felt about you as other women say they feel about their children. I did not feel that. I was glad to be freed from you. But I did well for you, and I gave you your father's fortune. Do I seem now to be revoking everything?—Well, there are reasons. I feel many things that I can't understand. A fatal illness has been growing in me for a year. I shall very likely not live another year. I will not deny anything I have done. I will not pretend to love where I have no love. But shadows are rising round me. Sickness makes them. If I have wronged the dead—I have but little time to do what I left undone."
The varied transitions of tone with which this speech was delivered were as perfect as the most accomplished actress could have made them. The speech was in fact a piece of what may be called sincere acting: this woman's nature was one in which all feeling—and all the more when it was tragic as well as real—immediately became matter of conscious representation: experience immediately passed into drama, and she acted her own emotions; In a minor degree this is nothing uncommon, but in the Princess the acting had a rare perfection of physiognomy, voice, and gesture. It would not be true to say that she felt less because of this double consciousness: she felt—that is,
