Well said, Dick!«
    I then observed Shakspeare standing between Betterton and Booth, and
deciding a difference between those two great actors concerning the placing an
accent in one of his lines: this was disputed on both sides with a warmth which
surprized me in Elysium, till I discovered by intuition that every soul retained
its principal characteristic, being, indeed, its very essence. The line was that
celebrated one in Othello -
 
                 Put out the light, and then put out the light.
 
according to Betterton. Mr. Booth contended to have it thus: -
 
                 Put out the light, and then put out THE light.
 
I could not help offering my conjecture on this occasion, and suggested it might
perhaps be -
 
                 Put out the light, and then put out THY light.
 
Another hinted a reading very sophisticated in my opinion -
 
                Put out the light, and then put out THEE, light.
 
making light to be the vocative case. Another would have altered the last word,
and read -
 
                 Put out thy light, and then put out thy sight.
 
But Betterton said, if the text was to be disturbed, he saw no reason why a word
might not be changed as well as a letter, and, instead of »put out thy light,«
you may read »put out thy eyes.« At last it was agreed on all sides to refer the
matter to the decision of Shakspeare himself, who delivered his sentiments as
follows: »Faith, gentlemen, it is so long since I wrote the line, I have forgot
my meaning. This I know, could I have dreamt so much nonsense would have been
talked and writ about it, I would have blotted it out of my works; for I am
sure, if any of these be my meaning, it doth me very little honour.«
    He was then interrogated concerning some other ambiguous passages in his
works; but he declined any satisfactory answer; saying, if Mr. Theobald had not
writ about it sufficiently, there were three or four more new editions of his
plays coming out, which he hoped would satisfy every one: concluding, »I marvel
nothing so much as that men will gird themselves at discovering obscure beauties
in an author. Certes the greatest and most pregnant beauties are ever the
plainest and most evidently striking; and when two meanings of a passage can in
the least ballance our judgments which to prefer, I hold it matter of
unquestionable certainty that neither of them is worth a farthing.«
    From his works our conversation turned on his monument; upon which,
Shakspeare, shaking his sides, and addressing
