The performance of Richelieu, from one point of view, is a complete antithesis to that of the melancholy Dane. In the latter we see and think of Booth; in the former, his household friends, watching My Lord Cardinal from first to last, have nothing to recall him to their minds. The man is transformed, is acting throughout the play. Voice, form, and countenance are changed; only the eyes remain, and they are volcanic with strange lustre,—mindful of the past, suspicious of the present, fixed still upon the future with piercing intent. The soul of the Cardinal, nearing its leave of the tenement that has served it so long, glares out of the windows, with supernatural regard, over the luxury, the intrigue, the danger, the politics, the empire it must soon behold no more. As the piece is now produced, with fidelity to details of use and decoration,—with armor, costumery, furniture, and music of the period of Louis XIII.,—with all this boast of heraldry and pomp of power, the illusion is most entire. The countenance is that of the old portrait; white flowing locks, cap, robes, raised moustache, and pointed beard,—all are there. The voice is an old man's husky treble, and we have the old man's step, the tremor, and recurring spasmodic power; nor is there any moment when the actor forgets the part he has assumed. Yes, it is age itself; but the sunset of a life whose noonday was gallantry, valor, strength,—and intellectual strength never so much as now. How we lend our own impulses to the effort with which the veteran grasps the sword wherewith he shore "the stalwart Englisher," strive with him in that strong yearning to whirl it aloft, sink with him in the instant, nerveless reaction, and sorrow that "a child could slay Richelieu now!" He is not the intriguer of dark tradition, wily and cruel for low ambitious ends, but entirely great, in his protection of innocence and longing for affection, and most of all in that supreme love of France to which his other motives are subservient. Booth seizes upon this as the key-note of the play, and is never so grand as when he rises at full height with the averment,
"I found France rent asunder;
The rich men despots, and the poor banditti;
Sloth in the mart, and schism within the temple;
Brawls festering to rebellion, and weak laws
Rotting away with rust in antique sheaths,—
I have re-created France!"
Bulwer's "Richelieu," though written in that author's pedantic, artificial manner, and catching the groundlings with cheap sentiment and rhetorical platitudes, is yet full of telling dramatic effects, which, through the inspiration of a fine actor, lift the most critical audience to sudden heights. One of this sort is justly famous. We moderns, who so feebly catch the spell which made the Church of Rome sovereign of sovereigns for a thousand years, have it cast full upon us in the scene where the Cardinal, deprived of temporal power, and defending his beautiful ward from royalty itself, draws around her that Church's "awful circle," and cries to Baradas,
"Set but a foot within that holy ground,
And on thy head—yea, though it wore a crown—
I launch the curse of Rome!"
Booth's expression of this climax is wonderful. There is perhaps nothing, of its own kind, to equal it upon the present stage. Well may the king's haughty parasites cower, and shrink aghast from the ominous voice, the finger of doom, the arrows of those lurid, unbearable eyes! But it is in certain intellectual elements and pathetic undertones that the part of Richelieu, as conceived by Bulwer, assimilates to that of Hamlet, and comes within the realm where our actor's genius holds assured sway. The argument of the piece is spiritual power. The body of Richelieu is wasted, but the soul remains unscathed, with all its reason, passion, and indomitable will. He is still prelate, statesman, and poet, and equal to a world in arms.
The requisite subtilty of analysis, and sympathy with mental finesse, must also specially adapt this actor to the correct assumption of the character of Iago. Those who have never seen him in it may know by analogy that his merits are not exaggerated. We take it that Iago is a sharply intellectual personage, though his logic, warped by grovelling purpose, becomes sophistry, while lustful and envious intrigues occupy his skilful brain. We have described the beauty of Booth's countenance in repose. But it is equally remarkable for mobility, and his most expressive results are produced by liftings of the high-arched brows and the play of passions about the flexible mouth. The natural line of his lip, not scornful in itself, is on that straight border-ground where a hair's breadth can raise it into sardonic curves, transforming all its good to sneering evil. In his rendering, Iago must become a shining, central incarnation of tempting deceit, with Othello's generous nature a mere puppet in his hands. As Richard III., we should look to find him most effective in schemeful soliloquy and the phases of assumed virtue and affection, while perhaps less eminent than his father or Edmund Kean in that headlong, strident unrest, which hurried on their representations to the fury or the retributive end.
