A quarter of an hour afterwards, amidst an extraordinary turmoil of applause, Sibyl Vane stepped on to the stage.  Yes, she was certainly lovely to look at—­ one of the loveliest creatures, Lord Henry thought, that he had ever seen.  There was something of the fawn in her shy grace and startled eyes.  A faint blush, like the shadow of a rose in a mirror of silver, came to her cheeks as she glanced at the crowded enthusiastic house.  She stepped back a few paces and her lips seemed to tremble.  Basil Hallward leaped to his feet and began to applaud.  Motionless, and as one in a dream, sat Dorian Gray, gazing at her.  Lord Henry peered through his glasses, murmuring, “Charming! charming!”

The scene was the hall of Capulet’s house, and Romeo in his pilgrim’s dress had entered with Mercutio and his other friends.  The band, such as it was, struck up a few bars of music, and the dance began.  Through the crowd of ungainly, shabbily dressed actors, Sibyl Vane moved like a creature from a finer world.  Her body swayed, while she danced, as a plant sways in the water.  The curves of her throat were the curves of a white lily.  Her hands seemed to be made of cool ivory.

Yet she was curiously listless.  She showed no sign of joy when her eyes rested on Romeo.  The few words she had to speak—­

    Good pilgrim, you do wrong your hand too much,
        Which mannerly devotion shows in this;
    For saints have hands that pilgrims’ hands do touch,
        And palm to palm is holy palmers’ kiss—­

with the brief dialogue that follows, were spoken in a thoroughly artificial manner.  The voice was exquisite, but from the point of view of tone it was absolutely false.  It was wrong in colour.  It took away all the life from the verse.  It made the passion unreal.

Dorian Gray grew pale as he watched her.  He was puzzled and anxious.  Neither of his friends dared to say anything to him.  She seemed to them to be absolutely incompetent.  They were horribly disappointed.

Yet they felt that the true test of any Juliet is the balcony scene of the second act.  They waited for that.  If she failed there, there was nothing in her.

She looked charming as she came out in the moonlight.  That could not be denied.  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—­