File:Shakespeare on the stage (1911) (14804556493).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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y discarded.His original dress, which consisted of such profusedrapery that his rather short figure seemed nearly asbroad as it was long, was, in time, much improved bycloser adjustment of the robe to the person, but hecould not be induced to reject a queer cap, having flapsupon it, resembling the wings of a bat. The heavylong gray beard, diversified by a tuft of black hairbeneath the lower lip, with which, at first, he obscuredShylocks face, was dismissed, and first a long, iron-gray beard, without moustache, and then a thin, shortbeard, with moustache, both of the latter nearly white,—were substituted for it, allowing facial expressionto become visible. A ballet of fairies, with whichhe had caused the Fifth Act to be opened, was sooneast aside. In his final arrangement of the comedyMansfield cut, altered, transposed, and condensed thetext, till the original form of the piece was greatlymarred. One of the Casket Scenes and the GardenScene were retained. The supreme moments in Mans-
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RICHARD MANSFIELD AS SHYLOCK FROM A PAINTING BY EDGAU CAMERON THE MERCHANT OF VENICE 199 fields impersonation of Shylock were those thatinclude the delivery of the Jews speech on usury, thesudden change from malignant volubility to simu-lated geniality of humor, at Why, look you, howyou storm! and the delirium of the Street Scene, apassage in which he wrought a tremendous effect bymeans of his frenzied action and his exceptionallycopious and resonant voice. In the delivery of thetext he used the expedient of cadence, producing theeffect of dialect,—therein subscribing to a practicelong prevalent in the Continental Theatre of Europe,but first employed on the English Stage, I believe,by the elder Booth. At the close of the Trial Scenehe made Shylock place the point of his curved knife,inside his dress, at the throat, intimating the purposeor act of suicide, and he spoke the words, I am notwell, in a weak, thin voice, as though to signifythat the Jexo was bleeding to death, from a stoi

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