The Psychology of the Actor.—It is the blissful illusion of all great actors to imagine that the historical personages whom they are representing were really in the same state of mind as they themselves are when interpreting them—but in this they are very much mistaken. Their powers of imitation and divination, which they would fain exhibit as a clairvoyant faculty, penetrate only [pg 275] far enough to explain gestures, accent, and looks, and in general anything exterior: that is, they can grasp the shadow of the soul of a great hero, statesman, or warrior, or of an ambitious, jealous, or desperate person—they penetrate fairly near to the soul, but they never reach the inmost spirit of the man they are imitating.

It would, indeed, be a fine thing to discover that instead of thinkers, psychologists, or experts we required nothing but clairvoyant actors to throw light upon the essence of any condition. Let us never forget, whenever such pretensions are heard, that the actor is nothing but an ideal ape—so much of an ape is he, indeed, that he is not capable of believing in the “essence” or in the “essential”: everything becomes for him merely performance, intonation, attitude, stage, scenery, and public.