. Shakespeare on the stage. presence of death, vt^hen he has bade her make herpeace with Heaven, that Othellos wildness momentarilyreturns upon him: Thou dost stone my makst me call what I intend to doA murder, which I thought a sacrifice. And even in the very commission of the dreadfuldeed there is mercy: I would not have thee lingerin thy pain. The student who can find in that awfuland pathetic scene any warrant for such acting asSalvini and various other foreigners have providedfor its illustration must be peculiar in the faculty ofdiscernment. ERNESTO ROSSI. The advent on the Ame
. Shakespeare on the stage. presence of death, vt^hen he has bade her make herpeace with Heaven, that Othellos wildness momentarilyreturns upon him: Thou dost stone my makst me call what I intend to doA murder, which I thought a sacrifice. And even in the very commission of the dreadfuldeed there is mercy: I would not have thee lingerin thy pain. The student who can find in that awfuland pathetic scene any warrant for such acting asSalvini and various other foreigners have providedfor its illustration must be peculiar in the faculty ofdiscernment. ERNESTO ROSSI. The advent on the American stage of the dis-tinguished Italian actor Ernesto Rossi (1829-1896),occurred at Booths Theatre, New York, October 31,1881, and was effected in Othello. The Italian idealof the part had been made known by his illustriouspredecessor, Salvini, and it was known to be com-pletely wrong. Rossis performance only served toaccentuate its deformity. His Othello was a commonman, at first intoxicated by sensual passion and after-. From a photograph by Lock and miitflehl, London TOMMASO SALVINI AS OTHELLO OTHELLO 295 ward infuriated by demoniac jealousy. In personthe actor was large and stout, having a round face,regular features, dark eyes, and a strong, resonantvoice, neither melodious nor very flexible, but, in itshoarse, broken tones, effectively expressive of painfulemotion. As an actor he was authoritative, distinct,definite, continuously animated, profoundly earnest,and so entirely masterful of the instrumentalities ofhis art as to create the effect of complete acting was especially competent and effective inmoments of half-crazed perplexity,—the oscillationbetween confident belief and distracting doubt,—when>as at the summit of the scene of lagos poisonousdistillment, it seemed that neither body nor mindcould endure the strain of conflicting passions, andalso in the frenzy that culminates in the epileptictrance. The situations thus indicated present noob
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