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 Viola and Julia put on pages’ dress, that Imogen steals away in male attire. To say that only a woman can portray the passions of a woman, and that therefore no boy can play Rosalind, is to rob the art of acting of all claim to objectivity, and to assign to the mere accident of sex what properly belongs to imaginative insight and creative energy. Indeed, if sex be an element in artistic creation, it might rather be urged that the delightful combination of wit and romance which characterises so many of Shakespeare's heroines was at least occasioned if it was not actually caused by the fact that the players of these parts were lads and young men, whose passionate purity, quick mobile fancy, and healthy freedom from sentimentality can hardly fail to have suggested a new and delightful type of girlhood or of womanhood. The very difference of sex between the player and the part he represented must also, as Professor Ward points out, have constituted “one more demand upon the imaginative capacities of the spectators,” and must have kept them from that over-realistic identification of the actor with his rôle,