48 LITERATURE AND DRAMA 



speak are but opportunities of creating these types o] 

 in the sense that a beautiful model, a fine landscape, are opportu- 

 nities to the painter. In these he finds his picture, in those the 

 actor finds his person ; but the dramatist does less for the actor 

 than nature for the painter. It is the involuntary unconscious 

 perception of this truth which makes men accord a generous re- 

 cognition to artists such as Mrs. Siddons while treating, not 

 without justice, the rank and file of the profession as mere 

 skilled workmen. 



It is probable, nay certain, that in writing the words to be 

 uttered by each character, a great author has vividly present to 

 his mind an ideal man or woman speaking these with natural 

 and effective tones and gestures perhaps in Shakespeare's case, 

 though not in others, the best tones and gestures possible; per- 

 haps, however, with tones and gestures so old-fashioned that 

 they would not move us now ; what is certain is that we have 

 .no means of discovering these ; indeed, he could not himself 

 have imparted them to a fellow-actor. Moreover, when writing 

 the words of Macbeth, he cannot have had present to his mind 

 all the gestures and expressions of Lady Macbeth as she listened. 

 Yet this by-play of the great actress was such that the audience, 

 looking at her, forgot to listen to Macbeth. Corneille never 

 thought of how Camille would listen to the account of the death 

 of her lover in ' Les Horaces,' or, if he thought of it, his conception 

 must have been a mere sketch as compared with the long and 

 marvellous scene which Rachel, playing the part, showed to the 

 astonished audience. 



In truth, the spectators do not know the marvellous study 

 which a great actor applies to every word of a speech. Some 

 think that the study consists in finding out what the author 

 meant the hero to say or express by given words. Sometimes 

 this demands study ; more often with great writers it is as plain 

 as can be, requiring no study. When the meaning is under- 

 stood, next comes the consideration of the feeling which the 

 speech implies or requires in the speaker. The conception ot 

 this is far more difficult than the simple interpretation of the 

 words, and will alter with each new actor ; not differing toto 

 coelo, but differing in shade, colour, and intensity. Any one of 

 us can understand the reasoning in ' To be or not to be.' Very 



