"And so, it seems to me, Miss Terry sees the character. In the very first scene she pursues Benedick with her flouts and quips, and evidently takes pleasure in the encounter. Though she hits so hard there is evidently an _arrière pensée_ of respect for the gallant cavalier whose 'approved valour' cannot but impress her, whilst his 'quick wit' not unmingled with self-satisfaction spurs her on to action. One can see that when she scoffs at marriage it is with no more real sincerity than Benedick displays on the same subject. Her wit must have its way; conscious of possessing it, she is fain to exercise it. She revels in the contempt she pours upon the 'sons of Adam.' And so in the scene in which she taunts the masked Benedick to desperation. It is all done in pure _diablerie_. It is simple mischief, inspired by keen delight at finding her butt so agreeably vulnerable. That she is no mere shrill-tongued termagant is shown in the passage where she so gracefully turns off the Don's gallant offer of his heart and hand. And as for her deeper nature--the real Beatrice, hidden underneath the everyday veneer of wit and raillery--what could be more truly descriptive of it than the scene in which, led into the belief that Benedick is really fond of her, she says farewell to maiden pride and to contempt, and prepares to 'tame' her 'wild heart' to his 'loving hand'? The accusation brought against her cousin is not less effective in arousing the latent forces of her character; and the church scene, in its combination of passionate anger against Hero's slanderers, and charming half-confession of affection felt, is conclusive in its testimony to the open naturalness of the character which Miss Terry has so aptly and admirably conceived. As for the _technique_ of the performance, it must be remembered that it was a first assumption. Miss Terry _may_ have played the part somewhere before September 3rd, but the fact is not recorded, and there is no reason to believe that the announcement of 'first time' was anything but literally true. And that being the case, it would be unfair to expect the impersonation to be _totus teres atque rotundus_. Miss Terry has all the ultra-sensitiveness of the true artist, and it is not improper to suggest that, on the occasion in question, she was not entirely mistress of her powerful resources. The most experienced players are the most nervous on first nights. And assuredly there are points in which Miss Terry will improve upon her first assumption of this latest part of hers. Some artists grow into their _rôles_, and Miss Terry is one of them. Her Portia nowadays is very much superior to what it was when played originally at the Prince of Wales'. And no doubt Miss Terry, who has since played Beatrice at Manchester and elsewhere, during her provincial tour, has already added the touches necessary to make the representation as near perfection as art and aptitude can make it. No