The sorrow and anger here are well enacted, being neither overdone nor forced. It is here at least shown that Miss Neilson can, when she pleases, express great passions with that suppressed vehemence which carries the cultivated spectator away far more than violence of voice and gesture. Such suppression, with a view to producing greater effect by leaving much to the excited imagination of the beholder, is not practiced only by the tactful histrionic artist--it pervades all art. To take a single brief example: the greatest sculptors, knowing that the chisel could produce form, not color, have shrunk from indicating the pupil of the eye in their statues, and left the eyeball smooth, because the imagination was more pleased with entire absence of the organ than with its imperfect representation. So with ultra-clamorous passion and wild melodramatic action on the stage: both are better omitted than expressed. These remarks are made here in connection with Miss Neilson's first fair displays of passionate sorrow and sorrowful passion: presently they may be applied again, less favorably, to her Juliet. In her Rosalind, however--to refer to _As You Like It_ once more--she gives another fine example of the power of suppressed, suggestive action accompanying the expression of hot wrath. When the tyrant duke informs her that she is banished from his court, she kneels before him in supplication and begs to know the reason of his harsh decree. But the instant he intimates that her father is a traitor, and she another as his daughter, she springs to her feet, and in an attitude of intense defiance, but without a motion of her folded arms, flings back her scornful retort: So was I when your highness took his dukedom; So was I when your highness banished him: Treason is not inherited, my lord; Or, if we did derive it from our friends, What's that to me? my father was no traitor. Here again is a display of power without distortion or over-acting, such as must give the actress fair title to celebrity.