For one phrase we thank the "Morning Post's" critic. Nothing could better describe Iachimo's character, nor Irving's playing of it than "sinister clegance."'? He was indeed the great lord, a sort of early example of the Louis Soize nobleman. The evil triumph of his look as he drew his hand slowly from his bosom to show the bracelet for final proof that Leonatus has lost the bet, every moment of his scenes with Imogen, and his magnificent, duel with Posthumus (the whole battle scene was wonderfully convinceing), these showed Irving at his best.
It is gilding refined gold to speak in praise of Irving and Ellen Terry. They belong to the past which ever, as we grow older, seems beyond the present's touch of comparison. Their's was indeed the grand manner, of which we sce little now, though Robert Lorraine caught some of it, in "Cyrano." And for all the "Morning Post's'" critic, that grandeur which lighted up so many of Shakespeare's plays for "the groundlings" was surely well expended on "Cymbeline King of Britain."
Text read from the printed page and cleaned; old type leaves the occasional error.