heart, that the world had no soul for the great creations of Shakespeare's
master-mind, which had so entranced her youthful fancy. It all seemed like
a descent into some chill valley of darkness, after the sweet incense of
praise, the perfume of flowers, and the crowded theaters which had been
her earlier experiences. But the dark storm cloud was soon to pass over,
and henceforth almost unbroken sunshine was to attend Mary Anderson's
career. For her there was to be no heart-breaking period of mean
obscurity, no years of dull unrequited toil. She burst as a star upon the
theatrical world, and a star she has remained to this day, because,
through all her successes, she never for a moment lost sight of the fact
that she could only maintain her ground by patient study, and steady
persistent hard work. Failures she had unquestionably. Her rendering of a
part was often rough, often unfinished. Not uncommonly she was surpassed
in knowledge of stage business by the most obscure member of the companies
with whom she played; but the public recognized instinctively the true
light of genius which shone clear and bright through all defects and all
shortcomings. It was a rare experience, whether on the stage, or in other
paths of art, but not an unknown one. Fanny Kemble, who made her _debut_
at Covent Garden at the same age as Mary Anderson, took the town by storm
at once, and seemed to burst upon the stage as a finished actress. David
Garrick was the greatest actor in England after he had been on the boards
less than three months. Shelley was little more than sixteen when he wrote
"Queen Mab;" and Beckford's "Vathek" was the production of a youth of
barely twenty.

In the year 1876, Mary Anderson received an offer from a distinguished
theatrical manager, John T. Ford, of Washington and Baltimore, to join his
company as a star, but at an ordinary salary. Three hundred dollars a
week, even in those early days, was small pay for the rising young
actress, who was already without a rival in her own line on the American