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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 ]

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 ]

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