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Updated: June 19, 2025
The only question therefore which it is possible to raise relates to Salvini's conception of the character a question such as must always exist in the case of any representation of Shakespeare, with whose creations no actor can ever hope to identify himself, however he may modify our former impressions.
Pasmer perceived, with an obscure misgiving of the sort which an older generation always likes to feel concerning the younger, but with a tolerance, too, which was personal to herself; it was to be considered that the massive thought and honest amiability of Salvini's face, and the deep and spiritualized power of Booth's, varied the effect of these companies of posturing nymphs.
Only once at the very moment when she is showing herself so little a woman and so much a high- spirited man only once is he very deeply stirred towards her; and that finds expression in the strange and horrible transport of admiration, doubly strange and horrible on Salvini's lips 'Bring forth men-children only! The murder scene, as was to be expected, pleased the audience best.
If they do it in acting, it is tame, absurd and pretentious. But Salvini held himself in, and still his groan was like a tempest, his passion huge. The fact is that, apart from Salvini's personal genius, the foreign temperament is better fitted to deal with Othello than the English.
In the fifth act we see this lowest circle reached; and it is Salvini's finest moment throughout the play. From the first he was admirably made up, and looked Macbeth to the full as perfectly as ever he looked Othello. From the first moment he steps upon the stage you can see this character is a creation to the fullest meaning of the phrase; for the man before you is a type you know well already.
As we take leave of Dati at this point, for some time at least, I may quote an interesting sentence, respecting one of his intentions in later life, from the notices of him in Salvini's Fasti Consolari dell' Accademia Fiorentina : "He had particularly in view the publication of the letters which he had received from various literary men, such as John Milton, Isaac Vossius, Paganino Gaudenzio, Giovanni Rodio, Valerio Chimentelli, and Nicolas Heinsius: from the last he had a very large number."
The passion in him becomes heroic, colossal; but it is perfect in its nature and in its proportions, and from the point to which he has been brought by Iago, perfectly justifiable. Hence it is that it is so respected by women. Nothing was more remarkable at Salvini's admirable performance of Othello than the acquiescence of all his female auditors in the fate of Desdemona.
By taste, I do not mean taste in flounces and in furbelows, tunics and stockings; but in the weightier matters of the truly sublime and the essentially ridiculous. Salvini's Macbeth is undoubtedly a fine performance; and yet that great actor, as the result of his study, has placed it on record that he thinks the sleep-walking scene ought to be assigned to Macbeth instead of to his wife.
I left my military guide at Verona on Saturday afternoon and reached Milan in time to dine outside Salvini's in the Galleria Vittorio Emanuele, with an Italian fellow story-writer. The place was as full as ever; we had to wait for a table.
In the fifth act we see this lowest circle reached; and it is Salvini's finest moment throughout the play. From the first he was admirably made up, and looked Macbeth to the full as perfectly as ever he looked Othello. From the first moment he steps upon the stage you can see this character is a creation to the fullest meaning of the phrase; for the man before you is a type you know well already.
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