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 had perhaps done it: but to have discovered his profession was a revolution in criticism.

Two sonnets, I remember, struck me particularly. In the first of these (LIII) Shakespeare, complimenting Willie Hughes on the versatility of his acting, on his wide range of parts, a range extending, as we know, from Rosalind to Juliet, and from Beatrice to Ophelia, says to him:—

"What is your substance, whereof are you made, That millions of strange shadows on you tend? Since every one hath, every one, one shade, And you, but one, can every shadow lend"—

lines that would be unintelligible if they were not addressed to an actor, for the word "shadow" had in Shakespeare's day a technical meaning connected with the stage. "The best in this kind are but shadows," says Theseus of the actors in the "Midsummer Night's Dream";

"Life's but a walking shadow, and poor player That struts and frets his hour upon the stage,"

cries Macbeth in the moment of his despair, and there are many similar allusions in the literature of the day. This sonnet evidently belonged to the