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The moment the subject is examined, however, objection to that method of procedure is dispelled. Hermione, as a dramatic person, disappears in the middle of the third act of Shakespeare's comedy and comes no more until the end of the piece, when she emerges as a statue.

There is a theatre, in a round tower which has borrowed some traits from the octagon "Globe" theatre of Shakespeare's day; a Shakespeare library and portrait gallery are forming; and in due time these buildings, of stately dimensions and built solidly of brick, will constitute a Shakespearean centre which will attract to itself many mementoes now scattered about in various parts of the country.

The bed stood in the centre of a shallow alcove, heavily curtained. These hangings were looped up at the beginning of the act, and were supposed to fall to the floor, completely concealing the bed and its occupant after the murder. The actor had long before become again Shakespeare's Othello.

Nearly all the tragic plays in the history of the theatre have descended at certain moments into melodrama. Shakespeare's final version of Hamlet stands nearly on the highest level; but here and there it still exhibits traces of that preëxistent melodrama of the school of Thomas Kyd from which it was derived.

Browning called them "the finest sonnets written in any language since Shakespeare's." Those who like the simple music of the heart strings will find it in lines like these: "I love thee to the level of every day's Most quiet need, by sun and candlelight, I love thee freely, as men strive for right; I love thee purely, as they turn from praise.

"No," answered Rossi, "and I should scarcely care to add it to my repertoire, which is already rather an extensive one. I have personated in my time over four hundred characters, including all the prominent personages of Alfieri, Molière and Goldoni." "Then you play comedy as well as tragedy? Have you ever appeared as Shakespeare's Benedick?"

It can hardly be called a translation, as many material alterations were made in the story of the play; and though the general purport of the principal speeches has been sometimes preserved, the language and sentiments are generally extremely different. The character of Shakespeare's Hamlet was wholly unsuited to the taste of a French audience.

Lord Lytton's position I shall examine later on; but, as regards the theory that Shakespeare did not busy himself much about the costume-wardrobe of his theatre, anybody who cares to study Shakespeare's method will see that there is absolutely no dramatist of the French, English, or Athenian stage who relies so much for his illusionist effects on the dress of his actors as Shakespeare does himself.

And shall not these rounded and perfect powers serve us as our ideal of what it is to be a finished human being? We live for our own age an age like Shakespeare's, when an old world is passing away, a new world coming in an age of new speculation and every new adventure of the mind; a full stage, an intricate plot, a universal play of passion, an outcome no man can foresee.

There is no bird with so powerful a voice as the cuckoo; his cry can be heard almost as far as a clarion. The wild pansies were very thick little yellow petals streaked with black lines. In a western county the cottagers call them "Loving Idols," which may perhaps be a distortion of the name they bore in Shakespeare's time "Love in Idleness."