To give the distant reader our own impression of a great actor is a slow and delicate task, and perhaps the most we can accomplish is to set him before others somewhat as he has appeared to us, and to let each decide for himself the question of histrionic rank. But have we not unconsciously defined our view of the excellence of Booth's genius, and hinted at its limitations? The latter are by no means narrow, for his elastic, adaptable nature insures him versatility; and, despite the world's scepticism as to the gift of an artist to do more than one thing well, he is acknowledged to surpass our other actors in a score of elegant parts. Amongst these are Pescara, Petruchio, and Sir Edward Mortimer; while in a few pieces of the French romance-school, such as "Ruy Blas," and that terrible "The King's Jester," he has introduced to us studies of a novel and intensely dramatic kind. As for the lighter order, the greater including the less, our best Hamlet should be the best "walking gentleman," if he elect to assume that versatile personage's offices. We know also that Booth's Shylock should be a masterly performance, since his voice, complexion, eyes, and inherited powers of scorn, all lend their aid to his mental appreciation of the part. But it is not our purpose to consider any of these rôles. We only allude to them to say that in most directions his equal has not appeared on the American stage; and in qualifying an opinion of his powers, we make no exception in favor of his contemporaries, but, rather, of those who have been and shall be again, when Jove shall
"let down from his golden chain
An age of better metal."
As Hamlet, Mr. Booth will hardly improve his present execution, since he is now at the age of thirty-two, and can never fill more easily the youthful beauty of the part, without artifice, and, we may say, by the first intention. We should like to see him, ere many winters have passed over his head, in some new classic play, whose arrangement should not be confined to the bald, antique model, nor drawn out in sounding speeches like Talfourd's "Ion," nor yet too much infused with the mingled Gothic elements of our own drama; but warm with sunlight, magical with the grace of the young Athenian feeling, and full of a healthful action which would display the fairest endowments of his mind and person. As Lear or Shylock, he will certainly grow in power as he grows in years, and may even gain upon his masterly performance of Richelieu. But in one department, and that of an important order, he will perhaps never reach the special eminence at which we place a few historic names.
Our exception includes those simply powerful characters, the ideal of which his voice and magnetism cannot in themselves sustain. At certain lofty passages he relies upon nervous, electrical effort, the natural weight of his temperament being unequal to the desired end. Those flashing impulses, so compatible with the years of Richelieu and the galled purpose of Shylock, would fail to reveal satisfactorily the massive types, which rise by a head, like Agamemnon, above the noblest host. Dramatic representations may be classed under the analogous divisions of poetry: for instance, the satirical, the bucolic, the romantic, the reflective, the epic. The latter has to do with those towering creatures of action—Othello, Coriolanus, Virginius, Macbeth—somewhat deficient, whether good or evil, in the casuistry of more subtile dispositions, but giants in emotion, and kingly in repose. They are essentially masculine, and we connect their ideals with the stately figure, the deep chest-utterance, the slow, enduring majesty of mien. The genius of Mr. Booth has that feminine quality which, though allowing him a wider range, and enabling him to render even these excepted parts after a tuneful, elaborate, and never ignoble method of his own, might debar him from giving them their highest interpretation,—or, at least, from sustaining it, without sharp falsetto effort, throughout the entire passage of a play. In a few impersonations, where Kemble, with all his mannerisms and defective elocution, and Macready, notwithstanding his uninspired, didactic nature, were most at their ease and successful, this actor would be somewhat put to his mettle,—a fact of which he is probably himself no less aware.