The aegis & intelligencer. [volume] (Bel Air, Md.) 1864-1923, 1905-06-09
Joseph Jefferson.
CONTINUED FROM FIRST PAGE.

that caused him to convert his act with
the ghosts of old Hudson and his crew
rior actor would have dispelled all illu-
sion and reduced the scene to the level of
q Christmas spectacle. but by combining
the phantoms to pantomime, in which
they could be thoroughly drilled. he made
himself sole master of the situation.
With what wonderful skill he managed
it, with what variety of delicate by-play
in gesture and information he depicted the
struggle between his own reckless humor
and the rising emotions of amaze ent,
curiosity and awe will be remembered by
many thousands of playgoers young and
old. The illusion created by his own act
ing was so powerful that it was almost
tres themselves. 1t would occupy too
much space to speak in detail of the
many beauties, not easily lending them
selves to written description, of his con-
Guiding scenes; of the mingled pathos and
humor of his awakening, of his incredu-
lous and wistful wonder at the changes
in himself and his old village, of his timid
and finally successful efforts to re-estab-
lsh his identity. Suffice it to say that
his old Rip was in all respects, in perfec-
ton of technical detail as in conception,
as vital as the young one, and that even
in his later years, when age had set its
mark upon him, and made it difficult for
him to counterfeit the appearance of
youth, he was still able to conjure up its
spirit.
In word, his Rip Van Wrinkle was one
of the most perfect realizations of an
ideal character ever seen upon the stage.
The ideal itself, of course, was in many
ways unworthy, false and inconsistent.
But artistically the actor gave it the full
est possible Interpretation. His imper-
sonation will live in stage history as one
of the perfect gems of acting, comparable
with the Falstaff of Quinn, the Richard
of the elder kean, the Sir Pertinax Mac
sycophant of Phelps, the Iago of Edwin
Booth, or the Conred of Salvini in al
morte Civile." These differ in kind and
value, of course, but resemble each other
in perfection of achievement and truth of
conception To few actors has it been
given to create more than one master
,,;aca ,,J Tafarcou ,,aysr did anv+tinu
else equal to his Rip. His Caleb Plum
mer was quaint, humorous and pathetic,
but not vital 1t was inferior to that of
Owens His Bob Acres was an exquisite
bit of refined fooling, comic from periwig
to toe-tip, and charged with all the
actors personal attractiveness, but had
little or nothing in common with the
character as designed by Sheridan. His
Salem Scudder was good specimen of
the stage Yankee. His Pangloss and his
Ollapod, like his Acres, were in many re-
spects but eccentric manifestations of his
own identity. OF his earlier impersona-
tions none are now remembered. They
included among others Simon Lullaby,
Joshua Butterfly, Tony Lumpkin, Cold
finch, Moses Gin THE School for Scan
dalO, and Dogberry. All his later i'm
sonations were notable for the minute
and perfect finish of their executive de-
tails and the humor which was insepa-
rable from the actor.
Herein. perhaps-always excepting his
Rip, in which artistic skill and tempera-
mcnt were supplemented by thorough
comprehension and reinforced by imagi-
nation-lay his chief distinction. Hiscr
ative power was limited, but of the art
of acting, within his range, he was con-
summate master. He learned his trade
in the best of schools, the old stock COM
panies, and throughout his career, by
conscientious industry and care-he never
was slovenly-he constantly bettered his
instruction So he won his way to the
head of his profession. No man in it was
more honored, not only for his achieve
ments, but for his spotless character. If
he did little to promote the development
of theatrical art he at least reflected Gre
dit upon the theatrical calling by the ex-
ample of clean and dignifed life. In his
private capacity he was the valued friend
of many of the leading men in politics,
art and literature, while he was a great
favorite in general society. Of nature he
was a great lover. and many of his lei
sure hours were devoted to painting, in
which, as an amateur, he attained high
proficiency. He was also an ardent dis
ciple of Izaak Walton, and reader of
good books. In his domestic relations
he was peculiarly happy. A simple
hearted, honest gentleman, good citi-
zen, and an accomplished artist, he play
ed his life part well, and although he has
made his last exit, his memory will long
remain green.
Seldom has an actors life been filled
with greater honor or prosperity, or had
ahappier ending. Although hecontinued
acting into old age, he never incurred the
reproach of the veteran tagging supertiu-
Gus. After few years of the rough expe-
rience expected by all actors of his era, he
foated into permanently smooth waters
which carried him gently into harbor
His last appearance on the stage was
made in Paterson, New Jersey, in June,
1904, but he had no thought of his la
bors being ended A severe attack of in
digestion last autumn weakened him con-
siderably and he announced on the 1st of
October that he would act no more He
expressed an intention, however, of fac
ing the footlights once again for the pur.
pose of making farewell address. This
privilege has been denied him, but it was
not essential to his remembrance By
the theatrical profession at large he will
be missed, for he was always willing to
give his services for the benefit of his less
l..