complication, but were invariably marked by the most intense feeling and
sentiment. Her soul appeared in everything she did." Her extraordinary
flexibility enabled her to run with ease over passages of the most
difficult character. "In the tones of Malibran," says one of her English
admirers, "there would at times be developed a deep and trembling
pathos, that, rushing from the fountain of the heart, thrilled instantly
upon a responsive chord in the bosoms of all." She was the pupil of
nature. Her acting was full of genius, passion, and tenderness. She was
equally grand as _Semiramide_ and as _Arsace_, and sang the music of
both parts superbly. Touching, profoundly melancholy as _Desdemona_,
she was gay and graceful in _Rosina_; she drew tears as _Ninetta_, and,
throwing off the coquette, could produce roars of laughter as _Fidalma_.
She had never taken lessons in poses or in declamation, yet she was
essentially, innately graceful. Mme. Malibran was in person about
the middle height, and the contour of her figure was rounded to an
enchanting _embonpoint_, which yet preserved its youthful grace. Her
carriage was exceedingly noble, and the face more expressive than
handsome; her hair was black and glossy, and always worn in a simple
style. The eyes were dark and luminous, the teeth white and regular, and
the countenance, habitually pensive in expression, was mutable in the
extreme, and responsive to every emotion and feeling of the heart. To
quote from Mr. Chorley: "She may not have been beautiful, but she was
better than beautiful, insomuch as a speaking Spanish human countenance
is ten times more fascinating than many a faultless angel-face such as
Guido could paint. There was health of tint, with but a slight touch of
the yellow rose in her complexion; great mobility of expression in her
features; an honest, direct brightness of eye; a refinement in the form
of her head, and the set of it on her shoulders."

When she was reproached by Fetis for using _ad captandum_ effects too