In "The Merchant of Venice" I
found that Henry Irving's Shylock necessitated an entire revision of my
conception of Portia, especially in the trial scene, but here there was
no point of honor involved. I had considered, and still am of the same
mind, that Portia in the trial scene ought to be very _quiet_. I saw an
extraordinary effect in this quietness. But as Henry's Shylock was
quiet, I had to give it up. His heroic saint was splendid, but it wasn't
good for Portia.
Of course, there were always injudicious friends to say that I had not
"chances" enough at the Lyceum. Even my father said to me after
"Othello":
"We must have no more of these Ophelias and Desdemonas!"
"_Father!_" I cried out, really shocked.
"They're second fiddle parts--not the parts for you, Duchess."
"Father!" I gasped out again, for really I thought Ophelia a pretty good
part, and was delighted at my success with it.
But granting these _were_ "second fiddle" parts, I want to make quite
clear that I had my turn of "first fiddle" ones. "Romeo and Juliet,"
"Much Ado About Nothing," "Olivia," and "The Cup" all gave me finer
opportunities than they gave Henry. In "The Merchant of Venice" and
"Charles I." they were at least equal to his.
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