The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-11-17
IMUSE1fEN1a



which have cost them the most effort.
But. ne II to Offset this men also prize those |
things in others which betray the least effort
80. although Mr.. Edwin Booth does not APP |
parently care to have this unique mpcrsona- |
ton considered his best. and therefore gives 1t |
place In his series but once or twice. and then |
grudgingly. his critics and admirers nre nj
most unanimous In declaring that 1t Is the role |
above all others in which we lose sight Of the |
eocuton md Cruces OF the actor in the deep
significance Of the character.
Very much OF Mr.. Booths merit as an actor
IL rhetorical. and in the speaking rather than
in the seeming and doing. His immobilty OF
face prevents him from exhibiting grndations
Of passion. 1t preserves in all circumstances
and in all conditions. n severe melancholy. and
only in the fury OF tragic climax do its lines be-
come plastic. and then only for moment.
Few actors who have attained to Mr.. Booths
position upon the stage have had such mask
fitted to Thorn by nature. In Oiheilo and Rich
ard he puts another over It with great property
room skill. But the face itself Is incapable OF
lighting up with fervor. OF irradiating Joy or OF
being transnRured by any OF the nobler or more
tender emotions. And we must not forget that
the power OF transmitting the contrasting pas
sions Of the heart with facility by facial means
has always been considered one OF the marks
Of histrionic aptitude.
In Hamlet we find this face accidentally fixed
in what is thought to be the proper intellectual
sadness ofthe Dane and in Ioeo II is easily made
to lend itself to what is intellectual vilainy and
is at no time trayersed by Kindness or disturbed
by the weakness OF mercy. In these roles II is
therefore left unadorned. so to speak. with the
touches that art kindly gives TO mmobility in
other characters.
1t is n strong and sombre fa0s that. unasso-
ciated with stage triumph and pictorial nss ump-
tons. would not DO called handsome. But It
would anywhere and at all times be recognized
instantly as face OF character and purpose.
with certain fascination In its dusky pensive-
ness
There Is in Mr.. Booths voice the same fixed
quality that forever dominates his face. The
tones are clear. vibrating. and strong. but
their intrinsic color never changes.
He varies the pitch and intensity Of his tones
with rare skill. and increases the rapidty OF his
utterance when in the tumult OF action; but 1t
| is always the voice OF Hamlet and with the
same unmistakable limitations Of quality.
Although 1t is true enough that every voice
has It's own peculiar timbre. or what the Ger
mans more exactly call KianoJarbe. which may
| be said to represent the individuality OF the
person and to DO Interchangeable. 1t is also true
that not only is acting in Its best estate an en-
| deavor TO assume come other than the actors
Individuality but the eminent players Of the
stage have succeeded In such assumption by L
modification OF their vocal peculiarties.
In other words. versatility has a voice OF many
stops. and most OF the great actors OF tradition
! were organ toned.
1t was this peculiarly that made people say
Salvini reminded them Of Forrest.
An interesting study might DO made Of the
successive voices OF youthful ardor. OF reflect
i've maturity. and of dotinG age as the gifted
players OF our generation have declared them
In Romeo Hamlet. and Lear.
Such a study. based upon knowledge OF or
Ranic laws. would not present Mr.. Booths as
sumption Of the three characters in as iayora-
BILE light as we are accustomed TO see him.
II Is a physiological fact that love. reflection
and decrepitude have their own tones. Mr..
Booth. who read the part OF Romeo in his own
theatre better than 1t had ever been read here
failed to embody IT, 1t was Hamlet reduced to
restlessness.
II should call him u fine artculating but
not a tonAl actor. you would now understand
me.
: These organic limitations must not be over
looked In any attempt TO properly adludicate al
actors claims. for. however much soul he maj
have. however fine his sensibllites. or acute hi
feelings or clear his perceptions TO act ID 10 de
\ | clhFt the proper tulhtlpuN. HiTlN ptc9f9
sion Of intelligence and sympathetic feelings il
insufficient
They must be manifested under peculiar con
ditions. And this consideration makes all at
4 tempts 10 gain positive knowledge OF stage ex
celence start with the instrument which trans
mits. rather than with the ANNA that is mad
known to us through H.
A striking illustration OF the truth revea!e,
here 10 10 he found in two conspicuous actrcsse
familiar To the New York public One is tn
soul OF sensibility and the flower Of intelligence
. She suffers with all suppostitious distress an
sympathizes with imaginary woe. But sh
never moves an audience. The other lack
sympathetic power entirely. Her nerves are o
steel and her mind is undisturbed by scenes o
misery and suffering. but she puts in evidenc
those qualities which make everybody else fee
And the grand mistake is constantly made 0
/ attributing TO her qualities which she does nc
I. possess and Of denying 10 the other capabilitie
I which in truth are 80 large as 10 operate as i'm
pediments.
do not think that Mr.. Booths conception O
Hamlet or Iago Ia any truer than his concepto
Of Romeo or 0'lello. But his Performance c
Hamlet and Ia0o has a truth that he cannot de
liver in the other roles.
The gap between Otltello and Ia0o Is the ga
between a passion and purpose. and 1t is 4
purpose as we see " IN Idgo, or us Auctuhtlon
e az we see them In Hamlet. that Mr.. Booth
strenuous and incisve talents dominate. Til
fountain OF his impulses never quite rises |
y the stormy heights Of the Moor. calculate
). and exquisite method does not sweep with th
1 orientalsm. the semi -barbaric potnp. III
Il awakened animalism. Of the frenzed Ofbfuo.
: The native hue Of resolution is scklied %
I, with the pale east Of thought. The very Ton
o rent tempest. and as l may say the whirwin
2 OF passion beRets a temperance that is more II
o dicative Of the obedient servant Of art than
z the compelling muster OF human passion.
do not say this deprecatingly. am not tn
: ing 10 disparnge. but TO discriminate.
}. When Mr. Booth played Romeo. It was ol
= served that he was hero but not lover. tt
ardor OF youth. that fine enthusiasm Of your
love. became the same strenuousness thar Is :
n palpable In other roles. The amorous bloom
e the work was rubbed of. Love is unquestioI
- ably the animating principle Of the tragedy b.
- II was said with much truth that this Romeo
y love was like the subdued jealousy 81 Whei
" and the modified vengeance Of Hamlet.
~ The ehnnpR OF Intensity. not OF Ulnllt