"But a higher claim to distinction arises from the method of its representation. In the hands of Miss Ellen Terry, Olivia becomes a character of rare dramatic value, more nearly allied, perhaps, to the Clarissa of Richardson than to the heroine of Goldsmith. The actress's singular command of pathetic expression obtains further manifestation. The scene of Olivia's farewell to her family, all unconscious of the impending blow her flight is to inflict upon them, is curiously affecting in its subtle and subdued tenderness; while her indignation and remorse upon discovering the perfidy of Thornhill are rendered with a vehemence of emotion and tragic passion, such as the modern theatre has seldom exhibited. "Only an artist of distinct genius could have ventured upon the impulsive abrupt movement by means of which she thrusts from her the villain who has betrayed her, and denotes the intensity of her scorn of him, the completeness of her change from loving to loathing. "Miss Terry is not less successful in the quieter passages of the drama, while her graces of aspect and manner enable her to appear as Olivia even to the full satisfaction of those most prepossessed concerning the personal charms of that heroine--so beloved of painters and illustrators--to whom have been dedicated so many acres of canvas, so many square feet of boxwood." This criticism well sums up the general opinion. Joseph Knight was equally full of praise, and said: "Miss Terry was altogether life-like as Olivia, and much of her business was extremely natural and touching. It was full of suggestion, and, in one point at least, when she repelled the further advances of the man who had wronged her, it touched absolute greatness." Clement Scott pays his tribute as follows:--"'Olivia,' as I first saw it at the Court Theatre, is a memory that will never die while life lasts. It is one of the most precious souvenirs in my collection.... Words fail to convey an adequate impression of the original Olivia--the spoiled child and darling of the English home as portrayed by Ellen Terry. I see the idol of her old father's heart. Vividly and clearly is presented to my memory the scene where Olivia, under the hypnotic influence of love, bids farewell to her loved ones, scattering around her little treasures, and that 'white face at the window,' when 'Livy' is on the high road to destruction. All that was pathetic enough; but the dramatic effect was bound to follow, and it came with vivid truth in the great scene between Ellen Terry and William Terriss. At that time, both actor and actress were perfect specimens of manly beauty and feminine grace. Terriss was just the dare-devil, defiant creature, handsome to a fault, that women like Olivia love. He looked superb in his fine clothes, and his very insolence was fascinating and attractive.