acting—here was mock life become real life, by the power of art; here was truth of speech and action, which transformed the players into human beings, with their virtues, passions, and weaknesses, instead of into cold-blooded posers, unnatural, declamatory, sententious.... I read—nay, devoured—not only the repertory of Shakespeare but that of every other foreign dramatic poet, and I came to recognise that in the world of the theatre everything emanates from Shakespeare, as in the real world all emanates from the sun.... I recognised, in short, that he was the one who had created most, after God."
"From that moment my career was decided: I felt that the special call which is sent to every man had come to me, then; I felt a confidence which has never since failed me. Nevertheless I did not disguise from myself the difficulties which such a life-work would involve. I knew that above all other professions this one demanded deep and special study, and that, to operate with success upon living life, I should first need to study 'dead nature' long and earnestly. Shakespeare, Corneille, Molière, Calderon, Goëthe, and Schiller—I laid their works before me, like bodies on the surgeon's table, and with scalpel in hand, long nights through, I probed them to the heart to discover the secret of their life. I saw by what admirable mechanism these
