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A DRAMATIC CRITIC constantly prominent by the tragedian's methods, certain definite and necessary results were reached. Hamlet differs from Shakespeare's other tragic heroes both in his supernatural experience and in his unique spiritual constitution. The grim effects of jealousy upon Othello and of ambition upon Macbeth, the griefs which work their torture and their transforma- tion upon King Lear, do not separate these men from others of the human family, — rather ally them with every human crea- ture. But the bark of Hamlet's misfor- tunes is borne upon a current whose dark waters flow from the undiscovered coun- try. Macbeth questions with witches and is visited by ghosts, but at every step his path is shown to be of his own making. To Hamlet, by the conditions of his life and his soul, is given the largest oppor- tunity for choice, and the smallest power of choosing. Mr. Booth, with careful and scrupulous art and full success, attempted [ 140 ]
EDWIN BOOTH thus to distinguish the Prince of Denmark from all the rest of the world. His eyes, after the fourth scene of the first act, never lost the awful light which had filled them as they looked upon his father's ghost; his voice never quite lost the tone which had vibrated in harmony with the utterances of that august spirit. After all, there is a fine fitness in that closeness of association between Edwin Booth and Hamlet the Dane, which is to abide as long as the man and his art and his life are remembered. In his largeness and sweetness, his rare delicacy and sensi- bility, he was nobly human to the core, after the pattern of the most human of all the creations of the Poet. Like the mel- ancholy prince, he was required to drink the bitter water of affliction, and to hold his peace when his heart was almost breaking ; and, in its extraordinary depth and reserve, his soul, even as Hamlet's and as Milton's, " Was like a star, and dwelt apart." C HI ]
- Page 111 and 112: CHARLOTTE CUSHMAN mendations " and
- Page 113 and 114: THE XII E. A. SOTHERN, Sr. most not
- Page 115 and 116: E. A. SOTHERN, SR. inverted as in a
- Page 117 and 118: E. A. SOTHERN, SR effective for mir
- Page 119 and 120: E. A. SOTHERN, SR. thrown completel
- Page 121 and 122: E. A. SOTHERN, SR traordinary were
- Page 123 and 124: E. A. SOTHERN, SR. Tragedian, a dra
- Page 125 and 126: E. A. SOTHERN, SR sought or seeking
- Page 127 and 128: THE ISOLATION OF ACTORS plish. Behi
- Page 129 and 130: THE ISOLATION OF ACTORS fictive mat
- Page 131 and 132: THE ISOLATION OF ACTORS rary life w
- Page 133 and 134: DURING XIV Charles Fechter the seas
- Page 135 and 136: CHARLES FECHTER holding the lease o
- Page 137 and 138: CHARLES FECHTER psychic scheme, but
- Page 139 and 140: CHARLES FECHTER man, treasure, pabu
- Page 141 and 142: CHARLES FECHTER clouds, where Shake
- Page 143 and 144: CHARLES FECHTER and in his final dy
- Page 145 and 146: CHARLES FECHTER Glavis, there was a
- Page 147 and 148: CHARLES FECHTER on lines already in
- Page 149 and 150: CHARLES FECHTER internal discords,
- Page 151 and 152: THERE is XV Edwin Booth no occasion
- Page 155 and 156: EDWIN BOOTH A famous nomen I called
- Page 157 and 158: EDWIN BOOTH creations, because of t
- Page 159 and 160: EDWIN BOOTH ated with his name. Tha
- Page 161: EDWIN BOOTH gance and distinction o
- Page 167 and 168: TOMMASO SALVINI combination tolerab
- Page 169 and 170: TOMMASO SALVINI the past fifty year
- Page 171 and 172: TOMMASO SALVINI ing Shakespeare and
- Page 173 and 174: TOMMASO SALVINI of rare delicacy be
- Page 175 and 176: TOMMASO SALVINI interpretation of K
- Page 177 and 178: TOMMASO SALVINI Every phase of the
- Page 179 and 180: TOMMASO SALVINI and sobbing; strong
- Page 181 and 182: TOMMASO SALVINI fresh and unconvent
- Page 183 and 184: XVII Adelaide Neilson NO player in
- Page 187 and 188: ADELAIDE NEILSON failing health, sh
- Page 189 and 190: ADELAIDE NEILSON to be much remembe
- Page 191 and 192: ADELAIDE NEILSON ing interview with
- Page 193 and 194: ADELAIDE NEILSON " False to his bed
- Page 195 and 196: ADELAIDE NEILSON remember the beaut
- Page 197 and 198: ADELAIDE NEILSON belongs, and at th
- Page 199 and 200: XVIII Memorable Experiences of Sing
- Page 201 and 202: MEMORABLE EXPERIENCES carded, and t
- Page 203 and 204: MEMORABLE EXPERIENCES mon touch as
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- Page 211 and 212: XIX An American Theatre Privately E
EDWIN BOOTH<br />
thus to distinguish the Prince of Denmark<br />
from all the rest of the world. His eyes,<br />
after the fourth scene of the first act, never<br />
lost the awful light which had filled them<br />
as they looked upon his father's ghost; his<br />
voice never quite lost the tone which had<br />
vibrated in harmony with the utterances<br />
of that august spirit.<br />
After all, there is a fine fitness in that<br />
closeness of association between Edwin<br />
Booth and Hamlet the Dane, which is to<br />
abide as long as the man and his art and<br />
his life are remembered. In his largeness<br />
and sweetness, his rare delicacy and sensi-<br />
bility, he was nobly human to the core,<br />
after the pattern of the most human of all<br />
the creations of the Poet. Like the mel-<br />
ancholy prince, he was required to drink<br />
the bitter water of affliction, and to hold his<br />
peace when his heart was almost breaking ;<br />
and, in its extraordinary depth and reserve,<br />
his soul, even as Hamlet's and as Milton's,<br />
" Was like a star, and dwelt apart."<br />
C HI ]