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Her most appealing quality is the simple, unaffected charm of a
shy covent-girl youthfulness she has never lost – an innate unworldly
innocence.

***

Text 3
JAMES TYRONE

(From “Long Day’s Journey into Night”
1
by Eugene O’Neil )

James Tyrone is sixty-five but looks ten years younger. About
five feet height, broad-shouldered and deep-chested, he seems taller
and slenderer because of his bearing, which has a soldierly quality of
head up, chest out, stomach in, shoulders squared. His face has begun
to break down but he is still remarkably good looking – a big, finely
shaped head, a handsome profile, deep-set light-brown eyes. His gray
hair is thin with a bald spot like a monk’s tonsure.
The stamp of his profession is unmistakably on him. Not that
he indulges in any of the deliberate temperamental posturings of the
stage star. He is by nature and preference a simple, unpretentious
man, whose inclinations are still close to his humble beginnings and
his Irish farmer forebears. But the actor shows in all his unconscious
habits of speech, movement and gesture. They have the quality of
belonging to a studied technique. His voice is remarkably fine,
resonant and flexible, and he takes great pride in it.
His clothes, assuredly, do not costume any romantic part. He
wears a threadbare, ready-made, grey sack suit and shineless black
shoes, a collarless shirt with a thick white handkerchief knotted
loosely around his throat. There is nothing picturesquely careless
about his getup. It is commonplace shabby. He believes in wearing
his clothes to the limit of usefulness, is dressed now for gardening,
and doesn’t give a damn how how looks. He has never been really
sick a day in his life. He has no nerves. There is a lot of solid, eathly

1
Текст друкується за виданням O’Neil. Long Day’s Journey into Night. //
Three American Plays. – Moscow: Progress Publishers, 1972. – С. 15.

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