The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-12-18

py sorrow Is fertile soil for love. Love is
near relation to sorrow well "a its hest
remedy Even the happiest moments nj
lovers are often tainted with a toucil OF
anei,ancnoiy which reiines their feelings
ana lends to them charm of poetry.
II Is quite natural that Rosalind's first
Inougnt while trying to ward off her grief
should turn toward love. She does not
want TO trife with it, either, for. when
lena suggests ito make SPORT withaI and
rove no man In good earnest" she aban-
oohs the idea, saying: What shall be our
sport then %
An, kosalind. they praise thee for ST.
renee, silence means thinking and thou
art iuil OF thought, Who knows what
r;cks imagination has played on thee, and
what VISIONS thy pure but fertile brain has
spun IN thy solitary hours? Hast thou
not seen in thy minds eve" some hero.
some youth with eagle eye and strong arm
pressing thee 10 his manly breast? Con-
less, sweet Rosalind, thy heart is prepared
and waiting for the magic touch 1t will
soon come and love will take so strong a
possession OF thee. that all thy sorrow will
be drowned in it. all will be forgotten and
nothing left in the world but the hero. the
incarnate vision OF thy dreams. Thou
wit not talk OF fathers" while there is
such man as hel
Rosaiind and Orlando's love is love at
Irst sight. sudden and spontaneous.
Lodge says: Love, willing to make him
as amorous as he was valiant. presented
nm with the sight OF Rosalind, whose adj
Inlrable beauty so inyeigled the eve OF
Rosador tOriando) that, forgetting him
self. he stood and fed his looks on the
favor of Rosaiind's face. which she. per
ceiying, blushed," On her side Rosaiind.
during the wrestie to encourage him with
favor, lent him such an aInorous look as
10 10 RI
perate." Shakespeare does not give any
such information, as it might be easily ex-
pressed by action. The only indication of
that spontaneous passion is in Rosalind's
simple question, ''ls that man ?" and
then IN her answer TO Frederick, when he
asks ner II they "crept hither to see the
Wrestilng?' "Ay, my liege so please YOU.
give us leave" A moment ago she would
not STAY. us there any else longs to see
this broken music in his sides? Is there
vet another dotes upon rib breaking p
Her noble nature revolts against the sight
OF brutal sport. but she has seen Orlando.
and the rib breaking becomes q second
consideration. One glance has decided
her fate.
What beautiful passage in which she
and Celia entreat him to give up the
wrestie, how deeply moved she is when
Orlando resisting in firm but gentle man
ner says: eff be foiled, there is but one
shamed that was never gracious; if killed
bur one dead that is willing to be So" Her
heart almost leaps from her mouth TO him.
The little strength that have, / would
it were with you"
Yes, love has taken possession of her, il
governs her looks. her acts il makes her
bosom heave with anxiety and brings
tears to her eyes. How happy she is when
Orlando brings down the wrestler, and
when he reveals his name to her gladness
Is complete. He is now her real hero,
forever He is Sir Rowland's son, and
her father ''loved Sir Rowland as his
SOUL He was only young man" a
while ago, now she calls him gentleman"
she knows he is one. Farewell constraint,
she gives him her chain, one of the last
remnante of her wealth, for her hand
lacks means" She even forgets a little
her dignity, but we forgive her willingly
since she so sweety confesses her sin:
My pride fell with my fortune" We
feel, however. slightly alarmed when, pro-
Voked by Orlando's silence, she almost be-
trays her feelings, saying: "You have
wrestied we'll and overthrow more than
your enemies This short scene Is one of
the most exquisite in the play. Its
delicacy requires very careful treatment,
and woe to the Rosaind who forgets at
that moment that she is a dukes daugh-
ter and refined both by nature and train
ing. In studying the play one can easily
see that the part of Rosaind has not Deen
written for what we actors call points, for
effective entrances and exits and SO forth
Some actresses try to produce melo-
dramatic effect in the scene with the Duke
Frederick ut the end OF the first act, but il
il a mistake. Rosaiind is never loud
Shakespeare himself told us that she is