n, the same harmony in the details. We shall not assert
that his is the ideal Othello, or that such an Othello is possible.
Shakespeare's creations cannot be bounded by the limit of another
idiosyncrasy. But we hold that, if he does not put into the character
all that belongs to it, he puts nothing into it that does not belong
to it. We may miss in the accents of his despair a pathos capable of
assuaging our horror; but this latter emotion, equally legitimate,
is commonly stifled altogether, leaving us more disposed to linger
lovingly beside the dead than to shudder and exclaim with Ludovico,
"The object poisons sight;--let it be hid."

A.F.

A LETTER FROM NEW YORK.

I have come from the country. I have seen Salvini. All emotion has to
be expressed now in the above form, for Salvini rules. He is simply
the greatest actor since Rachel, and his troupe the most perfect ever
seen in this country. The whole plane of their acting is forty steps
higher than we are accustomed to; therefore it has been slow of
gaining appreciation, and the panic having burst over the devoted city
just as Salvini opened, the houses have been poor. He should play, too
(all actors should), in a smaller house than the Academy of Music. His
first great success may therefore date from a matinee at Wallack's,
where he had the most distinguished audience I have ever seen in
New York, on Saturday, October 11th. Salvini lunched while here with
Madame Botta, and expressed himself surprised that any one should care
to go to hear him who could not understand the language. "I am sure
I should not go," said the great actor. He thinks he has not had a
success, but he will not think so after he becomes accustomed to his
audiences. He is in private one of the most cultivated and intelligent
of men, and has brought to the practice of his art a scholar's study,
a soldier's experience and a gentleman's taste. I say a soldier's
experience, for Salvini has been a soldier, and fought for united
Italy in 1857 and earlier.

Nilsson is much improved by marriage. Her beauty is softer, she has
gained flesh--not to the detriment of that girlish outline, but to the
improvement of those somewhat aggressive cheek-bones. She sings better
than ever, with rounded voice. Never since the days of Salvi and
Steffanoni have we had such opera in New York. The orchestra is
better, Maurel is superb, Capoul is still better, and Campanini is
very admirable. We miss Jamet very m