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A DRAMATIC CRITIC rived from a distinguished commentator — that Hamlet was a Dane, and that Danes are fair, with the practical conclu- sion that he played the Prince of Denmark in a blond wig, seemed to me of no import either for praise or blame; and as long as he, or another actor, did not defeat the Poet in letter or in spirit, I was willing that he should find, indicate, and manipulate the pictures-in-little of the elder Ham- let and Claudius in any way that suited his taste or convenience.- His conception of the melancholy prince was a different matter, and from first to last I held to the opinion that he did not rightly indicate the weaknesses of spirit and temperament with which Shakespeare has chosen to disable his otherwise noblest ideal, for the reproof, correction, and instruction in righteousness of mankind throughout the ages. The general public did not much concern itself, of course, with questions as to the actor's fidelity to the dramatist's [ "6 ]
CHARLES FECHTER psychic scheme, but immersed itself in the novel and agreeable sensations excited by Fechter's vivid and impressive playing. New York, always more closely critical of acting than other American cities, and much influenced, no doubt, by Mr. Winter's severe censure, held out in many quarters against the new Hamlet. But Boston, manifestly relieved by the change from Edwin Booth's more conventional and studied, though far more just and intuitive impersonation, incontinently ac- cepted the French artist's performance, satisfied for the time with its outward and visible charms, its vitality, directness, and fervid sincerity. Mr. Fechter, at this part of his career, was, indeed, an exceedingly fascinating and eloquently appealing actor. He was somewhat handicapped by the plainness of his features and the bluntness of his figure; but his gift in facial expression was varied, and his countenance, at mo- [ 117 ]
- Page 85 and 86: WILLIAM WARREN Senator from Massach
- Page 87 and 88: TRAINING FOR THE STAGE any other th
- Page 89 and 90: TRAINING FOR THE STAGE actors, and
- Page 91 and 92: TRAINING FOR THE STAGE not brought
- Page 93 and 94: TRAINING FOR THE STAGE rade;" Mr. M
- Page 95 and 96: TOOLE AND MATHEWS Mrs. Rousby, who
- Page 97 and 98: TOOLE AND MATHEWS rapidity against
- Page 99 and 100: TOOLE AND MATHEWS finesse, and dext
- Page 103 and 104: CHARLOTTE CUSHMAN figure and homely
- Page 105 and 106: CHARLOTTE CUSHMAN was great, the ac
- Page 107 and 108: CHARLOTTE CUSHMAN act, has been dis
- Page 109 and 110: CHARLOTTE CUSHMAN be so pronounced
- Page 111 and 112: CHARLOTTE CUSHMAN mendations " and
- Page 113 and 114: THE XII E. A. SOTHERN, Sr. most not
- Page 115 and 116: E. A. SOTHERN, SR. inverted as in a
- Page 117 and 118: E. A. SOTHERN, SR effective for mir
- Page 119 and 120: E. A. SOTHERN, SR. thrown completel
- Page 121 and 122: E. A. SOTHERN, SR traordinary were
- Page 123 and 124: E. A. SOTHERN, SR. Tragedian, a dra
- Page 125 and 126: E. A. SOTHERN, SR sought or seeking
- Page 127 and 128: THE ISOLATION OF ACTORS plish. Behi
- Page 129 and 130: THE ISOLATION OF ACTORS fictive mat
- Page 131 and 132: THE ISOLATION OF ACTORS rary life w
- Page 133 and 134: DURING XIV Charles Fechter the seas
- Page 135: CHARLES FECHTER holding the lease o
- Page 139 and 140: CHARLES FECHTER man, treasure, pabu
- Page 141 and 142: CHARLES FECHTER clouds, where Shake
- Page 143 and 144: CHARLES FECHTER and in his final dy
- Page 145 and 146: CHARLES FECHTER Glavis, there was a
- Page 147 and 148: CHARLES FECHTER on lines already in
- Page 149 and 150: CHARLES FECHTER internal discords,
- Page 151 and 152: THERE is XV Edwin Booth no occasion
- Page 155 and 156: EDWIN BOOTH A famous nomen I called
- Page 157 and 158: EDWIN BOOTH creations, because of t
- Page 159 and 160: EDWIN BOOTH ated with his name. Tha
- Page 161 and 162: EDWIN BOOTH gance and distinction o
- Page 163 and 164: EDWIN BOOTH thus to distinguish the
- Page 167 and 168: TOMMASO SALVINI combination tolerab
- Page 169 and 170: TOMMASO SALVINI the past fifty year
- Page 171 and 172: TOMMASO SALVINI ing Shakespeare and
- Page 173 and 174: TOMMASO SALVINI of rare delicacy be
- Page 175 and 176: TOMMASO SALVINI interpretation of K
- Page 177 and 178: TOMMASO SALVINI Every phase of the
- Page 179 and 180: TOMMASO SALVINI and sobbing; strong
- Page 181 and 182: TOMMASO SALVINI fresh and unconvent
- Page 183 and 184: XVII Adelaide Neilson NO player in
CHARLES FECHTER<br />
psychic scheme, but immersed itself in the<br />
novel and agreeable sensations excited by<br />
Fechter's vivid and impressive playing.<br />
New York, always more closely critical<br />
of acting than other American cities, and<br />
much influenced, no doubt, by Mr. Winter's<br />
severe censure, held out in many<br />
quarters against the new Hamlet. But<br />
Boston, manifestly relieved by the change<br />
from Edwin Booth's more conventional<br />
and studied, though far more just and<br />
intuitive impersonation, incontinently ac-<br />
cepted the French artist's performance,<br />
satisfied for the time with its outward and<br />
visible charms, its vitality, directness, and<br />
fervid sincerity.<br />
Mr. Fechter, at this part of his career,<br />
was, indeed, an exceedingly fascinating<br />
and eloquently appealing actor. He was<br />
somewhat handicapped by the plainness<br />
of his features and the bluntness of his<br />
figure; but his gift in facial expression<br />
was varied, and his countenance, at mo-<br />
[ 117 ]