her
appearance had produced. The one member of the audience who
looked at her and listened to her coldly, was her elder sister.
Before the actress of the evening had been five minutes on the
stage, Norah detected, to her own indescribable ,
that Magdalen had audaciously individualized the feeble
 of "Julia's" character, by seizing no less a person
than herself as the model to act it by. She saw all her own
little formal peculiarities of manner and movement unblushingly
reproduced -- and even the very tone of her voice so accurately
mimicked from time to time, that the accents startled her as if
she was speaking herself, with an echo on the stage. The effect
of this cool appropriation of Norah's identity to theatrical
purposes on the audience -- who only saw results -- asserted
itself in a storm of applause on Magdalen's exit. She had won two
incontestable  in her first wordnetanger. By a dexterous piece
of mimicry, she had made a living reality of one of the most
insipid characters in the English drama; and she had roused to
 an audience of two hundred exiles from the blessings
of ventilation, all simmering together in their own animal heat.
Under the circumstances, where is the actress by profession who
could have done much more?

But the event of