century of whom we lead in the novels
of Giraldo Cinthio and Fiorentino--_uomini illustri, e di civil
costumi_. His greeting is cordial and his conversation delightful,
full of anecdote and marked with enthusiasm for his art. When I first
became acquainted with him I was of opinion that his interpretation of
Hamlet was based only upon the translated text, but in the course of
a very long conversation on the subject I discovered that he was well
acquainted (through literal translations) not only with the text, but
also with the notes and comments of our leading critics. In speaking
of the part in which he is altogether unrivaled he said, "I am of
opinion that Shakespeare intended Othello to be a Moor of Barbary or
some other part of Northern Africa, of whom there were many in Italy
during the sixteenth century. I have met several, and think I imitate
their ways and manners pretty well. You are aware, however, that the
historical Othello was not a black at all. He was a white man, and
a Venetian general named Mora. His history resembles that of
Shakespeare's hero in many particulars. Giraldo Cinthio, probably for
better effect, made out of the name Mora, _moro_, a blackamoor; and
Shakespeare, unacquainted with the true story, followed this old
novelist's lead; and it was well he did so, for have we not in
consequence the most perfect delineation of the peculiarities of
Moorish temperament ever conceived?" The costumes worn by Salvini in
this play are copied from those depicted in certain Venetian pictures
of the fifteenth century in which several Moorish officers appear. It
took him many years to master this _role_, and he assured me he could
not play it more than three times in succession without experiencing
terrible fatigue. "It is a matter of wonder to me," he observed, "that
English actors can play a great character like this so many nights in
succession; and, above all, that they retain self-possession whilst
the fidgety noise of scene-shifting is going on behind them. To avoid
this, I have been obliged to cut _Othello_ into six acts, and to make
many changes in _Hamlet_." The intensity of feeling with which he
throws himself into the part he is representing was especially evident
on the occasion of his playing Saul. After the performance I was
invited to go behind the scenes to speak with him, and was surprised
as well as pained to find him utterly exhausted. I could not help
saying, "How can you exert yourself thus