Lynchburg Virginian. [volume] (Lynchburg [Va.]) 1829-185?, 1851-06-26
[PROPRIETORS.

J.
the part of Maria di Bohan. At Verona,
she sang in the Due Foscari and Masna-
dieri, of Verdi. She became acquainted
with Rubini and Mercadante, who both
were delighted with her. and predicted
her future success in her native country
From Verona. Miss Hayes went to Flo
renee, and there gained the friendship of
the celebrated Catalini, who expressed
publicly the greatest admiration ofhcr tai
ents. and prophecied that she would be
crowned with the most decided success
when she appeared in London. The last
place she visited was Genoa, where she
sung at the Carlo Felicc, and where the
fame of La Hayes. as she is called in Italy,
was as great as in former cities. She pas
sed the winter here prior to her debut at
the Italian Opera, on the 10th April,
1sA9"
Shsakspcare's Mirror Of Won1eli.
As the tall glass called Psyche. lady
gains full-length view Of herself, so that
no point of person or dress may be left disro-
garded, SO in Shakespeare mirror woman
may obtain psychological reflex Of her
nature that may aid her to its spotless ar
ray, and to the utmost perfection in adorn-
ment ofwhich it is susceptible. She may
learn how to preserve its intrinsic graccs
of purity and innocence. ut the same time
that she is instructed how to deck it with
becoming ornament ofaccomplishmcnt and
refining culture. She may be taught to
perceive how native charms are heigh,cn-
ed by suavity of dcmeanor; how fine un-
derstanding and capacious mind arc set
ofby modest bearing; how external beauty
is enchanted by sweet manners and cheer
full case; how intelligent and good sense
comport with placability, and aifecionatc
submission; how gayety Of heart and the
gift Of wit are tempered with gentlencss;
how highest dignity shows itself most tru-
y in courtesy. generosity. charity. kind
ness. From the lady of the highest rank
to the humblcst among wornen--from her
who is crowned the most imperial mon
arch" to her who "does the meanest charcs"
we all may read in his respective delinea-
atoms our feminine resemblance. From
the vrtuous majesty Of Hermione or a
Katharine of Arragon, down to the homaly
coarseness of an Audrey or Mopsa. each
essentially bears the generic stamp Of mo-
man. His sceptercd queens, his princes
ses, his duchcsscs, his gentlewomen, his
yeomen's wives, his young maidcns, his
serving damsels, his country wenchcs.
his hostesses; his most delicate lady, his
most blushing girl, his most reserved YES
tai, his arra9test coquette, his wildest-spir-
tied sparkler, his sedatess thinker. his most
loving and loveable female impcrsonation,
or his viest and most odious ono, however
infinitely they may vary, have all one iea-
turc in common-they are prc-cminently
womanly in all they do and say. The wit
of Rosaind and Beatrice, the ambition of
Lady Macbeth, the conjugal faith Of Imo-
gen, the wickedness of Goncril and Re-
gan. the constancy Of Helena, the reticence
Of Cordelia, the intellect Of Portia. the
wiles Of Cleopatra, the innocence of Miriam
da, the charm of Viola, the gentleness of
Desdemona, the sanctity and moral purity
of Isabella, the anguish of Constance, the
maternity Of Volumnia, the shrewishness
of Katharine, the affection Of Celia, tho
Aippancy of Lucetta, the passionate love
of Juliet, thcsprightliness Of Nerissa, the in
sanity Of Ophelia, are all as markedly con-
trasted as day and night; but they are all
in themselves and in their action and cir
cumstances true to the spirit Of ,coman-
kiad.-Mary Co,cden Clarke.