“But Mme. Modjeska did not play only in English in America. She gave two consecutive performances in Chicago in Polish for charitable purposes, supported by a company of amateur workingmen. One was a comic part in a popular peasant comedy, the other a tragic queen in a historical drama. Twice also she played in French: once in 1884 in London in a graceful proverb of Augier entitled _The Post-scriptum_; she was supported by the above-named Pierre Berton. The second time she acted in French in Los Angeles in 1907 for the ‘French Alliance’ in that beautiful one-act drama _Le Pater_. As I mentioned her several charity performances, I may be allowed to remark that Mme. Modjeska rarely omitted an occasion to appear for charitable objects. In January, 1909, about ten weeks before her end, already then very weak and ill, she took part in a great benefit performance for the victims of the Messina earthquake, in Los Angeles, giving the sleepwalking scene of _Macbeth_. “I will add that outside of the twelve Shakespearean plays mentioned by you, and the two named above by me, Madame Modjeska acted in Poland in two more--_Richard III_ and _The Taming of the Shrew_. Her repertoire on the Polish stage known to me consisted of more than one hundred and ten parts.” [65] William Winter in the New York _Tribune_. [66] _Memories and Impressions._ [67] The others being Clara Morris, Georgia Cayvan, and Julia Marlowe. [68] This prohibition did not apply to Austrian or Prussian Poland, of course, and she afterwards acted more than once in Cracow, Lemberg, and Posen.