shot；　so　the　clouds　may　now　and　then　spend　his　showers　elsewhere。
  But　the　great　thing　is　the　view。　　A　well…appointed　country…house
  sees　nothing　out　of　the　windows　that　is　not　its　own。　　But　he　who
  tells　you　so；　and　proves　it　to　you　by　his　own　view；　is　certainly
  disturbed　by　an　unspoken　doubt；　if　his　otherwise　contented　eyes
  should　happen　to　be　caught　by　a　region　of　rushes。　　The　water　is　his
  …　he　had　the　pond　made；　or　the　river；　for　a　space；　and　the　fish；　for
  a　time。　　But　the　bulrushes；　the　reeds！　　One　wonders　whether　a　very
  thorough　landowner；　but　a　sensitive　one；　ever　resolved　that　he　would
  endure　this　sort　of　thing　no　longer；　and　went　out　armed　and　had　a
  long　acre　of　sedges　scythed　to　death。
  They　are　probably　outlaws。　　They　are　dwellers　upon　thresholds　and
  upon　margins；　as　the　gipsies　make　a　home　upon　the　green　edges　of　a
  road。　　No　wild　flowers；　however　wild；　are　rebels。　　The　copses　and
  their　primroses　are　good　subjects；　the　oaks　are　loyal。　　Now　and
  then；　though；　one　has　a　kind　of　suspicion　of　some　of　the　other　kinds
  of　trees　…　the　Corot　trees。　　Standing　at　a　distance　from　the　more
  ornamental　trees；　from　those　of　fuller　foliage；　and　from　all　the
  indeciduous　shrubs　and　the　conifers　（manifest　property；　every　one）；
  two　or　three　translucent　aspens；　with　which　the　very　sun　and　the
  breath　of　earth　are　entangled；　have　sometimes　seemed　to　wear　a
  certain　look　…　an　extra…territorial　look；　let　us　call　it。　　They　are
  suspect。　　One　is　inclined　to　shake　a　doubtful　head　at　them。
  And　the　landowner　feels　it。　　He　knows　quite　well；　though　he　may　not
  say　so；　that　the　Corot　trees；　though　they　do　not　dwell　upon　margins；
  are　in　spirit　almost　as　extraterritorial　as　the　rushes。　　In　proof　of
  this　he　very　often　cuts　them　down；　out　of　the　view；　once　for　all。
  The　view　is　better；　as　a　view；　without　them。　　Though　their　roots　are
  in　his　ground　right　enough；　there　is　a　something　about　their　heads　…
  。　　But　the　reason　he　gives　for　wishing　them　away　is　merely　that　they
  are　〃thin。〃　　A　man　does　not　always　say　everything。
  ELEONORA　DUSE
  The　Italian　woman　is　very　near　to　Nature；　so　is　true　drama。
  Acting　is　not　to　be　judged　like　some　other　of　the　arts；　and　praised
  for　a　〃noble　convention。〃　　Painting；　indeed；　is　not　praised　amiss
  with　that　word；　painting　is　obviously　an　art　that　exists　by　its
  convention　…　the　convention　is　the　art。　　But　far　otherwise　is　it
  with　the　art　of　acting；　where　there　is　no　representative　material；
  where；　that　is；　the　man　is　his　own　material；　and　there　is　nothing
  between。　　With　the　actor　the　style　is　the　man；　in　another；　a　more
  immediate；　and　a　more　obvious　sense　than　was　ever　intended　by　that
  saying。　　Therefore　we　may　allow　the　critic　…　and　not　accuse　him　of
  reaction　…　to　speak　of　the　division　between　art　and　Nature　in　the
  painting　of　a　landscape；　but　we　cannot　let　him　say　the　same　things
  of　acting。　　Acting　has　a　technique；　but　no　convention。
  Once　for　all；　then；　to　say　that　acting　reaches　the　point　of　Nature；
  and　touches　it　quick；　is　to　say　all。　　In　other　arts　imitation　is
  more　or　less　fatuous；　illusion　more　or　less　vulgar。　　But　acting　is；
  at　its　less　good；　imitation；　at　its　best；　illusion；　at　its　worst；
  and　when　it　ceases　to　be　an　art；　convention。
  But　the　idea　that　acting　is　conventional　has　inevitably　come　about
  in　England。　　For　it　is；　in　fact；　obliged；　with　us；　to　defeat　and
  destroy　itself　by　taking　a　very　full；　entire；　tedious；　and　impotent
  convention；　a　complete　body　of　convention；　a　convention　of
  demonstrativeness　…　of　voice　and　manners　intended　to　be　expressive；
  and；　in　particular；　a　whole　weak　and　unimpulsive　convention　of
  gesture。　　The　English　manners　of　real　life　are　so　negative　and　still
  as　to　present　no　visible　or　audible　drama；　and　drama　is　for　hearing
  and　for　vision。　　Therefore　our　acting　（granting　that　we　have　any
  acting；　which　is　granting　much）　has　to　create　its　little　different
  and　complementary　world；　and　to　make　the　division　of　〃art〃　from
  Nature　…　the　division　which；　in　this　one　art；　is　fatal。
  This　is　one　simple　and　sufficient　reason　why　we　have　no　considerable
  acting；　though　we　may　have　more　or　less　interesting　and　energetic　or
  graceful　conventions　that　pass　for　art。　　But　any　student　of
  international　character　knows　well　enough　that　there　are　also
  supplementary　reasons　of　weight。　　For　example；　it　is　bad　to　make　a
  conventional　world　of　the　stage；　but　it　is　doubly　bad　to　make　it
  badly　…　which；　it　must　be　granted；　we　do。　　When　we　are　anything　of
