From the first appearance of the broken glass of fashion and mould of form, pale and worn with weeping for his father's death, and remotely suspicious of its cause, to his final struggle with Horatio for the fatal cup, there were cohesion and coherence in Mr. Fechter's view of the character. Devrient, the German actor, had, some years before in London, fluttered the theatrical doves considerably, by such changes as being seated when instructing the players, and like mild departures from established usage; but he had worn, in the main, the old nondescript dress, and had held forth, in the main, in the old way, hovering between sanity and madness. I do not remember whether he wore his hair crisply curled short, as if he were going to an everlasting dancing-master's party at the Danish court; but I do remember that most other Hamlets since the great Kemble had been bound to do so. Mr. Fechter's Hamlet, a pale, woebegone Norseman with long flaxen hair, wearing a strange garb never associated with the part upon the English stage (if ever seen there at all) and making a piratical swoop upon the whole fleet of little theatrical prescriptions without meaning, or, like Dr. Johnson's celebrated friend, with only one idea in them, and that a wrong one, never could have achieved its extraordinary success but for its animation by one pervading purpose, to which all changes were made intelligently subservient. The bearing of this purpose on the treatment of Ophelia, on the death of Polonius, and on the old student fellowship between Hamlet and Horatio, was exceedingly striking; and the difference between picturesqueness of stage arrangement for mere stage effect, and for the elucidation of a meaning, was well displayed in there having been a gallery of musicians at the Play, and in one of them passing on his way out, with his instrument in his hand, when Hamlet, seeing it, took it from him, to point his talk with Rosencrantz and Guildenstern.

This leads me to the observation with which I have all along desired to conclude: that Mr. Fechter's romance and picturesqueness are always united to a true artist's intelligence, and a true artist's training in a true artist's spirit. He became one of the company of the Theatre Francais when he was a very young man, and he has cultivated his natural gifts in the best schools. I cannot wish my friend a better audience than he will have in the American people, and I cannot wish them a better actor than they will have in my friend.