Another extraordinary performance was her Millwood, in ‘George Barnwell.’ She took that part, which had never been played by a first-rate actress, in hopes that she might be of service to her brother Charles, then a young actor, who was to be brought forward as Barnwell. In the early scenes the severity of her blandishments bordered on the ludicrous; she was more like Barnwell’s mother than his mistress: but in her scene of dissimulation with Thorowgood, and in her subsequent arrest and diabolically triumphant avowal of the motive of her conduct through life, the desire to revenge her wrongs on the opposite sex, she pourtrayed wickedness with grand and appalling force. Her thundering exclamation, “I know you, and I hate you all; I expect no mercy, and I ask for none,” was made with a withering effect. The scene in ‘Fatal Curiosity,’ in which Agnes suggests to her husband the murder of their unknown son, was another of her wonderful exhibitions: in Mr. Campbell’s words, “it made the flesh of the spectator creep.” Mrs. Siddons is said to have thought well of her own talents for comedy; and her reading of Shakspeare’s characters of low humour was admirable. She played at different times Katherine, in ‘The Taming of the Shrew,’ and Rosalind; as well as Mrs. Oakley, and a few other characters of the modern drama. There seems to have been nothing against her success in genteel comedy but a deficiency of animal spirits. Her delivery of the level conversation in tragedy was easy, graceful, and refined. Her representation of the early scenes in ‘The Gamester,’ where she had merely to personate an elegant and highbred woman, bearing up against present anxiety and impending misfortune, was as attractive and as finished as her deep tragedy in the sequel was pathetic and harrowing. And in the first scenes of Mrs. Haller, the charm of her manners and delivery imparted interest even to the dull detail of a housekeeper’s weekly routine. We subjoin a list of the parts which Mrs. Siddons performed in London. The reader will be surprised to find how many of them are in plays all but forgotten, and utterly unworthy of her talents. In those marked (*) she made her first appearance for her own benefit: in those marked (†), for John Kemble’s. Characters. Plays. 1782–3. Isabella Fatal Marriage Euphrasia Grecian Daughter Jane Shore Jane Shore Calista Fair Penitent *Belvidera Venice Preserved *Zara Mourning Bride 1783–4. Isabella Measure for Measure Mrs. Beverley Gamester Constance King John *Lady Randolph Douglas Countess of Salisbury Countess of Salisbury (_Hartson._) *Sigismunda Tancred and Sigismunda