is the climax,—that is mere pity; but the tragic element finds its conclusion in Othello's last speech and stroke. The intensity of Kean or the ideality of Booth, working upon the tragic temperament in each, must produce Othello with a difference: one tempts to excess in ferocity, the other in pathos; but either is consistent with the text. After all, it is with great actors as with poets,—their creations partake of their own nature, in all heroic and ideal parts; but if, as is thought, sympathy is the best revealer of the inner meaning of works of the imagination, certainly the disciplined and habitual enacting of great rôles by actors of genius ought to be a source of light and knowledge regarding them, notwithstanding the allowance that is to be made for the "personal error" of individuality.
It is a striking quality in the immortality of The Merchant of Venice that it has survived a change in the public mind in its attitude toward the Jewish people. To the Elizabethans, and Shakespeare among them, the Jew was hateful. It may well be questioned to what extent Shakespeare himself, with all the tolerance that his understanding
