[204] The plays and parts of Maude Adams’ “stardom” are as follows: Lady Babbie in _The Little Minister_, 1897; Mrs. Hilary in _Mrs. Hilary Regrets_ (special performance, with John Drew), 1897; Juliet in _Romeo and Juliet_ (supplementary spring season), 1899; Duke of Reichstadt in _L’Aiglon_, 1900; Phœbe Throssell in _Quality Street_, 1901; Pepita in _The Pretty Sister of José_, 1903; Amanda Affleck in _’Op O’ Me Thumb_ (in one act), 1905; _Peter Pan_, 1905; Viola in _Twelfth Night_ (at Harvard), 1908; Chicot in _The Jesters_, 1908; Maggie Wylie in _What Every Woman Knows_, 1908; Joan of Arc in _The Maid of Orleans_ (at Harvard), 1909; Rosalind in _As You Like it_ (University of California), 1910; _Chanticler_, 1911; Leonora in _The Legend of Leonora_, 1913. This list does not include revivals. [205] _The Wallet of Time_, vol. II. [206] “Children, corsets and cigars were named after her;--as a matter of fact I know one ten-year-old child who has thirteen dolls, and every one of them bears the same identical name, Maude Adams.”--Acton Davies. [207] Prepared by Louis N. Parker and Edward Rose. [208] “She was at her best in the scene of supplication and childlike blandishment with the old Austrian Emperor. The vein of Miss Adams is domestic and romantic--not tragic. She carried the second act of the play with sustained vivacity and gratifying skill. Possessed of a gentle personality and capable of a piquant behavior, Miss Adams was a sprightly and bonnie lass in _The Little Minister_, and that performance furnished the measure of her ability. As Reichstadt she gave an intelligent performance, on a commonplace level.”--William Winter, _The Wallet of Time_. [209] William Winter. His appreciation of some qualities of the impersonation did not prevent his saying: “Pepita, as impersonated by Miss Adams, was a tenuous damsel, of peevish aspect, who closed her teeth and spoke through them, producing, at times, a strange, nasal sound, as of a sheep bleating.” [210] “At the moment when Maggie destroys Shand’s written promise of marriage and again at the moment when she gazes on the beauty who has bewitched her husband, Miss Adams attained to the loftiest height she has reached, in the expression of feeling.”--_The Wallet of Time._ [211] And indicates also, in the same people, a lamentably restricted judgment of the artistic side of what they see on the stage.