As to the objections which have been raised to Miss Anglin's assumption of the masculine garments without any attempt at counterfeiting masculinity, I would ask my reader, if she be a woman, what she would do if she found it necessary to wear men's clothes. If she were not an actress she would undoubtedly behave much as she did in women's, suppressing unnecessary and telltale gestures as much as possible, but not trying to imitate mannish gestures which would immediately stamp her an impostor. There is no internal evidence in Shakespeare's play to prove that Rosalind was an actress. She might have appeared in private theatricals at the palace, but even that is doubtful. Consequently when she donned men's clothes it became evident to her that many men are effeminate in gesture and those that are do not ordinarily affect mannish movements. Her most obvious concealment was to be natural--quite herself. This, I think, is one of the most interesting and well-thought-out points of Miss Anglin's interpretation. _March 20, 1914._ The Modern Composers at a Glance The Modern Composers at a Glance An Impertinent Catalogue IGOR STRAVINSKY: Paul Revere rides in Russia. CYRIL SCOTT: A young man playing Debussy in a Maidenhead villa. BALILLA PRATELLA: Pretty noises in funny places. ENGELBERT HUMPERDINCK: His master's voice. LEO ORNSTEIN: A small boy upsetting a push-cart. GIACOMO PUCCINI: Pinocchio in a passion. ERIK SATIE: A mandarin with a toy pistol firing into a wedding cake. PAUL DUKAS: A giant eating bonbons. RICCARDO ZANDONAI: Brocade dipped in garlic. ERICH KORNGOLD: The white hope. ARNOLD SCHOENBERG: Six times six is thirty-six--and six is ninety-two! MAURICE RAVEL: Tomorrow ... and tomorrow ... and tomorrow.... CLAUDE DEBUSSY: Chantecler crows _pianissimo_ in whole tones. RICHARD STRAUSS: An ostrich _not_ hiding his head. SIR EDWARD ELGAR: The footman leaves his accordion in the bishop's carriage. ITALO MONTEMEZZI: Three Kings--but no aces. PERCY ALDRIDGE GRAINGER: An effete Australian chewing tobacco. _August 8, 1917_. * * * * * FOOTNOTES: [Footnote 1: One evidence of this is that his works are eagerly sought after and treated tenderly by the second-hand book-sellers. Some of them command fancy prices.] [Footnote 2: For an account of Peladan see my essay on Erik Satie in "Interpreters and Interpretations."] [Footnote 3: You will find an account of Balzac's interesting theory regarding names and letters, which may well have had a direct influence on Edgar Saltus, in Saltus's "Balzac," p. 29 _et seq._ For a precisely contrary theory turn to "The Naming of Streets" in Max Beerbohm's "Yet Again."] [Footnote 4: "Wit and Wisdom from Edgar Saltus" by G. F. Monkshood and George Gamble, and "The Cynic's Posy," a collection of epigrams, the majority of which are taken from Saltus, may be brought forward in evidence.]