Duse had come unheralded, but her few weeks in New York proved a genuine “sensation.” She followed _Camille_ with _Fédora_, in which she again demonstrated her strange power of creating a stirring dramatic effect by the simplest and apparently the most unstudied means. As Clotilde in _Fernande_ she presented another type: “The change wrought in her by the dispatch that proved her lover’s perfidy was an extraordinary illustration of suppressed emotion, and the remorseless deliberation of her manner while beguiling the faithless Andre into the net which she had spread for him was intensely eloquent of a woman scorned. Not until after the marriage had been accomplished did she give vent to the rage which she had restrained so long; but when the floodgates of passion were once opened, the torrent of her wrath and hate and scorn might almost be called appalling. This one revelation of her power would place her instantly in the front rank of emotional actresses.”[116] Another jealous woman was revealed in Santuzza in _Cavalleria Rusticana_. Astonishing in this part was the complete sinking of her own personality in that of a peasant woman. By voice, walk, subtle suggestions of gesture and pose, she achieved a masterpiece in what the French call “getting within the skin” of a character. When to the other impersonations she added her Mirandolina in _La Locandiera_, a part calling for a charming archness and humor, and as sure a touch in comedy as Santuzza in tragedy, her wide range was astonishingly revealed.[117] After visiting a few other American cities, Duse’s company arrived in London, and opened an engagement there in May (1893). She was the first Italian since Salvini to claim London’s serious attention. She was at least as unknown there to “the general” as she had been in New York, though of course there were many who had either seen her on the continent or had read glowing accounts of her. But there were many, at first, to ask: “Who is she?” When she made her presence felt, as she promptly did, there arose a fine critical storm with her as the center. Bernhardt was idolized in London, appeared there in the same season, and naturally comparison was rife. As a matter of fact, comparison between Duse and Bernhardt, both of whom were well within their prime in the early nineties, was one of the favorite intellectual amusements of the day, with both professional and amateur critics. Duse succeeded in London, however, as she had succeeded elsewhere.[118] Thus had she swung about the world, making known her great gifts, and firmly establishing a genuine, honestly won fame. Only Paris remained to be conquered, and before she attempted that formidable task, she visited America again.[119]