The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1892-12-18

CSs
lind resolves to travel in company of Celia
and the clown. I'll follow her example
and go away to the forest of Arden, to
meet again the proud lady who wilt have
emo worse a name than Jove's own
page and therefore calls herself Gany-
mede.
1t is worth noticing that Rosalind,
while putting on a man S attire, has not
assumed the air of swagger or rudeness,
but chivalry. She protects and supports
her cousin as man would; fOrgetS her
own fatigue, in order to comfort the
weaker vessel When she addresses
CORN, asking him for food and shelter,
she thinks more of Aliena than herself.
here's a young maid, with travel much OPP
pressed,
And faints for succor.
She is now at liberty, free as a bird. l
see her roaming in the woods, making
earlands, or speaking of Orlando to the
stars. His face is present in her mind,
her heart is full of that delightful pas
sion which develops instead OF decreasing
in the absence of her lover. Again per-
ceiye her sitting on q rock overhanging a
brook; the singing birds mingle their
voices with the mellow ripping of the
stream, the leaves OF the trees tremble
and glisten in the rays OF The sun like
flock of silver butterflies. She bends
over the crystal water, where she be-
holds her loneliness A FAINT smile ap-
pears on her lips followed by sigh. All!
if the good FAIRIES would bring Orlando
here that she might see his face next to
her in frame of ivy and Byzantine. Pa
tient, sweet, loving girl, he will come,
he will soon be here. And he
comes, indeed! Oh, what rapture! How
quickly her heart beats, how rapid her
thoughts, how fluent her tongue! The
first cry of Joy is Immediately followed
by the awakening of her Unborn modesty.
She wore the boys garb before and never
felt ashamed of it, but now, Orlando may
see her! calais the day. what shall she
do with her doublet and hose? and then
the cataract OF words, questions follow
ing each other with wonderful rapldlty.
1t would seem that her whole nature had
suddenly undergone a change, and
clever, slightly satirical, dignified young
'lldy has turned into a perfect child.
~ hat did he? what said he? how looked
be?'' and SO on, and all that without
stopping, without waiting for an answer.
What has become of the silent Rosalind?
Where is her patience so highly praised?
All gone and melted away before the
name of Orlando.
But soft, comes he not here? Yes.
s'Tis he.' Her first impulse is to ''slink
bv ); but how can she stay away? She
hears him talk, her name is pronounced,
She must speak to him instantly. A
happy idea strikes her; the doublet and
hose are welcome; she will address HIM as
a stsaucy lackey:'' she will make him
sneak of herself; she will know how
deeply he loves her. Her impotence to
attack this subject is SO great that she
begins at once. 'sWhat is't o'clock?'
and at orlando answer that there is no
clock in the forest, she replies, '"Then
IL 80, - -, 4r,,ea Irxa1. in TNroct -
SUPPOSE that Rosalind intends to be very
boisterous and rude in this scene, but she
scarcely succeeds, judging by Orlando's
remark, Your accent is something finer
than YOU could purchase in SO removed
dwelling'' 1t is obvious that she cannot
be hoyden and although she assumes
rude manners, her inbcrn gentleness and
refinement must be visible from behind it
as fair face would be behind a veil of
gauze, or beautiful form under drap-
ery. even if that drapery were made of
coarse linen. Some crude sentences in
play ought not to be con-
s:dered as cue to the general lack of re-
fin ement; they belong to the time when
people used more freedom in speech. We
must not forget that the play was written
in the sixteenth century and played by
men and boys.
will stop here my analysis of Rosa
vealed to us in those few scenes. All her
mental gifts are now concentrated in love
which acts upon her like stimulus
bringing forth all the brllliancy of her
volatile nature. The following scenes
are ma1vels of dazzling beauty. What
can be more charming than her descrip-
ton Of an imaginary lover2 ga lean
cheek, which you have not; blue eye
and sunken, which you have not; beard
neglected, which you have not, but L
pardon you for that, for simply your hav-
ing q in beard is younger brothers rev.
enue, - etc. What an opportunity for
good acting. Her assembling. her mock
marriage, her quick and witty retorts, all
the unrivalled riches of the dialogue gives
ample scope for the development of Rosa
lind'5 character and there is no need of
cuckoo song added by some actresses, in
order to make the part attractive. The
song only breaks and mars the unity of the
dialogue, and produces the effect of
couplet in comic opera.
In conclusion L will repeat what have
conveyed before, that the part of Rosa
lind cannot be treated in a realistic man
ner. The play being an idyl, poem
more than comedy, its heroine must
be in harmony with it, not tread too
heavily upon the ground, but touch it
lightly with her feeting steps. Her
merr1menJ is not necessarily DOlSterOuS,
but it must reach our ear pleasantly, as
the echo of a child's laugh in the woods.
Her love-inaking is not a picnic f1irta-
ton, but the expression of true senti-
ment, the overflow of first spontaneous
passion. HELENA MODJESKA.
II have noticed that in some stage editions
this sentence is changed as follows: For
simply your having no beard is a younger
brothers. revenue The correct reading u.s.
your having in beard" The word having is