All these things, and more, Rehan appeared across the footlights. Off the stage, simply as Ada Rehan, she was still the exceptional woman. An actress who is capable of diverse and subtle characterizations is often, singularly enough, in her own person a woman of essential simplicity. Such seems to have been the case with Ada Rehan. Her lack of pose can be glimpsed in various ways, in her capacity for pleasure in the success of others, her ability to see and admire beauty and talent in other women,--a severe test for any actress. “She was generous and grateful, and she never forgot a kindness,” says Mr. Winter. “Her mind was free from envy and bitterness ... and she never spoke an ill word of anybody.” One more evidence of her simplicity was her un-Bernhardtian sense of contentment in the limited opportunities for personal glorification afforded by her position with Mr. Daly. As we shall see, she refused numbers of offers to star, preferring the comparative obscurity of her position as “Daly’s leading woman.” Notice the phrases of a writer in the _Sun_, who observed her on the street in New York in 1894, after her return from triumphant appearances in London. “She exhibits a degree of calm serenity that might almost be called matronly.... Her face wears a youthful and almost childish expression.... Much of her time has been spent since her return in looking in the shop windows, but apparently she has not purchased much, either here or in Europe, as her attire is invariably that of a woman who devotes little thought to dress!” But this writer goes on to say: “No one would be likely to mistake her for anything but an actress nowadays. Her distinction of bearing is so great that, even if her face were not familiar to the public, a great many people would turn around to look at her a second time as she walks along the street.”