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art is to make the character harmonious from beginning to end; and the greatest actor Is he who loses his own personality in that of his role.
I played Rosalind for the first time in the Memorial Theatre at Stratford-on-Avon for the benefit of that building. Through Mr. Mower's kindness the whole atmosphere on that occasion was thoroughly Shakespearian. The stage was decorated with blossoms from Shakespeare's garden; the flowers used by Rosalind and Celia, as well as the turnip gnawed by Audrey, had been plucked near Anne I lathaway's cottage; the deer carried across the stage in the hunting chorus had been shot in Charlcot Park for the occasion —so I was told™by one of the Lucys.
While dressing I heard a splash of oars, and saw groups of the audience arriving in boats. The sinning Avon under my window, the fields and waving willows beyond, and the picturesque church near by, are all a part of that first performance. Rosalind's glee and sparkle, her whole-someness and good-nature, with just a touch of tender sadness here and there, appealed to me so strongly that for a time 1 wished to act nothing else. I give Mr. William Winter's account of