“Making-up” certainly assists the actor to a very great degree. At least, I found it so in my case. I am naturally of mild and gentle appearance, and, at that time, was particularly so. It was no earthly use my standing in front of the glass and trying to rehearse the part of, say, a drunken costermonger. It was perfectly impossible for me to imagine myself the character. I am ashamed to have to confess it, but I looked more like a young curate than a drunken costermonger, or even a sober one, and the delusion could not be sustained for a moment. It was just the same when I tried to turn myself into a desperate villain; there was nothing of the desperate villain about me. I might, perhaps, have imagined myself going for a walk on Sunday, or saying “bother it,” or even playing ha’penny nap, but as for ill-treating a lovely and unprotected female, or murdering my grandfather, the thing was absurd. I could not look myself in the face and do it. It was outraging every law of Lavater. My fiercest scowl was a milk-and-watery accompaniment to my bloodthirsty speeches; and, when I tried to smile sardonically, I merely looked imbecile. But crape hair and the rouge pot changed all this. The character of Hamlet stood revealed to me the moment that I put on false eyebrows, and made my cheeks look hollow. With a sallow complexion, dark eyes, and long hair, I _was_ Romeo, and, until I washed my face, loved Juliet to the exclusion of all my female cousins. Humor came quite natural when I had a red nose; and, with a scrubby black beard, I felt fit for any amount of crime.