It was said by the poet Aaron Hill, in allusion to Barton Booth, that the blind might have seen him in his voice and the deaf might have heard him in his visage. Such a statement made concerning an actor now would be deemed extravagant. But, turning from the Vicar to his cherished daughter, that felicitous image comes naturally into the mind. To think of Ellen Terry as Olivia will always be to recall one especial and remarkable moment of beauty and tenderness. It is not her distribution of the farewell gifts, on the eve of Olivia's flight--full although that was of the emotion of a good heart torn and tortured by the conflict between love and duty--and it is not the desperate resentment with which Olivia beats back her treacherous betrayer, when, at the climax of his baseness, he adds insult to heartless perfidy. Those, indeed, were made great situations by the profound sincerity and the rich, woman-like passion of the actress. But there was one instant, in the second act of the play, when the woman's heart has at length yielded to her lover's will, and he himself, momentarily dismayed by his own conquest, strives to turn back, that Ellen Terry made pathetic beyond description. The words she spoke are simply these, "But I said I would come!" What language could do justice to the voice, to the manner, to the sweet, confiding, absolute abandonment of the whole nature to the human love by which it had been conquered? The whole of that performance was astonishing, was thrilling, with knowledge of the passion of love. That especial moment was the supreme beauty of it. At such times human nature is irradiated with a divine fire, and art fulfils its purpose. VII. ON JEFFERSON'S AUTOBIOGRAPHY.