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A DRAMATIC CRITIC ceeded from a man — combined to over- power the observer and listener. As was said of Edmund Kean, " he dominated stage and audience completely." His train- ing in the Continental School had been thorough, and, in temperamental force, I doubt if he was surpassed by any player at any period of the world. His acting was of the Latin order, not of the Teu- tonic or Anglo-Teutonic; it was, however, though always vital and strong, never ex- travagant; in gesture, though exuberant, it was not excessive; in its general method, it belonged to what, in choice from a poverty of terms, must be called the ex- haustive rather than the suggestive school of art; there was in it not so high a solution of pure intellectuality as in Edwin Booth's, but in its mastery, in the largest way and to the smallest detail, of the symbols of histrionic expression, it ranked, I think, above that of every other player whom the stage of America has known within [ H4 ]
TOMMASO SALVINI the past fifty years. Salvini was Charles Fechter carried up to the second power of all the Frenchman's virtues, with scarcely a hint of his limitations. The Othello of Salvini was the assump- tion through which he most strongly im- pressed the public, by which he will be inost widely remembered. Fully conscious of its magnificence and of the unequaled and terrible force of its passion, which in the third scene of the third act represents, perhaps, the highest conceivable stress of which humanity is capable, I personally preferred to it several of his other imper- sonations. It seemed to me that his Othello was Shakespeare orientalized and super- sensualized, at the cost of some of the Master's heroic conception, and of much of the Poet's beautiful thought. Salvini knew that Othello was a Moor, and a Moor he would have him in body, soul, and spirit; not such a Moor as he might have discovered from the wondrous text, [ H5 ]
- 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
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- Page 149 and 150: CHARLES FECHTER internal discords,
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- Page 159 and 160: EDWIN BOOTH ated with his name. Tha
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- Page 187 and 188: ADELAIDE NEILSON failing health, sh
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TOMMASO SALVINI<br />
the past fifty years. Salvini was Charles<br />
Fechter carried up to the second power of<br />
all the Frenchman's virtues, with scarcely<br />
a hint of his limitations.<br />
The Othello of Salvini was the assump-<br />
tion through which he most strongly im-<br />
pressed the public, by which he will be<br />
inost widely remembered. Fully conscious<br />
of its magnificence and of the unequaled<br />
and terrible force of its passion, which in<br />
the third scene of the third act represents,<br />
perhaps, the highest conceivable stress of<br />
which humanity is capable, I personally<br />
preferred to it several of his other imper-<br />
sonations. It seemed to me that his Othello<br />
was Shakespeare orientalized and super-<br />
sensualized, at the cost of some of the<br />
Master's heroic conception, and of much<br />
of the Poet's beautiful thought. Salvini<br />
knew that Othello was a Moor, and a<br />
Moor he would have him in body, soul,<br />
and spirit; not such a Moor as he might<br />
have discovered from the wondrous text,<br />
[ H5 ]
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