For fourteen consecutive nights, Susanna drowned houses in tears, and stirred the very depths of men's hearts, even her husband's, who was so affected that he claimed, and obtained, the doubling of the salary first agreed on for his wife. Theophilus, of course, did not keep the money; he spent it all, to his great, temporary, satisfaction. His wife's next appearance was in comedy,--Indiana ("Conscious Lovers"), where the neat simplicity of her manners, and the charm which she seemed to shed on even commonplace expressions, formed a strong contrast to the more solemn but stilted dignity of her tragedy queens, the glory of which faded before the perfection of her Ophelia. For this character, her voice, musical qualities, her figure, and her inexpressibly sweet features, all especially suited her. Wilkinson states that no eloquence could paint her distressed and distracted look, when she said: "Lord, we know what we are, but know not what we may be!" Charming in all she undertook, all her critics pronounced her unapproachable in Ophelia, and through all the traditions of the stage, there is not one more abiding than that which says that Mrs. Cibber was identified with the distraught maiden. Her Juliet, Constance, Belvidera, exhibited rare merits, while as Alicia, in the mad scene, "the expression of her countenance, and the irresistible magic of her voice, thrilled to the very soul of her whole audience," says Murphy. Wilkinson was powerless when attempting to mimic the voice and expression of Mrs. Cibber. The tone, manner, and method of Garrick, Quin, Mrs. Bellamy, Mrs. Crawford (Barry), nay, even the very face of Mrs. Woffington, he could reproduce with wonderful approach to exactness. But Mrs. Cibber's excellence baffled him. He remembered her and it, but he could not do more than remember. "It is all in my mind's eye," he would say, with a sigh at his incapacity. [Illustration: (Mrs. Cibber)] In fine ladies and in sprightly comedy,--save in the playful delivery of epilogues,--Mrs. Cibber comparatively failed. Among her original characters were the Lady, in "Comus," Sigismunda, Arpasia, in Johnson's "Irene," Zaphira, in "Barbarossa," and Coelia, in Whitehead's comedy, the "School for Lovers." In these, as in all she played, I collect from various sources, that Mrs. Cibber was distinguished for unadorned simplicity, artless sensibility, harmony of voice, now sweetly plaintive, now grandly powerful, and eyes that in tender grief seemed to swim in tears; in rage, to flash with fire; in despair, to become as dead. Her beauty did not so much consist in regularity of feature as in variety and power of expression; with this, she had symmetry of form: and this, indeed, is true beauty. She preserved these gifts which age lightly touched, and to the last it was impossible to look at her figure and not think her young, or view her face and not consider her handsome.