(This book was originally published prior to 1923, and rep...)
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(Entered according to A ct of Congress, in the year 1883, ...)
Entered according to A ct of Congress, in the year 1883, by FRED. STINSON, In the office of theL ibrarian of Congress, at Washington, D. C. 1INDIANAPOLIS: vHASSBLMAN-JOURNAL CO., STEREOTYPIES, I PRINTERS AND BINDS. 1883. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at www.forgottenbooks.org
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(Excerpt from Memories and Impressions of Helena Modjeska:...)
Excerpt from Memories and Impressions of Helena Modjeska: An Autobiography The car comes to a stop. After several years of absence I am in Poland again. The sun sheds upon the snow myriads of sparks, which glisten like so many precious gems a purple strip of mist rises above the distant forest of dark, pointed pines, which form a background to white, humble huts, throbbing with lives of patience and toil, under the iron hand of the ruler. I feel a mysterious glow penetrating into the very depth of my heart, tears rise to my eyes; I humbly bow my head and whisper, Hail, beloved Einsteigen, meine Herrschaften, shouts the metallic voice of the conductor, waking me from my revery, and by his sudden cry in a foreign language brutally recalling to my mind the misfortunes of my country. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Helena Modjeska was born on October 12, 1840, in Cracow, Poland. Her father, Michael Opid, was a music teacher, born in the Polish mountains. He died early, and his widow had to put all her children to work. Little Helena, who saw and was greatly moved by her first play at seven, from the first aspired to the stage.
With the help of her husband, Helena secured a small place in the provincial theatre, and in 1863, she acted in Germany. Two years later, she returned to Cracow where her talents were hailed and she became a favorite. In 1867, Dumas fils invited her to Paris, to play Marguerite Gauthier, but she refused the challenge, feeling she was not yet ready. She joined the company at the Imperial Theatre in Warsaw. There she remained, the reigning actress of the nation, until 1876. That year, the nationalistic views of her husband and herself made life in Warsaw difficult, under Russian régime, and with her husband, her son, and a group of Poles she journeyed to America. The party visited the Philadelphia Exposition and then moved on to California, where it was proposed to found a Polish colony in what was supposed to be an earthly Paradise. A large ranch was purchased and the colonists lighted their Polish cigarettes, climbed into their hammocks, and proceeded to enjoy the climate. But, alas! oranges are not grown and marketed without labor, and the colonists knew little about labor. Their money was soon gone. Modjeska, as she abbreviated her name for America, learned to speak English in six months, at the suggestion of Edwin Booth and went to San Francisco, where John McCullough, then managing the famous California Theatre, gave her a chance, in 1877, to appear in Adrienne Lecouvreur. In spite of her foreign accent (which she never wholly lost, though it soon became but a piquant sauce to her acting), the public welcomed her, and it was immediately apparent that she had a future career on the American stage. She was signed for a two-year tour in a repertoire of plays, making her New York début December 22, 1877. In 1878, she revisited Poland, where she was warmly welcomed, but after a limited engagement there, she came back to America. In 1880, she went to London and acted for the rest of the year in that city, in English. She then again returned to the United States, which thereafter became definitely the country of her adoption. Her husband became a citizen and purchased a ranch outside Santa Anna, California. Madame Modjeska for many years toured the country in a wide range of parts, though in 1882 and 1884, she again visited both Poland and London. In 1882, in Warsaw, she produced Ibsen's Doll's House, under the title Nora, and with the "happy ending" then used on the Continent, in spite of the author's objections. This play she brought back to America and produced in Louisville, Kentucky, in 1883, probably the first production of Ibsen in English certainly the first in America. It attracted no attention as, indeed, it did not deserve to, with the whole point removed by the botched, sentimental ending. In 1889-90, she played a joint engagement with Edwin Booth, but by this time both actors were past their prime, and the union was less successful than it would have been ten years earlier.
In 1892, she produced an American play, Countess Roudine, by Paul Kester and Minnie Maddern Fiske. At the World's Fair in 1893, Modjeska delivered a speech attacking the Russian government and was thereafter forbidden to enter Russian territory. Illness in 1895, caused her temporary retirement, but she reappeared in 1897. In 1900-01, she produced King John, and in 1902 made a "farewell tour" with Louis James. In 1905, at the Metropolitan Opera House, New York, a testimonial performance was given for her benefit. She attempted a brief tour in 1907, but was too frail to continue. She died April 8, 1909, at Bay Island, East Newport, on the coast south of Los Angeles, and her body was taken by her husband, who had always acted as her manager, to Cracow for burial.
In Polish, she had a repertoire of over a hundred rôles. In English, she played nine heroines of Shakespeare, from Juliet and Rosalind to Cleopatra, and such well-known parts as Adrienne Lecouvreur, Camille, Julie de Martemar in Richelieu, which she created in America, Ibsen's Nora, Mary Stuart, Frou-Frou, and several more. There are some places named for her, such as Modjeska Park, in Anaheim, California, Modjeska Canyon, California, Modjeska Falls, California, at the Glen Alpine Springs Resort, Modjeska Peak. There is also a Bouquet Helena Modjeska by American perfumer John Blocki of Prussian and Polish descent. Modjeskas, a caramel-covered marshmallow confection invented in 1889 by a local candy-maker named Anton Busath (and later made by other candy-makers, including Bauer's Candies, Muth's Candies and Schimpff's Confectionery) in her honor when she visited Louisville, Kentucky. A street in Wrocław, which was formerly named after the German actress Agnes Sorma when the city was part of Germany as Breslau. Modjeska Theatre, in Milwaukee Wisconsin is also has her name. Also a statue of Modjeska is located outside the Pearson Park Amphitheater in Anaheim, California.
(This book was originally published prior to 1923, and rep...)
(Excerpt from Memories and Impressions of Helena Modjeska:...)
(Entered according to A ct of Congress, in the year 1883, ...)
Quotations: "Whether it is the beautiful that brings to our hearts the love of truth and justice, or whether it is truth that teaches us how to find the beautiful in nature and how to love it, in eather case art does a noble work. It drags out the soul from its everyday shell, and brings it under the spell of its own mysterious and wonderful power, so that a memory of this experience stays with the people, sustains them in their daily labors, and refines their minds. "
Modjeska was of slim, aristocratic, and graceful figure, with a face interesting, expressive, and gracious, rather than conventionally beautiful. Her personal preference, from girlhood, had been for Shakespeare, and she was essentially a poetic actress. She excelled not so much in sweep or profundity of emotion as in the depiction of womanly grace and charm, in piquant archness and especially in scenes where she impersonated a fine woman displaying affection, or suffering for it. Her technique was carefully studied, and she was conscious mistress of her effects.
Although her technique was masterful, and her intellectual grasp of all her characters sure and steady, her hold on the public lay more, perhaps, in her personality, with its gleams of humor, its graceful dignity, its womanly sweetness, and always an indefinable atmosphere of poetic elevation. She even imparted those qualities to Camille and Magda, and possibly not wholly unintentionally. But in Viola, Rosalind, Queen Katherine, and similar roles, the effect was exactly right, and her impersonations of such parts were long dwelt upon affectionately by those who saw them.
Quotes from others about the person
According to William Winter: "Her movements always graceful, were sometimes electrical in their rapidity and long and sinuous reach. "
While still in her teens, Modjeska was married to her guardian, a man much older than herself, named Gustav Modrzejewski, and by him, she had one son. He had died, and in 1868, she married Charles Bozenta Chlapowski, a member of the Polish aristocracy.
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