{"newspaper_name": "Mobile register and journal.", "edition": "01", "page": "p2", "byline": ""}
{"character_count": 3789, "word_count": 673, "ccnet_language_score": [0.9596999883651733], "ccnet_perplexity": [1369.4000244140625], "fasttext_language": ["en"]}
iorewArnIng or preparation. he might not with such fearless resolution have encountered it's dread pres encei but we quite ne never would have been guilty of the absurd convuslons so obslnaieiy per sisted in by his dramatic portrait painters. But when we remember that in the first scene he goes, expecting ihe appariiion, and that m the second he has only seen but held mortal discourse with it, no one think fail to discover, even in the chaste and subdued acting oi Mir Anderson, large intermxinre Of the fault lU which we refer. Il wasi indeed, far less striking in him than in Macready but there is slill ample room for amendment. By neither of these distinguished artists IS the great predominant sentiment of the scenes m question con- ceived or executed as Shakespeare has designed them Too much emotion cannot he expressed; but it is the emotion of solemn, overwhelming awe, moi shaking ihe wlih fear, but for season ireez- ing the blood and riveting hun to the spot Ike | thing of feless marble.

 The grave scene, we think, was far too tame.- Here is one of the few passages where il is permit ted to overstap the modesty of nature u IS scene | of madness, half real and half assumed, which we | have seen better done.

 | Having thus unreservedy recorded our objections | to MT. Anderson's performance, we 'eel we owe Il to him and 10 ourselves to acknowledge aso i's great | merits. That as an these are at once rare and | excellent, we have already ntlmated. Portions of ihe dialogue perfect In the interview, Tor example with Rosencrsniz and Guildenstein, where he presents them with the pipe aud bids them play the graceful and courteous irony o ms tone ana man | lows gave quite new finish 10 these passages, His voice and action, too, when the ghost vanishes on lhe first interview with il seemed every thng that good acting could make of this part of the fceae.- | The management of the dcnoument at the play was i the best we have ever Add to this that he looked the character fully, and died as gentleman we presume generally do without snperiuons grimace or contortun, and we have said s"mehng, though by no means all towards just appreciation oi thls excellent actor.

 Nor is it right to pass unnoticed the execrable supDort, or rather want of Il, with which the bad acting of almost every body eIse encountered him. 1 Mir Scott, Mrs. Stuart and Mr. Pacide alone per f,rmed their parts; the rest wiliul and deliber- ate murder sAs for Horatio, he looked more like ''DaKer's starved apprentice, all -four and eed' than the confidential friend and sChoo-fellow of an accomplished prince. HamIet's soul could never of men have distinguished such sn election. One can never expect witness, but with pain, Shaks- peares tragedy without more alesion to these sub ordinate characters We really think that some of these ftl ows, and Horatio among he number. not only need new wardrobes, but pleatiful supply of soap, before they again presented to the

 friends and assocaies of "Hamrt PrAce of Den mark.'' For Mr. Scott, we must say, he made the best ghssi have for bong time set N. This gem temAn "acks advancement Our hnle hend, Mss Perie, was cruelty used in being made to enact Ophelia We could not help thinking, when we heard of her falling from the willow, what an awful splash of water and terror among the fish there mus, have been.

 In conclusion, we would express the earnest hope

 that Mr. Ander son may be induced repeat his per formance of Hamlet. more especially because since

 writing this hasiy criticism, we have heard that lie | abored under ndisposition, and in conse- sequence of his arrival from New Orleans at late hour of the day. acted almost without the benefit of a rehearsal. This may account for many of the blem-

 shes have noticed. P. P.