But the staginess of her acting was unbearable, and grew worse as she went on.

Her gestures became absurdly artificial.

She overemphasized everything that she had to say.

The beautiful passage-- Thou knowest the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night-- was declaimed with the painful precision of a schoolgirl who has been taught to recite by some second-rate professor of elocution.

When she leaned over the balcony and came to those wonderful lines-- Although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say, "It lightens." Sweet, good-night! This bud of love by summer's ripening breath May prove a beauteous flower when next we meet-- she spoke the words as though they conveyed no meaning to her.