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TOMMASO SALVINI
ing Shakespeare and Anglo-Saxon scruple
out of account, it was great; considered
by itself, it was homogeneous and self-con-
sistent, — " one entire and perfect chryso-
lite," or, with a suitable variation of the
Moor's own phrase, one huge ardent car-
buncle.
In witnessing the Italian dramas which
Salvini produced, the spectators did not
need to be troubled with Shakespearean
doubts and qualms. His Samson, which
he played on his opening night in this
city, seemed to me a supreme histrionic
expression of the emotional-picturesque.
The play, which was in verse, freely dram-
atized the Biblical story of the Lion of
Dan, had considerable merit, and was quite
redeemed from commonplace by the char-
acter of its hero. In Samson's mighty
personality two individualities were fused:
the giant, the man of blood, the slave of
passion, was also the son of promise, the
just judge, and, above all, the appointed
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