the extremes of love and misery were so powerfully painted in his face, and so impressively given in his tones, that the audience seemed to lose the energies of their hands, and could only thank him with their tears.
We have to lament, that in many of the last acts of some of our best dramatic writers, there wants that degree of finish and grouping equal to the rest. Shakspeare sometimes has this want in common with others; but in this play he has lost none of his force and propriety of character—here all continue to speak the language of their conformation, and lose none of their original importance. Barry was an actor that, in this particular, kept pace with the great poet he represented—he supported Othello throughout with unabating splendor—his ravings over the dead body of the innocent Desdemona, his reconciliation with Cassio, and his dying soliloquy, were all in the full play of varied excellence, and forced from the severest critic the most unqualified applause.
That this our opinion is not exaggerated, we refer to that of Colley Cibber, an unquestionable good judge of his art, and who, with all his partialities to Betterton, yet gave Barry the preference in Othello. In short, it was from first to last a gem of the noblest kind, which can be no otherwise defined than leaving every one at liberty to attach as much excellence to it as he can conceive, and then suppose Barry to have reached that point of perfection.
His other favourite characters were, Jaffier, Orestes, Castalio, Phocias, Varanes, Essex, Alexander, Romeo, &c. In all characters of this stamp, where the lover or hero was to be exhibited, Barry was unique; insomuch, that when Mrs. Cibber (whose reputation for love and plaintive tenderness was well known) played with Garrick, she generally represented his daughter or sister—with Barry she was always his mistress.
He likewise excelled in many parts of genteel comedy; such as lord Townly, Young Belville, &c. &c. The Bastard in King John, was another fine character of his, which Garrick attempted in vain—having neither sufficiency of figure, or heroic jocularity. To that may be added Sir Callaghan O'Brallaghan, in Macklin's farce of Love-a-la-Mode; a part in which he gave such specimens of the gallant simplicity and integrity of the Irish gentleman, as were sufficient to establish an independent reputation.
Though his Hamlet, Richard, Lear, Macbeth, &c. were star height above what we see now, he lost by a comparison with Garrick. Here the latter showed the master in an uncommon degree; as he did in all the quick animated parts of tragedy. In the spritely, light kind of gentlemen, Garrick had likewise the advantage; and in the whole range of low comedy he blended such a knowledge of his art with the simplicity of nature as made all the minutiæ of the picture complete. Thus his Abel Drugger was as perfect in design and colouring as the miseries and distresses of Royal Lear.
In talking of these actors, it is impossible for the amateurs of the stage not to regret their loss with some degree of sensibility—not only as men who contributed to the entertainment and refinement of their youth, but whose death seem to threaten a decay of the profession itself. There are periods when the arts and sciences seem to mourn in sullen silence the departure of those original geniuses, who, for years, improved, exalted and refined them; and, like widows, whose hearts were sincerely pledged to their first lords, will not sacrifice on the altar of affectation to secondary wooers. Painting and statuary suffered such a loss in the deaths of Titian, Raphael, and Michael Angelo, that more than two centuries have not been able to supply it; and how long the present stage may want the aid of such powerful supporters as Garrick and Barry, the experience of near thirty years holds out but very little hopes of encouragement.
To this admirable description as true as it is eloquent, we subjoin the following extracts from the old Dramatic Censor of England.
Speaking of Castalio in The Orphan, he says, "His circumstances give great scope for the exertion of various capital powers, which were amazingly well supplied in the elegant figure, bewitching voice, and excellent acting of Mr. Barry; who, in this part, defied the severest criticism, and justly claimed what he always obtained, the warmest applause that enchanted feelings could bestow."