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James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen 56 0 Browse Search
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 1 6 0 Browse Search
The Daily Dispatch: June 6, 1861., [Electronic resource] 2 0 Browse Search
The Daily Dispatch: March 27, 1865., [Electronic resource] 2 0 Browse Search
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Browsing named entities in James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen. You can also browse the collection for Charles Kemble or search for Charles Kemble in all documents.

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James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen, Mrs. Frances Anne Kemble. (search)
ned actor broke down in his second speech. Miss Kemble prompted him, but he was too completely ter being extraordinary. And so it was with Miss Kemble. She struggled through the first two acts this play is performed, were originated by Miss Kemble, and never failed, or can fail, to produce patient, mature, and lofty character which Mrs. Kemble has since attained! Her diary was amusineader an idea, at once, of the character of Miss Kemble's style at the time, and of the startling creat hunting for good saddle-horses, which, Miss Kemble assures us in her diary, scarcely existed ir in a towering passion. There, sir, said Mr. Kemble, when she came in, there is the young lady t--, or anything abusive of this country? Miss Kemble, who comprehended the situation at a glanceastardly anonymous one, to the effect, that Miss Kemble had said during the ride in question, that name and his estates, who was captivated by Miss Kemble's talents. His admiration of the actress b[15 more...]
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen, Jenny Lind Goldschmidt. (search)
inctly comprehending her. Take your hands from under the table I she imperiously repeated; and I now understood that she suspected me of causing, by some legerdemain, the puzzling concussions. I instantly clasped my hands over my head, and there kept them until the sitting closed, as it did very soon. I need not add, this made not the smallest differences with the rappings; but I was thoroughly and finally cured of any desire to exhibit or commend them to strangers. Jenny Lind, like Miss Kemble, met her destiny in America. Among the performers at her concerts was Mr. Otto Goldschmidt, a pianist and composer, whom she had formerly known in Germany, and with whom she had pursued her musical studies. Her friendship for this gentleman ripened into a warmer attachment, and ended in their marriage at Boston, in 1851. After residing some time at Northampton, in Massachusetts, they returned to Europe, where they have ever since resided. Occasionally, Madame Goldschmidt has appeared
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen, Eminent women of the drama. (search)
ond ring. In 1850 Mr. Kean became joint lessee of the Princess's Theatre, in London, of which he was left sole lessee and manager in the following year. Here began the most brilliant period of his own and his wife's theatrical career. What Charles Kemble commenced, and Macready continued, Charles Kean triumphantly finished,--the grand and noble work of doing entire justice, in their representation, to Shakspeare's plays. Strangely enough, accuracy on the stage is a modern virtue. hamlet, as played by Garrick, wore the wig and the kneebreeches of Garrick's time. Charles Kemble was the first to make a stand for literal correctness of costume. Macready, who took Covent Garden Theatre for his field of enterprise, in 1837, went further, and made a stand for greater correctness of scenery. But it remained for Charles Kean to do more than had ever before been attempted, by every possible auxiliary of art, skill, learning, labor, and money, to place the plays of Shakspeare on the stage