File:Shakespeare on the stage (1911) (14598202127).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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ll, finally, embodiedMacbeth as a man originally noble and of a kinddisposition who, at a moment when insatiate ambi-tion has made him peculiarly susceptible to wickedenticement, is enmeshed by those dark and deadlyforces of evil which steadfastly contend with good,throughout universal life, and thus becomes a remorse-ful, tortured, suffering victim. The spectator of hisperformance saw, upon the first entrance of Macbeth,an unmistakable warrior, a man of large, powerful, pan-oplied frame, outwardly calm but inwardly stirred andshaken by conflicting emotions, his face pale, his featuresbold, his hair and mustache dark and long,—enhanc-ing in his aspect the element of the picturesque,—and his demeanor communicative of a sense of mysteryand dread. The implied theory,—entirely tenable,—was that Macbeth has been brooding over the idea ofmaking himself King, and unawares has already beenapproached by those ministers of sin who eventuallymeet him on the blasted heath and by prophetic
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From a photograph ROBERT MANTELL AS MACBETH MACBETH 495 greeting confirm in his mind the purpose of mm-der,to make clear his path to a throne. In Mantellstreatment of the Heath Scene and the scene ofthe meeting with Duncan and the Princes the furtiveside glances of the chieftains luminous blue eyes,which, it can be assumed, have been clear and frankbut which have become suspiciously apprehensive,anxiously watchful, and stern because of the secretworkings of sinister thought, were wonderfully expres-sive of a soul at war with itself, and his continuousdenotement of that conflict,—which grows more andmore intense until the hour of the assassination andthereafter is made agonized by accession of remorse,—was alike true in spirit and fine in method, givingeffect to the pathos of the tragedy and thus fulfillingthe chief requirement of the part. His speakingof Had I but died an hour before this chance and,later, of She should have died hereafter was notonly eloquent of profound feeling

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