Mrs. Hopper next appeared in "Yankee Doodle Dandy," an extravaganza of doubtful merit, and with Lillian Russell in a revival of "La Belle Helene." During the season of 1899-1900, she shared the honors with Jerome Sykes in the extravaganza, "Chris and the Wonderful Lamp," acting the part of the sophisticated youth Chris. CHAPTER X PAULA EDWARDES [Illustration: PAULA EDWARDES.] One of the few young and pretty women making a specialty of eccentric comedy parts is Paula Edwardes, a Boston girl, who, starting at the foot of the ladder only a few seasons ago, has quickly claimed a position of prominence in the musical comedy world. Miss Edwardes's most recent characterizations have been two different varieties of the Cockney type in "A Runaway Girl" and "Mam'selle 'Awkins," but previous to that she gave a taste of her ability in this line of impersonation by creating in "The Belle of New York" the role of Mamie Clancy, the Bowery girl, a type of character which is nothing more nor less than an Americanized Cockney. I have no idea where Miss Edwardes picked up her weird and wonderful Cockney dialect, unless she got it during her short visit in London with "The Belle," for she was born and brought up in Boston, where, as every one knows, nothing is spoken except the purest of Emersonian English. Neither will I vouch for the accuracy of Miss Edwardes's importation. However, it sounds English enough, and it is certainly hard enough to understand to be the real thing. There are two ways of presenting a character study of the uncultivated types of civilized humanity. One is faithfully to imitate the original, sparing not in the least vulgarity, uncouthness, and coarseness. The comedy in this method is the crude product of incongruity and contrast. The second method is merely to retain a recognizable likeness to the original, to tone down the vulgarity, to reduce the uncouthness to a suggestion, and to rely for effect on an heightened sense of humor. There is also introduced in this second method of treatment a subtle, but nevertheless distinct, self-appreciation of one's own unfitness for polite society and social conventions,--a cynical atmosphere, as it were, that gives the study a touch of satire. The first method is usually adopted by the unpolished and unthinking actor of variety sketch training, and often, too, by the acrobatic and strictly mechanical comedian of light opera surroundings. It is comedy acting which proves vastly amusing to such as desire their theatrical entertainment as devoid as possible of any intellectual flavor, who do not care to hunt for a fine point, and who are bored by anything that suggests an intelligent appreciation of humor. The comedy of the second method is on a decidedly higher plane. It suggests more than it actually represents. It is more delicate in every way, and it requires a modicum of intelligence on the part of the spectator to be estimated at its full value.