SOME ACTORS' CRITICISMS OF OTHELLO, IAGO, AND SHYLOCK.
An actor of genius, at the moment of impersonating (either in imagination or in fact) a character of Shakespeare's, is probably nearer to the dramatist's creative mood than any one else can get, except possibly the poet born. He may, to use a phrase of Booth's, in speaking of this mode of coming to an understanding of Shakespeare, "hit it" by the mere force within that bears him naturally on. Or, to take the case in which his sympathy with the rôle is imperfect, he may perceive wherein he is defective more clearly by his conscious failure than by any analysis. Again, the difficulties that arise from not knowing how Shakespeare put the play on the stage may not be solved rightly, it is true, by the moderns; but the conclusions of the acting fraternity on these matters are much more worthy of weight than those of men unacquainted with the prac-
