When the rumors about Booth being the murderer proved to be authentic, the police feared a possible outbreak of mob-feeling, and a demonstration against the theatre building, or against the actors individually; but we had been a decent, law-abiding, well-behaved people, liked and respected, so we were not made to suffer for the awful act of one of our number. Still, when the mass-meeting was held in front of the Capitol, there was much anxiety on the subject, and Mr. Ellsler urged all the company to keep away from it, lest their presence might arouse some ill-feeling. The crowd was immense; the sun had gloomed over, and the Capitol building, draped in black, loomed up with stern severity and that massive dignity only obtained by heavily columned buildings. The people surged like waves about the speakers' stand, and the policemen glanced anxiously toward the new theatre, not far away, and prayed that some bombastic, revengeful ruffian might not crop up from this mixed crowd of excited humanity to stir them to violence.
Three speakers, however, in their addresses had confined themselves to eulogizing the great dead. In life, Mr. Lincoln had been abused by many; in death, he was worshipped by all, and these speakers found their words of love and sorrow eagerly listened to, and made no harsh allusions to the profession from which the assassin sprang. And then an unknown man clambered up from the crowd to the portico platform and began to speak, without asking anyone's permission. He had a far-reaching voice—he had fire and "go."
"Here's the fellow to look out for!" said the policeman, and, sure enough, suddenly the dread word "theatre" was tossed into the air, and everyone was still in a moment, waiting for—what? I don't know what they hoped for, I do know what many feared; but this is what he said: "Yes, look over at our theatre and think of the little body of men and women there, who are to-day sore-hearted and cast down, who feel that they are looked at askant, because one of their number has committed that hideous crime! Think of what they have to bear of shame and horror, and spare for them, too, a little pity!"
He paused; it had been a bold thing to do—to appeal for consideration for actors at such a time. The crowd swayed for a moment to and fro, a curious growling came from it, and then all heads turned toward the theatre. A faint cheer was given, and after that there was not the slightest allusion made to us—and verily we were grateful.
That the homely, tender-hearted "Father Abraham," rare combination of courage, justice, and humanity, died at an actor's hand will be a grief, a horror, and a shame to the profession forever—yet I cannot believe that John Wilkes Booth was "the leader of a band of bloody conspirators!"
Who shall draw a line and say: here genius ends and madness begins? There was that touch of "strangeness." In Edwin Booth it was a profound melancholy; in John it was an exaggeration of spirit, almost a wildness. There was the natural vanity of the actor, too, who craves a dramatic situation in real life. There was his passionate love and sympathy for the South—why, he was "easier to be played on than a pipe!"
Undoubtedly he conspired to kidnap the President—that would appeal to him, but after that I truly believe he was a tool, certainly he was no leader. Those who led him knew his courage, his belief in fate, his loyalty to his friends; and because they knew these things, he drew the lot, as it was meant he should from the first. Then, half mad, he accepted the part Fate cast him for—committed the monstrous crime and paid the awful price.
And since,
"God moves in a mysterious way
His wonders to perform,"
we venture to pray for His mercy upon the guilty soul! who may have repented and confessed his manifold sins and offences during those awful hours of suffering before the end came.