The morning news. [volume] (Savannah, Ga.) 1887-1900, 1894-01-07


Speak to the people and they pity her.
Thous art fool: She robs thee OF thy name;
And thou wilt show more bright and seem
more virtuOus
When she is gone.
1t is enough to read this passage to
know that she is subtle, smooth, silent,
patient, bright and virtuous. Shakes
peare is not content to describe his he
roine's characterize also draws an out
line Of her physical appearance. In her
scene with Celia at the end Of the first
act, Rosalind says of herself:
1 am more than common tall.
Orlando, in his poem, thus sings her
praises
Helen's cheek, but not her heart,
Cleopatra's majesty,
Atalanta's better part
And sad Lucretia's modesty.
In another instance, Oliver, quoting
.Orlando's description Of Ganymede, says:
The boy is fair,
OF female favor
And bestows himself
Like ripe sister;
But the woman is low,
And browner than her brother.
We see by all these descriptions that
Rosalind is tall, golden-haired, majestic
and beautiful
Having thus become acqu ainted with
her moral and physical exec llencies let
the surrounding people and events.
In the first scene of the play we have
learned from Charles, the Wrestler that
her father had been banished by Freder-
lex, but being much loved by her cousin
Celia, Frederick's daughter, Rosalind is
retained at court and kindly treated by
the usurping duke. On her first appear
ance she comes with a cloud Of sadness
on her brow, and wins at once the sympa-
thy of her audience. Celia tries to com
fort her, but it is not easy to forget ban
ished father and she answers softly:
show more mtrth than am mistress OF.
But when Celia insists, accusing her
with childish petulance of lack OF love
for her, she shakes OF her sadness, saying;
1 will forget the condition Of my estate and
rejoice in yours.
This Is the first insight into her soul 4;
her unseltish nature comes out with the
lines, as well as her superiority over Celia,
whom she humors so willingly She is
now ready to devise sport.
What think you OF falling in lover
Rosalind and Orlando's love is love at
first sight, sudden and spontaneous.
Lodge says:
Love, willing to make him as amorous
as he is valiant, presented him with
sight of Rosalynde, whose admirable
beauty so inveigled the eye of Orlando,
tudl, lOTBeJbll& nlulSDiI, ne SLOOu ana LED
his looks on the favor of Rosalynde's face,
while she, perceiving, blushed. On her
side, Rosalynde, during the wrestling, to
encourage him with favor, lent him such
an amorous look rs might have made the
most coward desperate"
In GAS You Like It," the only indica-
ton of spontaneous passion is in Rosa
lind's simple question
"Is yonder the Mani"
Then, in her answer to Frederick, when
he asks if they crept hither to see the
wrestling
''Ay, my iege, so please you, give us leave. "
A moment before she did not like to
stay.
rs there any else longs to see It's broken
music in his sides?
| Is there yet another dotes upon rib-breaking?''
Her noble nature reyolts at this sight
| of brutal sport, but she has seen Orlando,
and the rib-breaking becomes a secondary
| consideration One glance has decided
her fate. In studying the play one can
easily see that the part of Rosalind has
not been written for what we actors call
points" for effective entrances and exits
etc 1t would be easy to produce a melo-
| dramatic effect in the scene with the
| Duke Frederick at the end of the first
act, but it would be great mistake.
! Rosalind is never loud Shakespeare
! himself tells US that she is smooth, pa
| tient and silent Even in her indignation
she is not disrespectful.
'Then, good my liege mistake me not so
| much to think my poverty is treacherous. -
| The only passage that is really meant
! Tor applause is the epilogue, and that has
| nothing to do with Rosalind's character.
1t is not she who speaks. 1t is the author
and manager, who recommend their play
! TO the audience. To conclude, | will re-
/ peat what have conveyed before, that
| the part of Rosalind can not be
| treated in a naturalistic manner; the play
being an idyl and a poem more than a
4 comedy, its heroine must be in harmony
with 1t. Her merriment is not necessarily
! boisterous, and IL must reach our ear
! pleasantly as the echo of child's laugh
! ter in the woods. Her love-making is not
a picnic Irritation, but an expression of
true sentiment and an overflow of a first
| spontaneous passion.
HELENA MoDJEsKA.
1.-THE Blue Grass King' is the title of
new play written expressly for James II .
| Wallick. the famous equestrian actor,
which he will present Wednesday night.
| The advance notices promise some rare
novelties in this play in the way of mar
| vellous mechanical effects, beautiful stage
| pictures and startling sensations of the
breath-holding kind, among them the
Rescue of the Hero by His Horse From
| a Burning Stable, !" "A Leap by the He
rome on Horseback Over a High Preci-
pice, "Scenes in Camp Life" including
The Summary Execution of Spy" A
feature of the production is the introduc-
tion of Mr.. Wallick's famous steeds, the
most wonderful acting horses on the
boards
1t is a well known fact that the peoer-