HE publication in i95i of pardonably adulatory biography of Henry Irving by grandson Laurence suggests that recon-g Go sideration and brisk summary, of the great actor's handling of Shakespearian roles may be of general interest. It is surprising how large Henry Irving's name bulks in the discussion of the playing of Shakespeare and how large in treatments of him bulks the discussion of Shakespearian roles. During career he played six hundred and seventy-one parts; of these only forty-one were Shakespearian roles, twenty-eight being minor parts played during provincial days. Altogether he played in but fourteen of the plays, and in London he played only thirteen roles. According to Bernard Shaw, he was never interpretative actor: his creations were all own; and they were all Irvings. Certainly Hamlet was strange creature, whose lack of physical beauty and gesticulatory and elocutionary grace was greeted by admirers as proof of new psychological interpretation, strange term to be loosely used of all later Shakespearian appearances. Admitting that In moments of high excitement Irving rapidly plods across and across the stage with gait peculiar to him-a walk somewhat resembling that of fretful man trying to get quickly over ploughed field, and that In certain passages voice has querulous piping impatience which cannot be reconciled with stage elegance, Edward R. Russell argued, there is no reason why Hamlet should not have had these peculiarities, and he claimed that Irving's mannerisms had enabled him to make playgoers know Hamlet as a new and distinct and actual person, like an interesting acquaintance . . . made at dinner-table or in travelling. Is man no more than this? . . . no more but such poor, bare, forked animal as this? Surely the Prince of Denmark is something much more. But Irving was not even attempting to interpret Shakespeare's Hamlet; he was simply and definitely making audiences accept Hamlet as Henry Irving. Late in life he told young stage aspirant: my boy, there are only two ways of portraying character on the stage. Either you try to turn yourself into that person-which is impossible-or, and this is the way to act, you can take that person and turn him into yourself. That is how I do it! Russell felt that Irving managed to turn Hamlet into himself by a bold combination of tragedy and character acting. The new character acting made much of detailed and intimate business and gesture. Such by-play Irving believed