To the Elizabethan actor a warm tribute is due. Shakespeare has declared with emphasis that no amount of scenery can secure genuine success on the stage for a great work of the imagination. He is no less emphatic in the value he sets on competent acting. In _Hamlet_, as every reader will remember, the dramatist points out the perennial defects of the actor, and shows how they may and must be corrected. He did all he could for the Elizabethan playgoer in the way of insisting that the art of acting must be studied seriously, and that the dramatist's words must reach the ears of the audience, clearly and intelligibly enunciated. "Speak the speech, I pray you," he tells the actor, "as I pronounce it to you, trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus; but use all gently: for in the very torrent, tempest, and--as I may say--whirlwind of passion, you must acquire and beget a temperance, that may give it smoothness. "Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature. O! there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably." The player amiably responds: "I hope we have reformed that indifferently with us." Shakespeare in the person of Hamlet retorts in a tone of some impatience: "O! reform it altogether. And let those that play your clowns speak no more than is set down for them." The applause which welcomed Shakespeare's masterpieces on their first representation is adequate evidence that the leading Elizabethan actors in the main obeyed these instructions. VIII Nevertheless the final success of a great imaginative play on the stage does not depend entirely on the competence of the actor. Encircling and determining all conditions is the fitness of the audience. A great imaginative play well acted will not achieve genuine success unless the audience has at command sufficient imaginative power to induce in them an active sympathy with the efforts, not only of the actor, but of the dramatist.