New-York tribune., 1884-03-25
EDWIN BOOTH AS HAMLET.


EDWIN BOOTH AS HAMLET.
Mr. Booth made his re-entrance in New-York
last night appearing at the Fourteenth Street Thea
tre in the character of Hamlet. His audience was
numerous and Sympathetic, and 1t greeted hlm
with hearty welcome and followed his perform
ance with attentive interest. lie was assisted by
the same associates that were seen in his company
earlier in the season, at the Star Theatre, and the
tragedy was set upon the stage in respectable
scenery, neither elaborate magnificent, but
often more than good.
Mr. Booths lmpersonation Il Hamlet is one of
the best known works of the dramatic age, and it
has been very often described. In many minds
the actor and the character have become Identical
and 1t if not to be doubted that Edwin Booths per-
fOunauce Of Hamlet will live, in commemorative
dramatic history, with the great representative
cmbOdiments of the stage-with Garricks Lear,
Kembles COriOldnUs Edmund Kean's Richard ILL.,,
Macready's Macbeth, and FORESTS OthelIO, which
are mentioned here, not TO the disparagement of
other works, leading types of their immortal
class That 1t deserves this rank and this perma-
nence is the CONVICTION of great body of thought
full students of Shakespeare and Of the art OF act
ing, in Great Britain and Germany as well as IN
America. In the elements of intellect imagination,
sublimity, mystery, tenderness, ncipient delirum.
and morbid passion ii is found exactly cou-
sonant with what the best analysis
has determined as to the ideal of
Shakespeare while in sustained vigOr picturesque
variety and beautiful grace of execution, it GER
tainly is a model Of executive art-whether regard
be given to demeanOr, the atmosphere of the
soul facial play, gestculation OF fluent and spon-
taneOus delivery of the text delivery that makes
the blank verse natural in its effect az blank
verse ought 10 be can be, without ever dropping
1t TO the Lowell of cOIlOquiasm and commonplace.
1t might not be difficult TO indicate dubious points
in Mr. Booths ideal and inequalities in his execu-
tion of this strange and difficult character. His
Hamlet Is = sane man, who feigHs insanity; the in
sanity never becomes actual. His Hamlet does not
love OpAelag bat mas left behind him not only
that special love, Dut love ltself-whIch
Is some ming that he remembers, but can
no longer fsel. His Hamlet retains under all the
shocks OF spiritual aflictIon and through all the
blight Of physical suffering, potent intellectual
concentration and prlncely nvestiture OF decorous
elegance 1t is not Hamlet Of collapse and ruin.
Finally his Hamlet is neither fat" nor "scaut of
breath neither lethargic with the languor Of
settled immedicable misery nor wheezy with the
heshly gr)ssness of supine sloth and abiect pros
tration The heart is corroded with sorrow but the
brain stands firm On all these points of course,
there is for discussion.
On the other hand, in should be observed that
there are moments when the sanity of Mr.
Booths Hamlet lapses into mOmeutary frenzy; that
most pathetic involuntary tenderness plays through
themanner of his Hamlet toward Ophelta, whom once
he has loved and trusted, but whom lie now knows
to be fragile and Insignificant nature, however
lovely and sweet and that the perva5ive tone
of the embodiment is that of sad isolation from
human ity, a dream-like vagueuess of condition.
rs of one who wonders upon the dusky confines Of
another world,-and drifting incertitude that Is
very eloquent of the ravages of terrible spiritual
experience In this latter attribute resides the poetic
charm Of Mr.. Booths performance of Hamlet, and
In the poetic charm the tine intellectually, and
the graceful execution Of the work is found the
secret at Of its extraordinary beauty and its
remarkable influence.
Il is trte observation that acting at
its best, is the union of perfect expression with
true IDEAL Mr Booths IDEAL of Hamlet has
undergone many changes and it satisfies the
imagination especially in this respect, that 1t
leaves Hamlet substantially underlined The old
time precision has worn away. The character, OF
rather the temperament, is deeply felt, Is given
with flashes of great energy, and at moments Is
made exceedingly brilliant; but for the most part
II Is lived out in a dream, and is left to make its
own way. There is no insstenCe on special
views on being spec hcally understood. And this
mood tones the execution and gives il HexibiIty
an1 warmth. Blr Booth is actor of uncertain i'm
pulses and conditions, and is only rightly under
stood by those who see him often, in any specified
character. Like all persons Of acute sensibilIty,
be has his good moments and his bad
ones-mOments when the genial fire of the
sonl is liberated and moments when the artistic
faculties can only operate IN the hard and cold
mechanism of profe essional routine. More than
during the season which he viii now close with
brief series of performances at the Fourteenth
Street Theatre he uas impressed his hearers as
lethargIc and indifferent Last night be put forth
uncommon power, aud in the ghost scenes and the
great third act, created a thrilling illusion and
lifted his audience into noble excitement. Such a
performance of Hamlet exats the appreclative
spectator By arousing sense OF the p2thos of our
mortal condition cOntrasted with the grandeur
of the human mind and the vast possibilities of
human destiny; and therein it is performance
of great public benefit and Importance. Mr.. Booth
Will be seen in round Of his familiar characters,
and will end his engagement on Saturday, April 5.
JOHN MCCULLOUGH AS BRUTUs.
NJ No, 81 Gtur fra nat