The difference in atmosphere disappears directly one understands it. I kept on coming across duplicates of "my friends in England." "How this girl reminds me of Alice." "How like that one is to Gill!" We had transported the Lyceum three thousand miles--that was all. On the second night in New York it was my turn. "Command yourself--this is the time to show you can act!" I said to myself as I went on to the stage of the Star Theater, dressed as Henrietta Maria. But I could not command myself. I played badly and cried too much in the last act. But the people liked me, and they liked the play, perhaps because it was historical; and of history the Americans are passionately fond. The audience took many points which had been ignored in London. I had always thought Henry as Charles I. most moving when he made that involuntary effort to kneel to his subject, Moray, but the Lyceum audiences never seemed to notice it. In New York the audience burst out into the most sympathetic spontaneous applause that I have ever heard in a theater. I know that there are some advanced stage reformers who prefer to think applause "vulgar," and would suppress it in the theater if they could. If they ever succeed they will suppress a great deal of good acting. It is said that the American actor, Edwin Forrest, once walked down to the footlights and said to the audience very gravely and sincerely: "If you don't applaud, I can't act," and I do sympathize with him. Applause is an instinctive, unconscious act expressing the sympathy between actors and audience. Just as our art demands more instinct than intellect in its exercise, so we demand of those who watch us an appreciation of the simple unconscious kind which finds an outlet in clapping rather than the cold, intellectual approval which would self-consciously think applause derogatory. I have yet to meet the actor who was _sincere_ in saying that he disliked applause. My impression of the way the American women dressed in 1883 was not favorable. Some of them wore Indian shawls and diamond earrings. They dressed too grandly in the street and too dowdily in the theater. All this has changed. The stores in New York are now the most beautiful in the world, and the women are dressed to perfection. They are as clever at the _demi-toilette_ as the Parisian, and the extreme neatness and smartness of their walking-gowns are very refreshing after the floppy, blowsy, trailing dresses, accompanied by the inevitable feather boa of which English girls, who used to be so tidy and "tailor-made," now seem so fond. The universal white "waist" is very pretty and trim on the American girl. It is one of the distinguishing marks of a land of the free, a land where "class" hardly exists. The girl in the store wears the white waist; so does the rich girl on Fifth Avenue. It costs anything from seventy-five cents to fifty dollars!