It is indeed a tintype of the consumptive heroine, with every group entire, and taken at full length.

Much space is occupied by the floor and the overhead portions of the stage setting.

It lasts as long as would the spoken performance, and wherever there is a dialogue we must imagine said conversation if we can.

It might be compared to watching Camille from the top gallery through smoked glass, with one's ears stopped with cotton.
It would be well for the beginning student to find some way to see the first two of these three, or some other attempts to revamp the classic, for instance Mrs.Fiske's painstaking reproduction of Vanity Fair, bearing in mind the list of differences which this chapter now furnishes.
There is no denying that many stage managers who have taken up photoplays are struggling with the Shakespearian French and Norwegian traditions in the new medium.

Many of the moving pictures discussed in this book are rewritten stage dramas, and one, Judith of Bethulia, is a pronounced success.