tical working of that "business" which is a sort of cement for the scenes. Support could be found from many quarters for what Dr. Furness says in behalf of actors as useful critics; but without further reasoning, one may invite attention to some considerations in regard to Othello suggested by quotations from memoirs of the profession and other records, and especially from Booth's annotated acting-copy, extracts from which, although not made with any view to publication, may be found in the Variorum edition of the play.
Mr. White, in his satirical essay upon The Acting of Iago, expresses the opinion that all the modern impersonations are inadequate, and that the fault springs from a radical misconception of the character. Theatrical companies are made up, every one knows, with an actor for each of the varieties of human nature which are usual in a play; so far as character is concerned, they enact types. Iago, of course, falls to the lot of the "heavy villain," whose aim, in stage life, is to do his wickedest always, everywhere, and in as many guises as possible; he is continually pointing to the mark of Cain on his forehead, so that there shall
