A large audience greeted the Shakspere Club last evening at its second presentation of Julius Cxsar. The play passed off more smoothly and the actors were much more at home in their parts than on Monday evening. Indeed, the self-possession of all was one of the most striking merits of the performance. Perhaps the most noticeable fault was the indistinct enunciation of some of the characters who, in their endeavors to disguise their natural voices, lost distinctness at times in their delivery. The acting was unconstrained and showed a certain ease and naturalness not often found among amateur performers. The mob was almost perfect, rivalling any rabble which has been seen at the theatres for years; Mr. Hutchins as second citizen deserves especial mention.

If one looks at the presentation of this play, as an effort of professional actors, there are many personal faults that can be mentioned, and some of them, from this standpoint are glaring. But, one commits a serious mistake by judging the personal acting with this spirit. The play was an earnest endeavor of amateurs, and one cannot expect the personal excellencies of professionals, Mr. Jones as Brutus lacked many of the essential attributes of that character, but as Antony, he showed a good conception of his part, and a ready and well marked adaptation of action and speech to his ideal. His clearness of tone and ease of forcible utterance are to be especially commended. These two last qualities were apparent in the vocalization of Messrs. Winter, Cummings, and in a less dedegree in that of Messrs. Hansen and Goodale. A labored effort was perceptible in the voices of many actors, but the earnestness apparent in both speech and action greatly palliates this otherwise inexcusable fault.

The parts of Calpurnia and Portia were in many respects the most difficult in the play. Mr. Sanford, as Calpurnia, is to be congratulated, for while he did not fully overcome the difficulties of the part, yet his character was, on the whole, well sustained. Mr. Stevens dwelt on the affectionate disposition of Portia, and did not clearly represent the dignity which is attributed to her. Considering the inherent difficulties in the part, however, his acting was creditable.

The excellence of the performance so out-balance the defects that the play as whole may fairly be said to be a sucess. Its presentation has given an impetus to the study of elocution at Harvard which this much neglected art has never before received.