File:Shakespeare on the stage (1911) (14761705616).jpg

Identifier: shakespeareonsta01wint (find matches)
Title: Shakespeare on the stage
Year: 1911 (1910s)
Authors: Winter, William, 1836-1917
Subjects: Shakespeare, William, 1564-1616 Actors Actresses
Publisher: New York, Moffat, Yard and Company
Contributing Library: The Library of Congress
Digitizing Sponsor: Sloan Foundation

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wer; his face was rigid and pale; his eyesburned darkly; there was an occasional tinge of grislyhumor in his delivery: the total effect was that of thevibrant, observant poise of a deadly reptile, awareof its lethal potency, and in no haste, although unal-terably determined, to make use of it. The dress that Booth wore when acting Shylochwas distinctively Hebraic and strikingly expressiveof Oriental character. It comprised a long, close-fitting gown, dark green in color; a dark browngabardine, with flowing sleeves and a hood; a scarf,of variegated colors, twisted around the waist so asto form a girdle; a leather pouch, dependent from thescarf; pointed shoes, of red leather; a Phrygian cap,having a turned-up rim, about two inches wide; ear-rings; several finger rings, and a ring on the thumbof the left hand. The face was made up thin andhaggard. The beard was grizzled. The head,—inthe actors earlier days,—was dressed with a black-bald wig; later, with a gray wig, bald on the crown.
Text Appearing After Image:
Courtesy of Ecert Jaiisen Wendell EDWIN BOOTH AS SHYLOCK FROM THE DRAWING BY W. J. HENNESSEY THE MERCHANT OF VENICE 159 In his right hand he carried a long, gnarled staff.His appearance, as fittingly described by liimself,was grotesque, but also it was tragic. The pictureof Booth drawn by that conscientious, sympathetic,felicitous artist William J. Hennesy, in 1872,—oneof a series made to illustrate a book of mine calledEdwin Booth in Twelve Dramatic Characters,—shows exactly his make-up and appearance in thepart, and especially it exhibits the grotesque aspectwhich, especially in early life, he imputed to the Jew,and which he intentionally emphasized in present-ment: but that picture, useful and instructive thoughit is, does not convey any impression of Booths finalideal of Shylock, or signify in the least the luridpassion and terrific power with which that ideal wasembodied by him. VARIOUS PERFORMERS. Many assumptions of Shyloch have been shown onthe stage, in England and Americ

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