tone of Henry's voice, every emphasis, every shade of meaning that he
saw in the lines and made manifest to the discerning. Yes, I think I
could give some pale idea of what his Hamlet was if I read the play.

"Words! words! words!" What is it to say, for instance, that the
cardinal qualities of his Prince of Denmark were strength, delicacy,
distinction? There was never a touch of commonness. Whatever he did or
said, blood and breeding pervaded him.

His "make-up" was very pale, and this made his face beautiful when one
was close to him, but at a distance it gave him a haggard look. Some
said he looked twice his age.

He kept three things going at the same time--the antic madness, the
sanity, the sense of the theater. The last was to all that he imagined
and thought, what charity is said by St. Paul to be to all other
virtues.

He was never cross or moody--only melancholy. His melancholy was as
simple as it was profound. It was touching, too, rather than defiant.
You never thought that he was wantonly sad and enjoying his own misery.

He neglected no _coup de théâtre_ to assist him, but who notices the
servants when the host is present?

For instance, his first entrance as Hamlet was, what we call in the
theater, very much "worked up." He was always a tremendous believer in
processions, and rightly. It is through such means that Royalty keeps
its hold on the feeling of the public, and makes its mark as a Figure
and a Symbol. Henry Irving understood this. Therefore, to music so apt