To illustrate this point it is only necessary to witness one of the "excerpts" presented at Earl's Court, the one called "The Tricking of Malvolio." Now, we may presume that attention is invited to the talents of the chief actor by the publicity given to his name, for on one small printed page it is "starred" five times in capital letters against the parts he impersonates. We can find no record of a similar keenness for publicity in any Elizabethan actor. But unfortunately this is the least remarkable illustration of modesty at Earl's Court, and it is impossible to suppose that so many mistakes could have been crammed into a single scene of "Twelfth Night" by anyone who had carefully read the play. Of Shakespeare's plays it was said, in his own day, that they erred from being too life-like, and that in consequence they lacked art; that is to say, there was nothing theatrical about them. The persons he put on the stage, in their speech, costume, and manner, so exactly resembled those the audience recognized in the town that it was difficult to believe that the characters had not been transferred from the street to the stage. Now, in "Twelfth Night" the central figure in the story, and the one round which all the other characters revolve, is Olivia, a young lady who is plunged in the deepest grief by the loss, first of her father, and then of her only brother, and we are told that because of this grief-- "The element itself, till seven years heat, Shall not behold her face at ample view; But, like a cloistress, she will veiled walk And water once a day her chamber round With eye-offending brine."