design; and then, none but some actor of great talent in portraying dissimulation, and of sound judgment and long experience, may reasonably hope to produce such effects upon an ordinary audience as will prove satisfactory to them generally and to himself as an artist particularly. 66 Iago may indeed be regarded by professional actors as one of the most uncertain " and least profitable of great parts which can be attempted within the whole range of Shakespeare's dramas," and if an actor would become popular in that character, he must, for the sake of effect upon the uninstructed and impracticable majority of play-goers, submit to their false but settled notions respecting Iago, and sacrifice as a condition his own true judgment and an orthodox consistency with the poet's words and his obvious meaning. NOTES, CRITICISMS, AND REMARKS RESPECTING FALSTAFF, IN THE FIRST PART OF KING HENRY IV. LATE in the month of May, 1831, whilst Charles Fean and myself were starring upon alternate nights at the Arch Street Theatre, Philadelphia, and were fellow-guests in Head's Mansion House-then the most favorite hotel of that city-we strolled about the town together. In the course of our promenade, Charles Kean asked me if I had "ever thought of acting Falstaff?" I replied that "with such object I had partially studied the character." He observed, “I have a strong desire to play Hotspur, and if you will undertake to be ready within a week to make a first appearance in Falstaff, I will essay Hotspur on the occasion for the first time also." We performed accordingly, and both were favorably received, May 31, 1832. The weather that evening. was very warm, and the costume I wore covering a heavy padding or stuffing of curled hair—to give the requisite rotundity to Fat Jack's large proportions together with my anxiety and nervousness about the result, caused me to perspire very profusely. Towards the conclusion of the play, the manager, Mr. Duffy, came behind the scenes, and repeated some complimentary remarks which he said certain critics among the audience had made to him, and inquired, "How do you feel now?" I replied, "Severely punished by the heat of the weather, intensified as it is by confined space, the gaslights, and the breath of the audience." "Psha!" rejoined Mr. Duffy, "you don't suffer at all when compared with Cooper" (Thomas A.), “just such a night as this about a year ago. After Falstaff's running away and roaring for 'Mercy,' when surprised and chased from Gad's Hill by the Prince and Poins, Cooper insisted upon having the large doubledoors at the back of the stage-constructed in order to admit elephants, horses and cars, on occasionthrown wide open; and, regardless of the rear being upon a public alley, ordered his servant to bring a chair, which he placed in that opening and sat himself there, to pant and try to cool himself. Every time thereafter, as he came off the stage, he threw himself into the chair, and commenced by crying aloud to his servant-Where's that brandy and water?' 'Here, sir!' Having swigged it down, Cooper next ordered him, 'Bring here a lookingglass!' After reconnoitring his features in the |