la Mode) and Shylock were considered unsurpassable. In tragedy, in addition to Richard, he was a notable Iago. Though King Lear was not one of his signature roles, his interpretation of Lear's madness influenced that of Kean and other actors. Yet his performance in roles that required refinement or restraint was almost universally disparaged—perhaps inevitably, given the looming shadow of Kemble. His Hamlet was a failure. As Macbeth, he was said to manage nothing better than "low cunning." Henry Crabb Robinson reports that Cooke failed in Kotzebue's The Stranger; Robinson expressed a common opinion when he concludes that however compelling a presence, Cooke was too coarse for the greatest tragic roles. Leigh Hunt agreed, arguing that Cooke reduced all of his characters to their lowest motives. Of Cooke's famous style of declamation (like Macklin, he delivered soliloquies as if thinking aloud), Hunt complained that it merely turned Shakespeare's poetry into indignant prose. As Richard III, Cooke offered an interpretation that both differed from and excelled Kemble's rather staid performance. In such melodramatic scenes as the murder of Henry VI, Cooke excelled in conveying Richard's horrid glee (as, indeed, had Kemble); unlike Kemble, however, Cooke was also able to convey a sense of Richard's disgust with himself. This aspect of Richard was most notable in his discussion of his hunchback and in his response to Norfolk's doggerel in 5.2. Where Kemble had simply brushed the bad news aside, Cooke pondered the verse carefully before rejecting it without force. The effect was to deepen Richard's characterization, providing him with a gradually increasing awareness of his own villainy. Cooke's Richard was, then, something more than the fairy-tale ogre described by Charles Lamb. On the whole, though, the limits of Cooke's talent are indicated by the probably apocryphal story related by Macready and others. Wishing to impress well-born visitors with his mimetic talent, Cooke made a number of faces meant to represent various emotions. One of his looks stumped the visitors. They guessed rage, anger, and revenge before Cooke, exasperated, told them it was meant to be love. Legacy Scottish dramatist John Cargill Thompson wrote a one-person play The Actor's Apology about an incident when Cooke was forced by theatre management to make an apology to an audience for his drunken performance. Notes External links Drawings of Cooke on stage at the National Portrait Gallery References 1756 births 1812 deaths 18th-century English male actors