In Viola, we must remember the character—a girl just rescued from the sea—disguised as a boy—employed by the Duke, whom she instantly loves—sent as his messenger to woo another for him—Olivia enamored of the messenger—forced to a duel—mistaken for her brother by the Captain, and her brother taken for herself by Olivia—and yet, in the midst of these complications and disguises, she remains a pure and perfect girl—these circumstances having no more real effect upon her passionate and subtle self than clouds on stars.
When Malvolio follows and returns the ring the whole truth flashes upon her. She is in love with Orsino—this she knows. Olivia, she believes, is in love with her. The edge of the situation, the dawn of this entanglement, excites her mirth. In this scene she becomes charming—an impersonation of Spring. Her laughter is as natural and musical as the song of a brook. So, in the scene with Olivia in which she cries, "Make me a willow cabin at your gate!" she is the embodiment of grace, and her voice is as musical as the words, and as rich in tone as they are in thought.
In the duel with Sir Andrew she shows the difference between the delicacy of woman and the cowardice of man. She does the little that she can, not for her own sake, but for the sake of her disguise —she feels that she owes something to her clothes.
But I have said enough about this actress to give you an idea of one who is destined to stand first in her profession.
We will now come back to the real question. I am in favor of protecting the American actor. I regard the theatre as the civilizer of man. All the arts united upon the stage, and the genius of the race has been lavished on this mimic world.
—New York Star, December 23, 1888.
LIBERALS AND LIBERALISM.
Question. What do you think of the prospects of Liberalism in this country?