Adelaide Neilson, with her uncommon graces of person, found it easy to make the chamber scene and the cave scenes pictorial and charming. Her ingenuous trepidation and her pretty wiles, as Fidele, in the cave, were finely harmonious with the character and arose from it like odour from a flower. The innocence, the glee, the feminine desire to please, the pensive grace, the fear, the weakness, and the artless simplicity made up a state of gracious fascination. It was, however, in the revolt against Iachimo's perfidy, in the fall before Pisanio's fatal disclosure, and in the frenzy over the supposed death of Leonatus that the actress put forth electrical power and showed how strong emotion, acting through the imagination, can transfigure the being and give to love or sorrow a monumental semblance and an everlasting voice. The power was harmonious with the individuality and did not mar its grace. There was a perfect preservation of sustained identity, and this was expressed with such a sweet elocution and such an airy freedom of movement and naturalness of gesture that the observer almost forgot to notice the method of the mechanism and quite forgot that he was looking upon a fiction and a shadow. That her personation of Imogen, though more exalted in its nature than any of her works, excepting Isabella, would rival in public acceptance her Juliet, Viola, or Rosalind, was not to be expected: it was too much a passive condition--delicate and elusive--and too little an active effort. She woke into life the sleeping spirit of a rather repellant drama, and was "alone the Arabian bird."