When his plots disguise female characters in the dress of boys and pages, it was more effectively done because his actors, thus resuming their natural mien, could so easily sustain the dramatic contrivance with the advantages of sex. And this is something which our modern female actors cannot imitate. At least, they do not appear to be interested to make the attempt, because they are misled by vanity to set off their little rounded waists and the feminine charm of figure and movements. Perhaps it is not vanity, but an instinct of womanhood, which lays this embargo on her mimic power.
An exception must be made of Mrs. Kean; for a play was always the thing to catch her conscience, and engage it to lend the utmost reality to the scene. As Wilford, in the "Iron Chest," she never forgot to assume the perfect stride and motion of a man; and as the disguised Viola, when the thought hit her that Olivia had fallen in love with her, she slapped her cap, and threw out her right leg with all the jauntiness of a boy, as she exclaimed, "I am the man!"
But, in general, the figure, gait, and instinctive movements of the actress continually betray the Imogen, the Viola, the Jessica, the Julia, the Rosalind, who may well say, "I could find in my heart to disgrace my man's apparel, and to cry like a woman." Portia says to Nerissa,—
"I'll hold thee any wager,
When we are both accoutred like young men,
I'll prove the prettier fellow of the two,
And wear my dagger with the braver grace;
