Mr. Copeland's Lecture.

A large audience gathered in Sever 11 yesterday afternoon to hear the first of Mr. Copeland's two afternoon lectures. His subject was "Shakspere's characters of Rosalind, Viola, Beatrice, Imogen, and Portia;" and these characters he chose because they are little known among us.

Mr. Copeland said he should try to bring out some of the cardinal differences between the characters he had chosen. First, however, he spoke of their likenesses. The first thing that strikes us is, what happy creatures they are; for though each had her griefs, yet they had what we in this time should call extraordinary joy. They were also alike in being good, and they were all "bathed in an ideal light." They were not only idealized but ideal. In this they differ from all heroines of our modern literature, unless it be Lorna Doone.

In the light of these resemblances some of us may think the characters much the same, only different editions of the same girl. But they are poignantly different. Viola was a tender, delicate creature, almost sentimental. Rosalind also had some sentiment, but with it was combined so much humor that it was rather lost sight of. She laughed on every occasion, perhaps because she was conscious of being the cause of so much laughter in others. Beatrice had little sentiment; just enough for a great lady, of which she is Shakspere's best type. In this she differed from Viola and Rosalind. She was extremely witty, the wittiest character, except perhaps Benedict, in English literature. Portia was a very 'nice' personage. She had a very sweet and skillful tongue, and a pleasant and graceful, though keen, wit. But she was what we should now call a little strong minded. She was the first dim prevision of the new woman. It must have been hard for her to give up the right hand of government when Bassanio returned from the trial. The character of Imogen is difficult to describe. Her nature was distinctly feminine. Though she was not witty, her words were to the point, and so better than wit. She was more constant than the others, and her character was not too bright and good for daily use.

Adelaide Nilson was an excellent actress of Shakspere. Through her, if through any one his characters shone without personal whims or affectations. Yet she was hardly careful enough to bring out Rosalind's mirthful character. The Rosalinds since Nilson have had conspicuous faults. Modjeska's acting of the part was too modern and hysterical; Miss Davenport's Rosalind lacked poetry. Ada Rehan is the best actress of this character since Nilson, but even she is a bright, sweet, interesting Rosalind and no more. Though fault can be found with these actresses, however, there are few of us who could not gain by seeing their performance of Shakspere. Without seeing him played one can not best enjoy Shakspere.

In closing Mr. Copeland read some selections from Twelfth Night and Much Ado About Nothing.