I heard certain mutterings and hoots among the students as I went out of the lecture-room, but did not know what it meant. George Boker informed me afterwards that there had been great indignation expressed that "a green ignorant Freshman" had dared to intrude, as I had done, among his intellectual superiors and betters, but that he had at once explained that I was a great friend of Professor Dodd, and a kind of marvellous _rara avis_, not to be classed with common little Freshmen; so that in future I was allowed to go my way in peace. A man of culture who had known Coleridge well, declared that as a conversationalist on varied topics Professor Albert Dodd was his superior. When in the pulpit, or in the lengthened "addresses" of lecturing, there was a marvellous fascination in his voice--an Italian witch, or red Indian, or a gypsy would have at once recognised in him a sorcerer. Yet his manner was subdued, his voice monotonous, never loud, a running stream without babbling stones or rapids; but when it came to a climax cataract he cleared it with grandeur, leaving a stupendous impression. In the ordinary monotony of that deep voice there was soon felt an indescribable charm. In saying this I only repeat what I have heard in more or less different phrase from others. There was always in his eyes (and in this as in other points he resembled Emerson) a strange indefinable suspicion of a smile, though he, like the Sage of Concord, rarely laughed. Owing to these black eyes, and his sallow complexion, his sobriquet among the students was "the royal Bengal tiger." He was not unlike Emerson as a lecturer. I heard the latter deliver his great course of lectures in London in 1848--including the famous one on Napoleon--but he had not to the same perfection the music of the voice, nor the indefinable mysterious charm which characterised the style of Professor Dodd, who played with emotion as if while feeling he was ever superior to it. He was a great actor, who had gone far beyond acting or art.