be considered as forces likely to
modify passion and to affect conduct. But in general the answer to that
question may be given in three words--anything and everything! The
history of nations, as of individuals, is never rightly read until it is
read in the light of knowledge of the influence that has been exerted
over them by women. Cleopatra, in ancient Egypt, changed the history of
Rome by the ruin of Marc Antony. Another heroine recently toppled
Ireland down the fire-escape into the back-yard. So goes the world. In
Judah, however, the crime that is done for love is pursued to its
consequence of ever-accumulative suffering, until at length, when it has
been expiated by remorse and repentance, it is rectified by confession
and obliterated by pardon. No play ever taught a lesson of truth with
more cogent dramatic force. The cynical, humorous scenes are
delightful.

Willard's representation of Cyrus Blenkarn stamped him as one of the
best actors of the age. His representation of Judah Llewellyn deepened
that impression and reinforced it with a conviction of marked
versatility. In his utterance of passion Willard showed that he has
advanced far beyond the Romeo stage. The love that he expressed was that
of a man--intellectual, spiritual, noble, a moral being and one
essentially true. Man's love, when it is real, adores its object;
hallows it; invests it with celestial attributes; and beholds it as a
part of heaven. That quality of reverence was distinctly conveyed by the
actor, and therefore to observers who conceive passion to be delirious
abandonment (of which any animal is capable), his ardour may have seemed
dry and cold. It was nevertheless true. He made the tempestuous torrent
of Judah's avowal the more overwhelming by his preliminary
self-repression and his thoughtful gentleness of reserve; for thus the
hunger of desire was beautiful with devotion and tenderness; and while
the actor's feelings seemed borne away upon a whirling tide of
irresistible impulse his exquisite art kept a perfect control of face,
voice, person, demeanour, and delivery, and not once permitted a lapse
into extravagance. The character thus embodied will long be remembered
as an image of dignity, sweetness, moral enthusiasm, passionate fervour,
and intellectual power; but, also, viewed as an effort in the art of
acting, it will be remembered as a type of consummate grace in the
embodiment of a beautiful ideal clearly conceived. The effect of