
70
142
New York Tribune
79
•
.
149
New York Times
.
.
•
182
Nivert, Emma Webb.
166
79
.

INDEX.
253
Ogarita
Opening of the Chestnut.
Our American Cousin
Our Artistic Literature.
Paradise Valley.
Patrice.
Patti, Adelina.
.
P.
.
Payne, John Howard
.
PAGE
0.
Shadows of the Stage
·
138
Shakespeare
• .
45
.
58
78
Sherman, Mrs. General
Sheridan, Mr. W. E.
Showman's School.
Sinn, Col. W. E.
.
171
Smith, Mark
.
55
Smith, Mrs. Mark.
•
19
•
Sothern, E. A.
•
185
•
Peg Woffington.
·
69
Sothern's rising fame
Susan Galton and her English Com-
PAGE
100
122
•
.
72
.
48
.
.
149
.
134
.
144
144
70
·
59
Philadelphia
.
Philadelphia Press. .
Pocono Mountain
Ponisi, Madame.
Prince of Wales.
Professional fellow-artists.
Professional Tributes
Pugh, T. B.
.
•
•
104
Russell, Sol Smith.
S.
Salvini Signor Tommaso
School, at the Chestnut
Sculpture.
.
Seiler, Madame
·
Sensational journalism
Q.
Queen, Frank..
. 169
R.
Jane Eyre
•
•
Jeannie Deans
Rehan, Ada.
Rachel the Reaper
Rawson, Emma Taylor.
Raymond, J. T...
Reignolds, Kate.
Richard the Third
Richings, Caroline
Robertson, Agnes
Robson, Stuart
.
. 117
15
.
•
150
•
111
65
.
•
.
121
.
150
Our American Cousin
.
93
Peep o' Day
.
150
Roberts, J. B..
.
Peg Woffington.
129
Physic and Fancy
144
Peg Woffington more than a Stage
Picture...
Permanent Exhibition Building,
pany.
117
St. James' Palace
· •
33
61
•
St. Patrick's Cathedral.
.
.
85
.
111
34
St. Peter's Cathedral, Rome
Stock Company Casts
.
80
•
·
150
13
·
•
.
·
145
74
A Midsummer Night's Dream 160
As You Like It.
Birds of Prey.
.
Blanch of Brandywine.
127
Camille
92
Clarissa Harlowe
Heir-at-Law
House and Home.
.
•
.
160
152
•
.
.
154
•
•
152
156
.
156
.
.
155
·
•
151
·
·
.
.
158
Jessie M'Lane
Judith of Geneva
London Assurance.
154
·
152
.
156
Mary's Birthday
·
151
No Rest for the Wicked
Old Heads and Young Hearts
154
155
158
151
.
157
154
Plot and Passion
156
Rachel the Reaper
157
•
.
Seven Sisters.
•
76
·
47
83
The Colleen Bawn.
179
·
•
.
24
.
164
School for Scandal.
159
She Stoops to Conquer.
The Corsican Brothers... 155
The Elves, or the Stateu Bride 152
The Macarthy, or Peep o' Day 153
•
150
157
254
INDEX.
Stock Company Casts.
The Marble Heart.
The Monkey Boy.
The Rivals.
The Sea of Ice
.
The Wife's Secret.
The Willow Copse
PAGE
PAGE
The Marble Heart.
.
131
159
The Saucy Housemaid .
43
•
•
.
153
The Sea of Ice, a favorite play.
•
102
.
156
The stage.
.
37
.
.
158
.
.155
·
157
152
.
Townsend, George Alfred.
•
•
The wronged and beautiful Rachel. 118
Thompson, Charlotte
Thorne, Charles, Jr.
Thunder, Prof. Henry G.
Tobyhanna.
.
•
144
22
30
•
179
.
13
• ·
Two Loves and a Life
Vanity Fair, or Proud of their
Vices
Victims
Young New York
Stoddart, J. H..
Stoddart, Mrs. J. H.
Stevens, Sarah
Strickland, Marian
Sullivan, James F.
T.
155
•
.
153
To Laura Keene
•
•
•
151
True architecture
.
·
123
.
.
150
.
156
Vestris, Madam.
.
.
130
·
164
Taber, Julia Marlowe. . . .
•
.
137
Taylor, Clara Marie Stella, born in
London in 1849.
An accomplished musician
As a ballad singer.
.
141
86
V.
1. 181
W.
Walcot, Charles M..
.
Walcot, Mrs. Charles M..
Wallack, J. W..
.
.
119, 150
.
.
119
.
133
•
.
177
Wallack, Lester.
•
133
178
Waller, Mr.
•
151
.
·
.
•
·
.
184
Waller, Emma
.
·
•
151


.
216
.
187
Wallis, W. H.
Walnut Street Theatre.
130
111
.
198
Water Gap.
•
13
215
Watkins, Rose
.
.
131
.
111
Died January 1, 1876
Her letters
•
Her health.
·
Residence in Cannes, France
Taylor, Emma, born in London in
1846..
.
217
Died August 23, 1882 ... 243
Her illness
226
Williams, Barney
Was a musician.
.
•
217
Wells, Mary
Western, Lucille
.
Wheatleigh, Charles.
Williams, Mrs. Barney.
. 163
.
150
.
45
.
.
149
Taylor, Tom
. .
35
Willow Copse.
.
128
Terry, Ellen
The Colleen Bawn.
The Deserted Village
The Drama.
The Inspired Idiot
The Macarthy
129
Winter Garden, New York
138
•
.
73
Winter, William
15
.
118
Wood, David..
.
.
179
.
.
.
87
.
•
124
Y.
.
76
.
Yesterdays with actors.
...
173

MAR 22 1921
THE UNIVERSITY OF MICHIGAN
GRADUATE LIBRARY
JUN 1 7 1977
JUL
JUN 18 1977
DATE DUE
BAR
UNIVERSITY OF MICHIGAN
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Cat No 23 520