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A DRAMATIC CRITIC
periments with his text and to vary his
histrionic conceptions as he advances in
years and knowledge, and as his temper-
amental force waxes or wanes. Edwin
Booth furnished a signal and most inter-
esting example of the effect of this im-
pulse, which was of itself a proof of the
unflagging vitality of his spirit. With
scholarly eclecticism, at different times
he made choice of various "readings,"
subjecting them to the test of stage de-
livery, — often the best alembic in which
to try their values, — and with innumera-
ble diversities of vocal shading, ictus^ and
cadence sought to utter the Master Poet's
thought with new delicacies or new po-
tencies. I think it might be fairly said
that his theories of the great characters
were never wrong or seriously defective.
And through his shifting ideals, as they
were embodied from year to year, the
spectator could discern the extraordinary
variety of treatment which Shakespeare's
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