  the　kind；　we　are　intellectual　rather　than　intelligent；　whereas
  outward…streaming　intelligence　makes　the　actor。　　We　are　pre…
  occupied；　and　therefore　never　single；　never　wholly　possessed　by　the
  one　thing　at　a　time；　and　so　forth。
  On　the　other　hand；　Italians　are　expressive。　　They　are　so　possessed
  by　the　one　thing　at　a　time　as　never　to　be　habitual　in　any　lifeless
  sense。　　They　have　no　habits　to　overcome　by　something　arbitrary　and
  intentional。　　Accordingly；　you　will　find　in　the　open…air　theatre　of
  many　an　Italian　province；　away　from　the　high　roads；　an　art　of　drama
  that　our　capital　cannot　show；　so　high　is　it；　so　fine；　so　simple；　so
  complete；　so　direct；　so　momentary　and　impassioned；　so　full　of
  singleness　and　of　multitudinous　impulses　of　passion。
  Signora　Duse　is　not　different　in　kind　from　these　unrenowned。　　What
  they　are；　she　is　in　a　greater　degree。　　She　goes　yet　further；　and　yet
  closer。　　She　has　an　exceptionally　large　and　liberal　intelligence。
  If　lesser　actors　give　themselves　entirely　to　the　part；　and　to　the
  large　moment　of　the　part；　she；　giving　herself；　has　more　to　give。
  Add　to　this　nature　of　hers　that　she　stages　herself　and　her　acting
  with　singular　knowledge　and　ease；　and　has　her　technique　so
  thoroughly　as　to　be　able　to　forget　it　…　for　this　is　the　one　only
  thing　that　is　the　better　for　habit；　and　ought　to　be　habitual。　　There
  is　but　one　passage　of　her　mere　technique　in　which　she　fails　so　to
  slight　it。　　It　is　in　the　long　exchange　of　stove…side　talk　between
  Nora　and　the　other　woman　of　〃The　Doll's　House。〃　　Signora　Duse　may
  have　felt　some　misgivings　as　to　the　effect　of　a　dialogue　having　so
  little　symmetry；　such　half…hearted　feeling；　and；　in　a　word；　so
  little　visible　or　audible　drama　as　this。　　Needless　to　say；　the
  misgiving　is　not　apparent；　what　is　too　apparent　is　simply　the
  technique。　　For　instance；　she　shifts　her　position　with　evident
  system　and　notable　skill。　　The　whole　conversation　becomes　a　dance　of
  change　and　counterchange　of　place。
  Nowhere　else　does　the　perfect　technical　habit　lapse；　and　nowhere　at
  all　does　the　habit　of　acting　exist　with　her。
  I　have　spoken　of　this　actress's　nationality　and　of　her　womanhood
  together。　　They　are　inseparable。　　Nature　is　the　only　authentic　art
  of　the　stage；　and　the　Italian　woman　is　natural：　none　other　so
  natural　and　so　justified　by　her　nature　as　Eleonora　Duse；　but　all；　as
  far　as　their　nature　goes；　natural。　　Moreover；　they　are　women　freer
  than　other　Europeans　from　the　minor　vanities。　　Has　any　one　yet　fully
  understood　how　her　liberty　in　this　respect　gives　to　the　art　of
  Signora　Duse　room　and　action？　　Her　countrywomen　have　no　anxious
  vanities；　because；　for　one　reason；　they　are　generally
  〃sculpturesque；〃　and　are　very　little　altered　by　mere　accidents　of
  dress　or　arrangement。　　Such　as　they　are；　they　are　so　once　for　all；
  whereas；　the　turn　of　a　curl　makes　all　the　difference　with　women　of
  less　grave　physique。　　Italians　are　not　uneasy。
  Signora　Duse　has　this　immunity；　but　she　has　a　far　nobler　deliverance
  from　vanities；　in　her　own　peculiar　distance　and　dignity。　　She　lets
  her　beautiful　voice　speak；　unwatched　and　unchecked；　from　the　very
  life　of　the　moment。　　It　runs　up　into　the　high　notes　of　indifference；
  or；　higher　still；　into　those　of　ennui；　as　in　the　earlier　scenes　of
  Divorcons；　or　it　grows　sweet　as　summer　with　joy；　or　cracks　and
  breaks　outright；　out　of　all　music；　and　out　of　all　control。　　Passion
  breaks　it　so　for　her。
  As　for　her　inarticulate　sounds；　which　are　the　more　intimate　and　the
  truer　words　of　her　meaning；　they；　too；　are　Italian　and　natural。
  English　women；　for　instance；　do　not　make　them。　　They　are　sounds　e
  bouche　fermee；　at　once　private　and　irrepressible。　　They　are　not
  demonstrations　intended　for　the　ears　of　others；　they　are　her　own。
  Other　actresses；　even　English；　and　even　American；　know　how　to　make
  inarticulate　cries；　with　open　mouth；　Signora　Duse's　noise　is　not　a
  cry；　it　is　her　very　thought　audible　…　the　thought　of　the　woman　she
  is　playing；　who　does　not　at　every　moment　give　exact　words　to　her
  thought；　but　does　give　it　significant　sound。
  When　la　femme　de　Claude　is　trapped　by　the　man　who　has　come　in　search
  of　the　husband's　secret；　and　when　she　is　obliged　to　sit　and　listen
  to　her　own　evil　history　as　he　tells　it　her；　she　does　not　interrupt
  the　telling　with　the　outcries　that　might　be　imagined　by　a　lesser
  actress；　she　accompanies　it。　　Her　lips　are　close；　but　her　throat　is
  vocal。　　None　who　heard　it　ca