ELEANORA See also:

• ELEANORA DUSE (1859– )

DUSE (1859– )  , See also:

• ITALIAN

Italian actress, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• VIGEVANO

Vigevano of a See also:

• FAMILY

family of actors, and made her first See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance at a very See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . The hardships incident to touring with travelling companies unfavourably affected her See also:

• HEALTH

health, but by 1885 she was recognized at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home as See also:

• ITALY
• ITALY (Italia)

Italy's greatest actress, and this See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict was confirmed by that of all the leading cities of See also:

• EUROPE

Europe and See also:

• AMERICA

America . In 1893 she made her first appearances in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York and in See also:

• LONDON

London . For some years she was closelyassociated with the romanticist Gabriele d' See also:

• ANNUNZIO, GABRIELE

Annunzio, and several of his plays, notably La Cittd morta (1898) and Francesca da See also:

• RIMINI

Rimini (1901), provided her with important parts . But some of her See also:

• GREAT

great successes during the 'eighties and early 'nineties—the days of her See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief triumphs—were in Italian versions of such plays as La See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame aux camelias, in which Sarah See also:

• BERNHARDT, SARAH (ROSINE BERNARD) (1845- )

Bernhardt was already famous; and Madame See also:

• DUSE, ELEANORA (1859– )

Duse's reputation as an actress was founded less on her " creations " than on her magnificent individuality . In contrast to the great See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French actress she avoided all " make-up "; her See also:

• ART

art depended on intense naturalness rather than stage effect, sympathetic force and poignant intellectuality rather than the theatrical emotionalism of the French tradition . Her dramatic See also:

• GENIUS (from Lat. genere, gignere)

genius gave a new See also:

• READING

reading to the parts, and during these years the admirers of the two leading actresses of Europe practically constituted two See also:

• RIVAL

rival See also:

• SCHOOLS

schools of appreciation . I11-health kept Madame Duse off the stage for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time; but though, after 'goo, it was no longer possible for her to avoid " make-up," her See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank among the great actresses of See also:

• HISTORY

history remained indisputable . See also a See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography by-L . Rasi (19oi); A . See also:

• SYMONS
• SYMONS, GEORGE JAMES (1838-1900)

Symons, Studies in Seven Arts (1906) .