Fort Worth gazette. [volume] (Fort Worth, Tex.) 1891-1898, 1892-12-18

,,oii ann evertIruvn more than your
enemies This short scene i one ~
the most exquisite In the pay ~
delicacy requires very clfciui ucuE
iuant. aGd woe 10 the liosalinu WIG
fOrgets nt that moment TINT sue u
dnLe's daughter and refined both by
nature and trimming. In Studying ING
play one can easily see that the part ot
Rosalind has not been written Tor Whnt
we actors call points, for elective en-
frances, exits, etc. Some actresses ny
to produce a melodramatic elect III the
scene with the Duke Frederick az ine
end Of the first act, but it Is mistake,
Rosalind is never loud, ohakespeu.tte
himself told us that she IS smOoth,
patient and silent Even In her lndls-
nation she is not disrespecttul.
''rhen, good my lege, mistake ms not
80 much .
To think my poverty is treacherous."
The only passage in thut part that Is
really meant for applause is the epiiague,
aud as such II has nothing to do with
( Rosalind's character. 1t is not she WHO
speaks, it is the author and inc mani
nger who recommends his play ~ the
| audience.
There Is not enough space f: my dis
posal TO make cl0sc analysis oil eaeh
seper;lte scene. My object is to write
Il sketch only. therefore ! shall not
dwell any longer on the hnai scenes III
the dukes palace. where the banlsheu
Rosalind resolves to travel in company
of Celia and the crown. III follow her
example and 90 away to the Forest or
| Arden, TO meet again the proud lady
who will have mo worse name than
| Iove's own page" ana, therefore, calls
| herself Ganymede
1t is worth noticing that Rosalnd, while
| putting on mans attire, has not as
| sumed the air OF swagger or rudeness,
but chiyalry. She protects and supports
| her cousin as u man would; iorgets her
| own fatigue, in order TO comfort the
weaker vessel" When she addresses Co
rim, asking for food aud shelter, she
| thinks more of Aliena than herself
Here's young maid, with travel much
oppressed
And taints for suceour.
She is now at liberty, free as n bird.
1 ! sec her roaming In the woods making
| gariunds, or speuki1g of Orlana to the
| stars. His face is present in her mind,
| her heart Is full of that delightful pas
| sion, which develops instead of decrels-
| ing in the absence Of her lover Again
| / perceive her sitting on Il rock over
hanging brook; the singing birds min
| gle their voices with the mellow rip
| pling of the stream. the leaves of the
I
of the sun like a flock of silver butter
| lies SHE bends over the crystal water,
| where she hehulds her lovelincss A
| faint smile apears on her lips followed by
q sigh ALI if the good fairies could
| bring Orlando here that she might see
| his face nest to her in q frame of ivy
| and cguntue. Patient, sweet, loving
| girl, he will come, he will soon be here.
| And lie comes, indeed Oh, what rap
ture How quickly her heart beats, how
| rapid her thoughts, how fluent hel
tonnel The first cry of joy is imne
diately followed by the awakening OF
her Unborn modesty. She wore the boy
garb before and never felt ashamed OF
| it, Orlando, may see her! "Alus the
day what shall she do with her doublct
and hoscI and the cataract Of words
| questions following each other with &
| wonderful rapidity. Ii would seem that
her whole nature had suddenly under
| gone Il change, and clever, slightly
satirical dignifed young lndy has turnet
into perfect child. IVY hat did ne
| what said hel how looked heE' and 81
| on, and all that without stopping, withou
| waiting for an answer. What has be
como of tho silent RosalindI Where il
her patience 20 highly praisedg All gon'
| aud melted away before the name u
Orlando.
But soft comes he not here? Yes
I L IL me- llNI HIet lIllhlat - W HiAli
| by but how can she stay SWAY? Sh
hears him talk, her name is pronounced
she speaks to him instantly. A happl
| idea strikes her; the doublct and hos,
are welcome; she will address, him rs
"5Nucy lucl,ey;' she will make him speul
Of herself; she viii know how deeply HI
| loves her. Her impatienco 10 attack thii
subject is SO grcat that she begins n
once, "What is't o'clock and ut Or
landO's answer that there Is no cloCl
In the forest she replies, 'then there Il
no true lover In the forest | suppose
that Rosalind intends to be very bolster
Gus and rude in this scene, but SD,
scarcely succeeds, judging 10y Orlando
| remark, your accent Is something fine
thnn you could purchase in so remove,
Il dwelling IL is obvious that she can
not be hOyden AMI although she assume
rude manners, her Unborn gentleness au,
refinement must be visible from bchint
it us a fair face would be bchind vel
of gau2e, or n beautiful form under
| drapery, cYCn il that 0rapery We're mad,
of course linen, Some crude sentence
IN ShakespcOre's pluy ought not 10 b,
considered as q cue to the general lncI
of refinement; they belong u the tim,
when people used more frecom ind speecl
We ought not forget that the play wa
written in the sixteenth century an,
played by men and boys,
l will stop here my analysis of Rosn
lnd's character, as it has been who'll,
revealed 10 US In those few scenes. al
her mental gifts are now Concentrate
in love, which acts upon her like n stim
nlous bringing forth all the brilliancy q
her versatile nature. The followin,
scenes are maryels of dazzling beantv
What can be more charming than no
description of an imaginary loyerY ~
lean cheek, which you have not; blu
eye and sunken, which you have not.
beard neglected, which you have not
nut pardon you for that, for sinpl,
your having in beard is younge
brothers revenue" etc, What an On
portunity for good acting Her dissem
pnng, her mock marriage. her quick nm,
witty retorts, all the unrivalled riche
81 the dialogue gives ample scope fo
the development Of Rosnlind's cbnracta,
and there is no need Of n cuckoo SON,
added BY some actresses, in order /,
make the part attractive The son,
onS brepkes and mars the unit of M
dialogue, and produces the effect of
cogplet in a comic opera.
In conclusion will repeat wbat
$ nave conveyed before, that the mart a
+; kosalind cannot be treated In rsaIis
+ nc manner. The play being an idvl
y poem more than comedy. It's heroi,'
must be ~ harmony with il. not traa,
= 700 h0aylly upon the ground. Lnt tn,,si
i u llghtly with her fleeing stens ~
G nerriment Is not necessarily bnistsrai,,
c nut it must reach our ear pleasantj,. 'u y
- ihe echo Of Il ehild's laugh In tbe ,o,,,i ~
o Der love-m0bing is not picnic fiirtn yyus
n nut the expression of true senti,,a,',