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A DRAMATIC CRITIC deliverer of God's people Israel. It was wonderful to see how Salvini's impersona- tion combined these two natures; express- ing with sensuous fullness all that was gross and earthy in the man, and not less effectually displaying the lofty conscious- ness of the leader and commissioned ser- vant of the Lord Jehovah. When directly under the divine inspiration, as in the second act of the play, when he perceived in the flames that consumed his house the presence of the I AM whom Moses knew in the burning bush on Horeb, the face and speech of the actor became glorious and awful in their consciousness of Divinity; and at lower moments, sometimes in the midst of unholy and degrading pleasures, a strange and m3^stical light seemed to fill his eyes, to touch and amplify his form. In his fatal drunkenness there was some- thing godlike as well as pathetic, even while the details of intoxication were shown with remorseless truthfulness, — touches [ 148 ]
TOMMASO SALVINI of rare delicacy being made in the facial action accompanying the first draught of the " wine of Sorec," where the repulsion of the Nazarite for the forbidden cup was merged in his presentiment of coming ill. His declamation of Jacob's blessing of the tribe of Dan was like the tramp of a jubilant host. The long speech, in which he rehearsed in detail, with appropriate action, the story of his victory over the young lion that roared at him in the vine- yards of Timnath, afforded by far the most signal illustration I have ever seen of the ability of an actor to reproduce in narrative a series of varied incidents. The performance had the effect of a set of bio- graph pictures, with the added vividnesses of ear-filling sound, and, somehow, of ap- parent color. Another almost equally re- markable and even more stirring triumph in a similar sort was Salvini's narrative, in La Morte Civile, of Conrad's escape from prison. No other actor of our day [ 149 ]
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TOMMASO SALVINI<br />
of rare delicacy being made in the facial<br />
action accompanying the first draught of<br />
the " wine of Sorec," where the repulsion<br />
of the Nazarite for the forbidden cup was<br />
merged in his presentiment of coming ill.<br />
His declamation of Jacob's blessing of<br />
the tribe of Dan was like the tramp of a<br />
jubilant host. The long speech, in which<br />
he rehearsed in detail, with appropriate<br />
action, the story of his victory over the<br />
young lion that roared at him in the vine-<br />
yards of Timnath, afforded by far the<br />
most signal illustration I have ever seen<br />
of the ability of an actor to reproduce in<br />
narrative a series of varied incidents. The<br />
performance had the effect of a set of bio-<br />
graph pictures, with the added vividnesses<br />
of ear-filling sound, and, somehow, of ap-<br />
parent color. Another almost equally re-<br />
markable and even more stirring triumph<br />
in a similar sort was Salvini's narrative,<br />
in La Morte Civile, of Conrad's escape<br />
from prison. No other actor of our day<br />
[ 149 ]
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