But where is the English actress that has ever yet succeeded in it?
We were all silent for a minute after her great cry-- "Romeo, Romeo, Romeo, I drink to thee!"-- had died upon our ears.

And then, while we applauded her, she came forward listlessly, her beautiful head drooping, and approached Paul like a child that has said its lesson badly.
'"I can't do it, that speech; I can't do it!" '"It wants more work," said Paul; "you'll get it.

But the rest was admirable.

You must have worked very hard!" '"So I have," she said, brightening at the warmth of his praise.

"But Diderot is wrong, wrong, wrong! When I could once reach the feeling of the Tybalt speech, when I could once _hate_ him for killing Tybalt in the same breath in which I _loved_ him for being Romeo, all was easy; gesture and movement came to me; I learnt them, and the thing was done." 'The reference, of course, meant that Paul had been reading to her his favourite _Paradoxe sur le Comedien_, and that she had been stimulated, but not converted, by the famous contention that the actor should be the mere "cold and tranquil spectator," the imitator of other men's feelings, while possessing none of his own.