Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1882-01-22
ADJUSTMENTS.

Yesterday afternoon Edwin Booth ap-
peared at the Memphis Theater in his unap-
proachable rendition of the character OF
Hamlet" 1t is hardly necessary To record
the fact that he had an Overlooking audience.
Every seat in the house was taken, the aisIes
were filled, and some epterprisipg individuals
were actually sitting upon the stage. The
character which he was called upon to de-
lineate is probably the most famous in his
repertoire. Ever since HdmIet was written, the
character of the melancholy Dane has been
the puzzle of the critics and intelligent
lovers of the drama. There are those who
contend that Hamlet's assumption Of insanity
eventually drifted into real madness. In
proof of this the scene with his mother is
adduced, in which the ghost OF his father ap-
pears to him but not to her; and it is
at this point of the play, say some of the
critics, that insanity begins. The opinion of
later critics generally tends to the theory
that "Hamlet" was really sane; and a read
ing of his lines throughout the play is clear
ly consistent with the idea OF sanity; and
furthermore, come OF the soliloquies, the
ff-hand speeches with his friends, are
marvels of intellectual delicacy and thor
oughly incon sistent with the dull rawlings of
a maniac. If anyone had any doubts upon
the question, Mr.. Booths superb conception
of the character, attended by the most
finished and picturesque details of his art,
must have surely set them at rest. To make
a mailman of Hamlet" is to take the pith
of interest from the play; it would become
worse than rubbish, because it would be
purposeless and robbed of all claims upon
the intelligence of an audience. And
then what would become OF those splen-
did solIloquies, the finest, the most
touching, the most thrilling in all the range
of literature? In these Hamlet sends forth
the cry of his soul with all its longing to be
e. IL
by his fathers ghost. Can we not see in this
the ever-active conscience of a iinely-strung
man? To pronounce these the stray truths
from a madman's brain, the hap-haz ard gems
OF thought OF disordered mind, is TO de-
prave them utterly. Looking upon Hamlet
through the magic spectacles Of Mr. Booths
conception, we find it one CT the most inter
estirg, finely colored characters upon the
stage. Riehetieu may appear to Us more as a
play; The Fools Reueage may have more
sweep OF the passions In it, but in neither do
we find the food for study that we do in the
striking character of the Dane, with all its
poetry, its clear-cut charm, and its spiritual
power. II is a character indissolubly en-
twined about the name Of Edwin Booth.
1t has been ten years since the
present writer first saw the great tragedisn
as Hamlet" And while the difference be-
tween the Hamlet" of that day and The
Hamlet" OF this is not 50 great as the differ
ence between Hyperion and a satyr, it is still
decidedly marked. The character has under
gone the same refining process as the other
roles OF Mr.. Booth. 1t might be said that the
Hamlet" of to-day Is the finished picture OF
which the public then saw only the brilliant,
romantic outlines. 1t is marked now by the
repose of power. Gone are all the manner
isms and defects and in their stead we have
the perfect image, the ideal Hamlet 1t is
safe to say that Mr.. Booth is the only actor
on the American stage that can play "Ham-
let" Other portrayals OF the character be-
come stale when placed beside the radiant
beauty Of his. He has not attained these !
effects at The sacrifice of the strength in |
herenf in the part The bounds of nature |
are never o'erstepped.
1t is not necessary to dwell upon the va
rious fine points OF Mr.. Booths impersona-
tIon. 1t would really be unjust TO speak OF /
points" in rendition practically perfect |
He was most ably supported. Mr.. Barton
Hill made an excellent "King" Mr.. White |
car, a most promising young actor, was /
fine "Laertes." Miss Pateman's "oPhelia"