"The success of the Fidèle scenes nerved the actress to a fresh attack, and in the grand reconciliation scene she played with the romance and activity of a girl of eighteen. It was a surprising effort from first to last; and of all the Shakespearean essays of this delightful artist, from her own stand-point, this was assuredly the best. "Hitherto I should have said Beatrice; but here we have Beatrice with the pathetic touches of Rosalind superadded. Miss Terry is a model Shakespearean boy; there is no doubt about that, and has both laughter and tears at her winsome command. "The loss of such a Rosalind to the stage as Ellen Terry would, and must have been, has ever formed a subject for regret with her warmest and most enthusiastic admirers. If ever woman lived who displayed in advance the temperament of Rosalind, it was Ellen Terry. What affection she would have shown for Celia; what tears would have been shed, and what anxiety displayed for Orlando at the wrestling bout; with what incomparable humour such a Rosalind would have started on her romantic journey; and oh! the scenes with Orlando in the forest, the love, the sport, the joyousness, the masquerading, and the tears, it makes one almost sad to know and feel what we have lost in this incomparable Rosalind." Ellen Terry's performance in "Cymbeline" also excited the admiration of the French critic, Augustin Filon, who, in an article in the _Débâts_, headed "Une Grande Tragédienne," said that her Imogen prevented him from seeing the "absurdities" of the play! Much more than that, she compelled him to accept them. He had only to open his eyes and his ears and Imogen was before him. Her style is marked by a simplicity which, to inexperienced spectators, may seem the absence of art, but which, as a matter of fact, is the perfection of art. She entirely forgets that two thousand persons are following her movements and listening to her words. No glance at the audience, no intonation bearing traces of study, no obvious effort to delight! Désiré Nisand, referring to the _débuts_ of Rachel, remarked, "This girl showed me that I had never understood Corneille or Racine." The same might be said of Ellen Terry, that "noble artist," in regard to Shakespeare. Augustin Filon, it will be seen from this, has little or no patience with those who say that Shakespeare should be read instead of seen on the stage. He quotes the lines between Imogen and the attendant in the bedchamber scene-- "What hour is it?" "Almost midnight, madam." "If thou canst wake by four o' the clock, I prithee call me."