New-York tribune., 1889-11-05
THE DRAMA---MUSIC.
EDWIN BOOTH AS HAMLET.

and sympathetic company saw the performance win
deep interest and often expressed the warnest adnra
ton Of H. He acted IL In the same prnceiy way tha'
we have all known long and loved so we'll HIS
embodiment has lost particle OF the Inherent truth
the intellectual vitality the spiritual charm. and the
physical grace that long ago made IT victorious and
triumphant over the sensibilty and the mind of the
age 1t stood forth last night as clearly as 1t has
ever done-a pleasure to the eye, marvel to the
sense of artistic form and moving thrilling presence
10 the imagination and a sadly significant emblem W
the spiritual consciousness. Edwin Booth was never
at any time inclined, when impcrsonang Hamlet "
employ those theatrical expedients that siar,ie a..
audience and diiuse nervous excitement " ~
himself to be less inclined to them than ever, -
Except at the derious moment when the f1in' ,h.
upon the arrss and stsos uiio1e d tho
hidden spy whom he Wildly hopos ,uou,
King his acting was never oVer"N .'
that mood of inselectus u,t Tn
which essentially is the condinoh "a - hal,
that moment his burst OF iTonli01 A.. ....,,r
horror and halfexutant delisht-nocra'o" 'l's %
,ha, sr,o,ld,rs beneath Hsmlefs cam' ana II was
.na' ae.s.s,IInp There were indications Of the
~ ~.-,on ,n the delivery Of the solioquy upon the
.1s.., Grief Of the player, at the climax
% the Play Scene and IN the halfiuha'io
rant over ophea's grave. But these variations
onlv served 20 deepen the darkness OF misery with
which his embodiment Of Hamlet is saturated and the
II IS swsthed
Now as always hitherto. Edwin Booths ideal of Ham
et is an entirely noble person overwhelmed with fata
grief which he endurcs for the most part with pa
tient sweetness that is deeply pathetic, but which
somet,rnes drives him into dellrum and must IN
evtably cause his death. In his expression OF this
IDEAL, which is true TO Shakespeare. he has never
vet gone as far shakespeare's text would warrant
lie has never yet allowed his votaries TO see Hamet
as Ophelia saw him. in that hour Of eloquent revelation
yhenwithout artifce and in the unpremeditated can
dor OF involuntary sinoerityhis ravaged and bghted
figure stood before her in all the pitabe disorder OF
self abandoned sorrow. 70 show Hamlet in that way
would be TO show him exactly he is in Shakespeare
hut in theatrical representation that expedient While
IL might crafty the few, would certainly rcpel inc
MANY Real grief is not attractive, and the grei OF
Hamlet is real 1t is not simply hhal sorrow lor
the death Of his beloved father; mournful shame
at his mothers hasty marriage with his uncle; an
a1icton of the haunted soul because 1t knows that
his fathers spirit is condemned to fast in fires and
10 walk the night 1t IS deeper than all these. III
is an elemental misery, coeXistent with MS Dels
coincident with his conviction of the utter faVul'y
OF all this world and with his mental paralysis OF COM
prehenson-awe- and half insane-in presence
of the unfathomable misery that environs mans
spiritual life. Entirely and literally TO embody the
man whose nature Is convulsed In this way would
be 10 oppress an audience with what few persons
understand and most persons deem intoeraoie the
reality of sorrow. Hamlet upon the stage must DC
Interesting and in certain sense he must be Drill
liant; and Edwin Booth has always made him So
hut this noble actor-sO fine in his intuiuons so Just
IN his Reimbursement be otherwise than true to his
artistic Coincidence He embodies Hamlet not simply
A. the picturesque and interesting central heure III
a story Of intrigue half amatory and haif ponucai'
IN an ancient royal court, but as the representative
type OF man at his higher point OF developmen''
valnly contrasting the darkness and doubt that en-
nafp-
mortal state and because his vision Is TOO coniprS
bensive his heart too tender and his VIII 100 weak
s,r the circumstances of human life) going 10 MS
death at last, broken, oelec"u' po"ou'
mystery among mysteries. anu Oo
plete and disastrous failure, but glorious
through it all. and infinitely more precious 10 .noo.
who even vaguely comprehend his driit' than to no'
successful man that ever was drawn
Treating Hamlet in this spirit Edwin Booth IS not
content merely TO invest him with symmetry Oh loi.'
poetry Of motion. siauesque grace OF pose az"
exquisite beauty of musical elocution' ana - s
80 srac,ous attributes with dignity OF NINA anu
snontanoous and lnerring refinement Of temperament
and manner he goes much 1urther' ucoaVso "o "
lumines the whole figure with tremuious Hsn' Va
aeonIzed vitality. This is the true Hamlet-ih whose
bosom burns the fire that IS not quenched Ana there
fore II IS important that students of shakespesN'
rbo arc of course students OF human life ana OF
themselves, and who think that perhaps they are ID
this world for some higher purpose than the CON
sumpton of food and the display of raiment,-shouu
.se this great work, and think upon
a. and gather what strength ana cheer
they can from the observance of 1t. 1t is more that
acting or rather 1t is acting applied to its highest
nnrn9Se and Invested with such dignity power % asiu
meaning may content an intellectual peTSo p bn
Leing a spectaor of 1t. Many efforts 10 engage the
sttetioD of the public put forth last nlgh upon
the stage in this city, No one OF Ine,m aOSe ~ ro %
acedings ~ neopIe In theatres have seemed 10 Dc no
more important than the icaPlhs ana ana rncnl ~
10 see a dramatic performance that truly means SOME
binr-at once iusifying the public attehioh am snd
indicating the authority ana Dehehcece VI 'n0 'o'oD
Hamlet" has been set upon the stage, in this in
Searly always well built in New.YOrk, but 1t Is |
always well B painted dos aoi' s65 thew OF seem O1p to-
like that everything should look as II II were new |
The exterior views Of Eslnore IN THIS case nave an
and the interiors often credaby mellow IN tome
gray and dark gold being much used-DesueS DeiuS
tapestry. The parts auxiliar 10 Hamlet have been
cas- with good Judgment aside from po M@e ModlesNs me-
cOnRcuousy brilliant one but It Is ecent ana
Se iSd 1as are PoSnns Mr.
Rogers tender quaint and unconsclousy dron per
the Queen BY Gertrude Kellogg and Laertes by Otis |
Skinner Nine. Modiesks IS more than good as an |
She is mature h ana dasny nedNy me
mind with her true and touching knowledge OF the |
char =, ot qnaSy ana 1t So a. eDs serSc
She makes ophelis far more passionate woman than
Shakespeare has made her: hut for this there no
experience his bafled desire find rest in his love-
his crushing lesson not only that Ophea Is wholly |
incompetent to understand him but that the stronger
and finer nature is, whether Or woman. the |
more inevitably must 1t stand alone. This hope by
which SO many people all their are lured and
bsned OF hnding another heart upon which 10 repose
when the burden of life becomes too heavy is Of all |
1nock keries the most senseless mockery. Nine. |
MOdteska an artist could fail 10 play Ophelia
IN way 10 inspire personal interest: but with her |
experienced demeanOr. resouie character and steel
like precision Of purpose and Of touch. she over |
weights the fragile lOveness and meek surrender of |
the Rose Of May. while aGoring conclusive |
evidence Of her fine faculties and her rich artistic
equipment Applause abundant and calls were |
numerous.
WILSON BARRETT IN BENNY. .CHREE."
Wilson Barrett has good reason TO be proud not |
ny Of the numbers but OF the nature of the audience
49,. - ~.