...the music of the voice is as remarkable as its power. Signor Salvini's conception of Othello is that we expect from a thoughtful, perceptive, and cultivated...asses are. When the poison of jealousy ferments in his blood, the strife between the animal nature and the civilising influences of custom is long and...

...the music of the voice is as remarkable as its power. Signor Salvini's conception of Othello is that we expect from a thoughtful, perceptive, and cultivated...appears. Friendly, loving, and courteous, he can, as Iago says : — As tenderly be led by the nose As asses are. When the poison of jealousy ferments in...

...that Tommaso Salvini, the greatest Othello of the later part of the nineteenth century, played him as 'a barbarian, whose instincts, savage and passionate,...scarcely conscious he can be other than he appears'. 6 Believing that Desdemona weeps for Cassio, we are told, 'he drags her to her feet . . . grasps her...

...or of the primitive barbarian or wild beast. The Athenaeum, on the whole sympathetic, saw him as the "barbarian whose instincts, savage and passionate, are concealed behind a veneer of civilization so thick that he is himself scarcely conscious he can be other than he appears ... In...

...that Tommaso Salvini, the greatest Othello of the later part of the nineteenth century, played him as 'a barbarian, whose instincts, savage and passionate,...himself scarcely conscious he can be other than he appears'.6 Believing that Desdemona weeps for Cassio, we are told, 'he drags her to her feet . . ....

...sacrifice." The other Othello pole developed in the period was well represented by Salvini. So the Atheneum: a barbarian whose instincts, savage and passionate, are concealed behind a veneer of civilization. ... In the end the barbarian triumphs. The Galaxy suggested how offensive to Victorians...

...audiences in the nineteenth century, sometimes alongside fellow-actors speaking in English, seemed 'a barbarian, whose instincts, savage and passionate,...scarcely conscious he can be other than he appears'; while Willard White, a black opera singer unused to playing Shakespeare, seemed '[i]na curious, almost...