for instance, the familiar scene where Hamlet holds the skull in his hand: Shakespeare here suggests the words ‘Alas, poor Yorick! I knew him well’”
“Yes, yes!” we interrupted, in spite of ourself, “‘a fellow of infinite jest’”
“Your intonation is awful,” said the Actor. “But listen. In my interpretation I use no words at all. I merely carry the skull quietly in my hand, very slowly, across the stage. There I lean against a pillar at the side, with the skull in the palm of my hand, and look at it in silence.”
“Wonderful!” we said.
“I then cross over to the right of the stage, very impressively, and seat myself on a plain wooden bench, and remain for some time, looking at the skull.”
“Marvellous!”
“I then pass to the back of the stage and lie down on my stomach, still holding the skull before my eyes. After holding this posture for some time, I crawl slowly forward, portraying by the movement of my legs and stomach the whole sad history of Yorick. Finally I turn my back on the audience, still holding the skull, and convey through the spasmodic movements of my back Hamlet’s passionate grief at the loss of his friend.”
“Why!” we exclaimed, beside ourself with
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