[113] Though her first night audience was described as “large and brilliant,” Duse’s audiences during her first American tour were generally not large in numbers. They were, however, drawn from a discriminating part of the public, the part that regards the drama as an art and goes to the theatre only when its own high standards are likely to be met. During the 1896 tour she attracted the same discerning public, but also, this time, that other public which runs to fads. “La Duse” became something of a fad, but happily at no sacrifice of the quality of her acting. [114] _The Critic_, for January 28, 1893. The story has often been told of Mme. Bartet, the distinguished actress of the _Comèdie Française_, and Duse’s swoon in _La Dame aux Camélias_. So powerful and so natural was Duse at the point where Marguérite swoons, that Bartet, perhaps sensible of Duse’s own bodily weakness, cried out: “Great Heavens! She has really fainted.” [115] There is much in Mrs. Fiske’s acting to remind one of Duse, different as the two are in many ways. There is in each, in the first place, the same service to an art of an exceptional intellect, the same high minded devotion to ideals. Each has been a mistress of the subtleties, both of conceptions of characters and of means to set those conceptions forth. Each depends on the significant repression of emotion, rather than on expansive exposition of emotion. Each is, in spite of a fundamental seriousness, expert in comedy. Coming to details, each depends largely on rapidity of utterance, with occasional arbitrary pauses. Of the former--in a possible excess--Mrs. Fiske has been sufficiently charged; the latter Duse has been sometimes accused of carrying to undue lengths. Finally each has her wholesome distaste for eccentricities and meritricious publicity. Mrs. Fiske is Duse translated into American. [116] _The Critic_, February 11, 1893. [117] During her tour in America in 1893, Duse’s parts were: Marguérite Gauthier in _La Dame aux Camélias_; _Fédora_; Clotilde in _Fernande_; Santuzza in _Cavalleria Rusticana_; Mirandolina in _La Locandiera_; Cyprienne in _Divorçons_; Francine in _Francillon_, and Césarine in _La Femme de Claude_. During her second American tour in 1896, Duse played _Magda_ for the first time in this country, and also some plays from her former repertoire, _La Dame aux Camélias_, _Cavalleria Rusticana_ and _La Locandiera_. On her next visit, in 1902, which was during the d’Annunzio period, she played _La Gioconda_, _La Citta Morta_, and _Francesca da Rimini_, all by d’Annunzio. [118] She played for London _A Doll’s House_ and _Antony and Cleopatra_, as well as _Camille_, _Fédora_, _Cavalleria Rusticana_ and _La Locandiera_.