am fond of patronizing genius, and therefore took one of his tracts and paid him for a dozen.
During the following week, I saw, while going up the city road, that Shakspeare's tragedy of Othello was to be performed at the Eagle Saloon that night, and that the character of the Moor was to be taken by "Selim, an African prince." Having no engagement that evening, I resolved at once to attend, to witness the performance of the "African Roscius," as he was termed on the bills. It was the same interest that had induced me to go to the Italian opera to see Madames Sontag and Grisi in Norma, and to visit Drury Lane to see Macready take leave of the stage. My expectations were screwed up to the highest point. The excitement caused by the publication of "Uncle Tom's Cabin" had prepared the public for anything in the African line, and I felt that the prince would be sure of a good audience; and in this I was not disappointed, for, as I took my seat in one of the boxes near the stage, I saw that the house was crammed with an orderly company. The curtain was already up when I entered, and Iago and Roderigo were on the stage. After a while Othello came in, and was greeted with thunders of applause, which he very gracefully acknowledged. Just black enough to take his part without coloring his face, and being tall, with a good figure and an easy carriage, a fine, full and musical voice, he was well adapted to the character of Othello. I immediately recognized in the countenance of the Moor a face that I had seen before, but could not at the moment tell
