Whether Miss Anglin had this idea in mind or not when she produced the comedy I have no means of ascertaining. It is not essential to my point. At least she has emphasized it, and she has done the most intelligent stage directing that I have observed in the performance of a Shakespeare play for many a long season. There is consistency in the acting. Rosalind, Jaques, Touchstone, Celia, Oliver, the dukes, Charles, Sylvius, the whole lot, in fact, are natural in method and manner. There is no striving for the fantastic. Let that part of the comedy take care of itself, undoubtedly suggested Miss Anglin. Jaques, finely portrayed by Fuller Mellish, delivers that arrant bit of nonsense "The Seven Ages of Man" in such a manner as a man might tell a rather serious story in a drawing room. "The Seven Ages of Man," of course, is just as much of an aria as _La Donna e Mobile_. It always awakens applause, but this time the applause was deserved. Mr. Mellish emphasized the cynical side of the role. He smiled in and out of season, and his most "melancholy" remarks were delivered in such a manner as to indicate that they were not too deeply felt. Jaques was a little bored with the forest and his companions, but he would have been quite in his element at Mme. Recamier's. Such was the impression that Fuller Mellish gave. Bravo, Mr. Mellish, for an impression! Similarly the Touchstone of Sidney Greenstreet. We are accustomed to more physically attractive Touchstones, fools with finer bodies, and yet this keen-minded, stout person spoke his lines with such pertness and spontaneity that they rarely failed of their proper effect. As for Orlando, it seemed to me that Pedro de Cordoba was a little too rhetorical at times to fit in with the spirit of the performance, but Orlando at times does not fit into the play. For instance, when he utters those incredible lines: "If ever you have looked on better days, If ever been where bells have knolled to church, If ever sat at any good man's feast, If ever from your eyelids wiped a tear...." I do not know whether Miss Anglin is a disciple of George Moore or William Winter in her acting of Rosalind. How she acquired her charm is not for us to seek into. It is only for us to credit her with having it in great plenty. A charming natural manner which made the masquerading lady seem more than a fantasy. Her warning to Phebe, "Sell when you can; you are not for all markets," was delicious in its effect. I remember no Rosalind who wooed her Orlando so delightfully. For Rosalind, as Woman the Pursuer, driven forward by the Life Force, is convincingly Miss Anglin's conception--a conception which fits the comedy admirably.