But in another instant the tones of Isabel Bretherton's voice riveted his attention, and the eyes of all those in the box were once more turned towards the stage.
The scene which followed was one of the most meritorious passages in the rather heavy German play from which the _White Lady_ had been adapted.

It was intended to show the romantic and passionate character of the Countess, and to suggest that vein of extravagance and daring in her which was the explanation of the subsequent acts.

In the original the dialogue had a certain German force and intensity, which lost nothing of its occasional heaviness in the mouth of Hawes, the large-boned swaggering personage who played the Prince.

An actress with sufficient force of feeling, and an artistic sense subtle enough to suggest to her the necessary modulations, could have made a great mark in it.

But the first words, almost, revealed Isabel Bretherton's limitations, and before two minutes were over Kendal was conscious of a complete collapse of that sympathetic relation between him and the actress which the first scene had produced.