National Republican., 1883-01-30
THE DRAMA.

peated study. Thus IL is that Salvini's
Othello though by this time familiar, is even
more impressive than when it first came to
us. A vast and noble work it surely is,
| splendid alike in its comprehensive view of
the character and through the character into
certain springs of universal action, and in
the dclicately perfect finish of every touch
and detail. 1t is in this complete blending
of inner light with outer polish that
the acting of such an artist rises to
heights beyond the utmost limit of mere
artihce. A harmonious work, an intcrpre-
tation at all points complete, a perspective so
true and far-reaching demands from any un-
affected admirer rather the silent homage OF
admiration than spoken praise Like all
great things, this representation is simple as
we'll as lofty. No interpreter is needed fora
thing so true in art that of itself it must be
"understanded of the peoples"
No other actor has taken the same ground
view Of Othello nor has any other so exactly
adhered through the play to one line of de-
vclopment, in logical sequences. Salvinis
Othello, which is distinctly the creature of
his own deductions, may be best described as
following a vein between the theory of
that the question of race is unimportant,
except as lending slightly heightened in
dividuality to the character. 1t is more
patent to reason than either, for it embodies
all that is reasonable in both.
He is at once the veneered African prince
and the man of native nobility, whose loveis
respectful, "wrapt up i'm measureless con-
tent" conflding, and infinitely tender. All of
the first and second acts arc given to the labor
of building up the loving phases of tho man.
and nothing could be more beautiful or simple
than the fidelity of tone and expression
and movement to the purpose had in
view The result is a perfect realization
of gentle affection in one to whom soft emo
tions have been strangcrs-throughout whose
arduous past, as he tells us himself, "the
tyrant custom hath made the ninty and steel
couch Of war his thrice driven bed of down."
There is none of the Moor in this. Salvini
indeed everywhere subordinates the Moor to
the man. He is broadly human first; Moorish
afterward. When under the malignant influ-
ence of Iago the Moorish nature begins to dis
= cover ITSELF it is not the savage, but the Moor
imbued with the quick honor and sensitive
pride of Venice, chershing his reputation,
= jealous of his honor, feeling "a stain like a
wound" Ho shows us the nature of that
e zone which teens poisons and breeds
the most savage beasts of prey but under II
l those passions of love and jealousy which arc
a the heritage of men in all zones, and over II
Y the influence of that code of social ethics
@ which obtained in medieval Europe
The picture is of lofty mind and single
heart, wrenched and torn by the contention
of two elemental passions, and moved to such
= agonies as crack the limits of nature and ire
sistibly draw upon the deepest sympathies
1t touches the most sublime dramatic heights
:, but II is built in universal truth.
:, There is something almost paternal in thu
. tenderness Salvini throws about Othello's love
. for Desdemona. His face lights at her ap
+ proach to the senate chamber. He touches
@ her with reverential and yet protecting soft
/. ness. With rare good Judgment he has re
II tanned in his version Of the play the appear
IS ance of Desdemona in the court of the castl
:, after the night brawl of Cassie. A ray o
% light Is shot along the whole motive of hi
o work by the exclamation
l. Look! Ifmy gentle love be not raised up!--
II Casio I'll make thee an example.
"A 1t is this touch that precipitates disaste
- upon Cassie and sets in motion the Circum
- stances that topplo all into general catas
- trophe. The inefiably chivalrous spirit tina
prompts it, and the tenderness of the actio
" accompanying it, though beautiful in then
10 selves, completely accord with the violenC
70 that follows, which is simply the same fee
IN ing lashed into a storm by doubt, INT
s, Iago begins to spur him to it theI
In is no trace Of even suspicion, til
Mt forerunner of jealousy. Salvini displays tn
We noble, free, and loving man-braye, modes
Id forbearing even under the lash Of Brabantio
IN tongue-loving true, and full of sweC
r. gravity; and by these means, and the opcI
m ness of his manner, prepares the way to mac
n ness. The first shadow falls across the pla
ho in Brabantlo's warning TO beware of Desd
mona. "she has deceived her father, an
may thee" He brushes 1t away, and no oth'
~. cloud comes until Iago recurs to thl
ru warning, The turning point in Il
-, Characterization lies in tho answer
'" this stroke of cunning. "And 50 she did
The voice of suspicion, here heard for the fir
io time, rises swiftly to that violent gust whiC
ro drives both General and Ancient for an insta,
nc to the edgo Of murder; and then the sultr
're molten fire of the south seems to run throul
er his veins, tempered only In its outbursts
IT, the enforced conditions of his surrounding
ay and not always tempered even by the'
en- When he strikes Dosdemona in the presen
to of his officers and her cousin. Ludovico, it
US under sting so hot that no respect
cd, place or persons can affect its fur
or And in the last act, the paci
10. up and down, the sullen determination
kill expressed In every lineament and eve
movement, arc savage. But in no point dc
=, he descend TO confusion between vengean
w. and revenge. One Of the finest distinctio
"a S'' in the whole work, and one of its lofti,
-no qualities, is tho assumption of so high an
or' tribute as vengeance, and tho putting aside
ne all baser prompting in the fearful act of ID
domona's death, In this respect the impre
ion given is of "an agonized sense Of j.
ike tice" to tho Moor's self, his honor
his dearest part. All through it there is a feeli
riff that the man who destroys this life, VIII
tbs Indifferent to his own, and indeed avn
ter that his own Is really done, clutches first a
most firmly upon his honor. His act is !
the feroCious act Of barbarian but the
I'm. of one who justifes his own name by rem,
mar ing that which stained IT., There is nothi
ON left wanting to complete the consciousn
rJJ that it is not done in hate, but all in homo
In the outer features Of dress and act
Salyini is pictorial and highly so. The grI