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

cousin as man would; forgets her own
fatigue. in order to comfort the weaker
vessel" When she addresses CORN. ask
ing him for food and shelter, she thinks
more OF Allena than herself.
Here's a Young maid. with travel much op-
pressed,
And fsints for succor
She is now at liberty, free as bird.
see her roaming in the woods making
garlands. or speaking of Orlando to the
stars. His face is present in her mind, her
heart Is full of that delightful passion.
which develops instead of decreasing in
the absence of her lover. Again perceive
her sitting on rock overhanging brook !;
the singing birds mingle their voices with
the mellow ripping of the stream; the
Ieaves OF the trees tremble and glsten in
the rays of the sun like a flood OF silver
butterflies. She bends over the crystal
water, where she beholds her loneliness.
A FAINT smile appears on her lips. followed
by sigh. Ali if the good fairies could
bring Orlando here that she might see
his face next to her in a frame of
IVY and eglantlne. Patient, sweet, loving
giri, he will come. he will soon be here.
ana he comes, indeed! oh, what rapture!
How quickly her heart beats, how rapid
her thoughts, how fluent her tongue! The
hrst 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, ALAS the day" what shall she
do with, her doublet and hose? and then
the cataract of words, questions following
each other with wonderful rapidity. 1t
would seem that her whole nature had
suddenly undergone a change, and a
clever, slightly satirical, digniied young
LAZY has turned into a perfect child.
Nv hat did he? what said he? how looked
he ?" and so on. and all that without stop
ming, 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. It
is he. Her first impulse is to ''slink by"
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 doubiet and hose are
welcome; she will address him as "a
saucy iackey;" she will make him speak
of herself, she will know how deeply he
loves her. Her Impotence to at ack this
subject is so grea: tha: she begins at once
What is't O'Clock ?" And at Orlando's
answer that there is no clock in the forest,
she replies Then there is no true lover
in the forest" [ suppose that Rosalnd
intends to be very boisterous and rude in
this scene, but she scarcely succeeds,
accent is something finer than you could
purchase in so removed dwelling"
1t is obvi us that she cannot be
hoyden, and although she assumes
rude manners her Unborn gen.
tIeness and her refinement must
be visible from behind it as fair
face would be behind veil of gauze. or
beautiful form under drapery. even if
that drapery were made of coarse linen.
Some crude sentences in shakespeare
play ought not to be considered as a cue to
the general lack of refinement; they be-
long 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.
J | will stop here my analysis of Rosa
linds character. as ii has been wholly re-
vealed to us in those few scenes. All her
mental gifts are now concentrated in love,
which acts upon her like stimulus bring
ing forth all the briliancy of her versatile
nature. The following scenes are marveis
of dazzling beauty. What can be more
charming than her description of an i'm
aginary lover? "A lean cheek, which you
have not: a blue eye and sunken, which
you have not; beard neglected, which
you have not. but | pardon you for that,
for simply your having in beard is
a younger brothers revenue" etc. What
an opportunity for good acting. Her dis
y,
and witty retorts. all the unrivalled riches
of the dialogue gives ample scope for the
development of Rosalind's character, and
there is no need of a cuckoo song added by
some actresses in order to make the part
attractive. The song only breaks and
mars the unit of the dialogue and pro-
duces the effect of a couplct in q comic
opera.
In conclusion, ] will repeat what ! have
conveyed before. that the part of Rosalind
cannot be treated in a realistic manner.
The play being an idyl. poem more than
II comedy, its heroine must be in harmony
with II. not tread too heavily upon the
ground but touch it lightly with her fleet
ing steps. Her merriment is not neces-
sarily boisterous, but it must reach our
ear pleasantly. as the echo of chiid's
laugh in the woods. Her love-making is
not a picnic tlirtation, but the expression
of true sentiment the overflow of q first
spontaneous passion.
HELENA MopJEsKA.
y have noticed that in some stage editions
this sentence is changed rs follows: "For sim
ply your having no beard is q Younger brothers.
revenue The correct reading *. "Iour hay-
ing IN beard" The word "havns' is used here
a. u noun. Your having" or your wealth in
beard ~ ne much as younger brothers rove
nne. II ~ used in the same meaning in
Twelfth Night" Viola says TO Antonio:
"l'il lend you something; my having is not
much.
also have perceived another mistake. In the
frat scene OF the third act after Celia's reading
ot the poem, Rosalnd exclaims: 80, most gen
tie pulpiter. what tedious homly OF love have
you wearied your parshioners withal'' In
some new editions the word "pul pter" has been
changed TO Jupiter which strikes me a. an
obvious error. Ii il is meant for an exclamation
then how can Jupiter be called most gentle"
and If il belongs to the sc" teUce and 10 applied
To Celia. then how can Jupiter deliver homiIies
10 his parishioncrso' In the old editions the
word "nulpitcr" is used. and ii is perfectly
clear. Kosalind calls Celia most gentle pull
piter," and chats her for delivering such tedi.
Gus homilies OF love 10 her par;shoners