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A DRAMATIC CRITIC Booth and Madame Ristori holding the po- sitions next in honor. It is an old axiom of the dramatic art that temperament is of the first, second, and third conse- quence in the actor. Mr. Irving does not shake my faith in this truth, but I admit that his career goes far to show that, in exceptional cases, the intellect may suc- cessfully take upon itself a considerable part of the burden which is usually borne by other portions of the artistic nature. It makes, of course, the greatest difference what kind of a mind is in question, for much more than mere mental strength will be required. Mr. Irving's intelligence seems to be of remarkable power, breadth, subtilty, and keenness; it is morally sup- plemented by a fine patience and devoted persistence; it includes a genuine inventive faculty; it is enriched by careful cultiva- tion. The highest dramatic temperaments conceive and represent character through the exercise of a reproductive and creative [ 216 ]
HENRY IRVING faculty which is like the poet's. Similar results may be reached through the de- liberate, cumulative work of the mind, which first analyzes the character, and then, piece by piece, fabricates an imita- tion; and the mental gifts required for such a process of analysis and simulation are of a rare and varied sort. That there is an immense delight in encountering such an intelligence as this upon the stage, no one will deny. Its noblest and loftiest ex- ercise must inevitably be had in the pre- sentation of Shakespeare; and here Mr. Irving's work becomes, in every matter where pure intellect and refined scholar- ship can avail, a subject for the profound- est satisfaction. His skill in arrano^inor the scenes and in cutting the dialogue is admirably good, and his reverent regard for the accepted text is scarcely less excellent than his brilliant ingenuity in varying the text of doubtful passages. In playing Hamlet, his mental power and [ 217 ]
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A DRAMATIC CRITIC<br />
Booth and Madame Ristori holding the po-<br />
sitions next in honor. It is an old axiom<br />
of the dramatic art that temperament is<br />
of the first, second, and third conse-<br />
quence in the actor. Mr. Irving does not<br />
shake my faith in this truth, but I admit<br />
that his career goes far to show that, in<br />
exceptional cases, the intellect may suc-<br />
cessfully take upon itself a considerable<br />
part of the burden which is usually borne<br />
by other portions of the artistic nature. It<br />
makes, of course, the greatest difference<br />
what kind of a mind is in question, for<br />
much more than mere mental strength<br />
will be required. Mr. Irving's intelligence<br />
seems to be of remarkable power, breadth,<br />
subtilty, and keenness; it is morally sup-<br />
plemented by a fine patience and devoted<br />
persistence; it includes a genuine inventive<br />
faculty; it is enriched by careful cultiva-<br />
tion. The highest dramatic temperaments<br />
conceive and represent character through<br />
the exercise of a reproductive and creative<br />
[ 216 ]
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