supposed to be consigned almost to the limbo of disused stage properties,
stamps her as possessing genuine histrionic power. She has earned
distinguished fame all over the Western continent. London as well as the
great cities of the kingdom have hailed her as a Queen of the Stage. Such
an experience as hers is rare indeed, almost solitary, in its annals. A
self-trained girl, born quite out of the circle or influence of stage
associations, she burst, when but sixteen, as a star on the theatrical
horizon; and if her grace, her youth, her beauty, have helped her in the
upward flight, they have helped alone, and could not have atoned for the
want of that divine spark, which is the birthright of the artist who makes
a mark upon his generation and his time. When the more recent history of
the English-speaking stage shall once again be written, we do not doubt
that Mary Anderson will take her fitting place, side by side with the many
great artists who have so adorned it in the last half century; with
Charlotte Cushman, Helen Faucit, and Fanny Stirling, who represent its
earlier glories; with Mrs. Kendal, Mrs. Bancroft, and Ellen Terry, whose
names are interwoven with the triumphs of later years.