An actor who is fine only at points is not, of course, a perfect actor. The remark of Coleridge about the acting of Edmund Kean, that it was like "reading Shakespeare by flashes of lightning," has misled many persons as to Kean's art. Macready bears a similar testimony. But the weight of evidence will satisfy the reader that Kean was, in fact, a careful student and that he never neglected any detail of his art. This is certainly true of Edwin Booth. In the level plains that lie between the mountain-peaks of expression he walks with as sure a footstep and as firm a tread as on the summit of the loftiest crag or the verge of the steepest abyss. In 1877-78, in association with the present writer, he prepared for the press an edition of fifteen of the plays in which he acts, and these were published for the use of actors. There is not a line in either of those plays that he has not studiously and thoroughly considered; not a vexed point that he has not scanned; not a questionable reading that he has not, for his own purposes in acting, satisfactorily settled. His Shakespearean scholarship is extensive and sound, and it is no less minute than ample. His stage business has been arranged, as stage business ought to be, with scientific precision. If, as king Richard the Third, he is seen to be abstractedly toying with a ring upon one of his fingers, or unsheathing and sheathing his dagger, those apparently capricious actions would be found to be done because they were illustrative parts of that monarch's personality, warranted by the text and context. Many years ago an accidental impulse led him, as Hamlet, to hold out his sword, hilt foremost, toward the receding spectre, as a protective cross—the symbol of that religion to which Hamlet so frequently recurs. The expedient was found to justify itself and he made it a custom. In the graveyard scene of this tragedy he directs that one of the skulls thrown up by the first clown shall have a tattered and mouldy fool's-cap adhering to it, so that it may attract attention, and be singled out from the others, as "Yorick's skull, the king's jester." These are little things; but it is of a thousand little things that a dramatic performance is composed, and without this care for detail—which must be precise, logical, profound, vigilant, unerring, and at the same time always unobtrusive and seemingly involuntary—there can be neither cohesion, nor symmetry, nor an illusory image consistently maintained; and all great effects would become tricks of mechanism and detached exploits of theatrical force.
The absence of this thoroughness in such acting as that of Edwin Booth would instantly be felt; its presence is seldom adequately appreciated. We feel the perfect charm of the illusion in the great fourth act of Richelieu—one of the most thrilling situations, as Booth fills it, that ever were created upon the stage; but we should not feel this had not the foreground of character, incident, and experience been prepared with consummate thoroughness. The character of Richelieu is one that the elder Booth could never act. He tried it once, upon urgent solicitation, but he had not proceeded far before he caught Joseph around the waist, and with that astonished friar in his arms proceeded to dash into a waltz, over which the curtain was dropped. He had no sympathy with the moonlight mistiness and lace-like complexity of that weird and many-fibred nature. It lacked for him the reality of the imagination, the trumpet blare and tempest rush of active passion. But Edwin Booth, coming after Forrest, who was its original in America, has made Richelieu so entirely his own that no actor living can stand a comparison with him in the character. Macready was the first representative of the part, as everybody knows, and his performance of it was deemed magnificent; but when Edwin Booth acted it in London in 1880, old John Ryder, the friend and advocate of Macready, who had participated with him in all his plays, said to the American tragedian, with a broken voice and with tears in his eyes, "You have thrown down my idol." Two at least of those great moments in acting that everybody remembers were furnished by Booth in this character—the defiance of the masked assailant, at Rouel, and the threat of excommunication delivered upon Barradas. No spectator possessed of imagination and sensibility ever saw, without utter forgetfulness of the stage, the imperial entrance of that Richelieu into the gardens of the Louvre and into the sullen presence of hostile majesty. The same spell of genius is felt in kindred moments of his greater impersonations. His Iago, standing in the dark street, with sword in hand, above the prostrate bodies of Cassio and Roderigo, and as the sudden impulse to murder them strikes his brain, breathing out in a blood-curdling whisper, "How silent is this town!" his Bertuccio, begging at the door of the banquet-hall, and breaking down in hysterics of affected glee and maddening agony; his Lear, at that supreme moment of intolerable torture when he parts away from Goneril and Regan, with his wild scream of revenges that shall be the terrors of the earth; his Richard the Third, with the gigantic effrontery of his "Call him again," and with his whole matchless and wonderful utterance of the awful remorse speech with which the king awakens from his last earthly sleep—those, among many others, rank with the best dramatic images that ever were chronicled, and may well be cited to illustrate Booth's invincible and splendid adequacy at the great moments of his art.
Edwin Booth has been tried by some of the most terrible afflictions that ever tested the fortitude of a human soul. Over his youth, plainly visible, impended the lowering cloud of insanity. While he was yet a boy, and when literally struggling for life in the semi-barbarous wilds of old California, he lost his beloved father, under circumstances of singular misery. In early manhood he laid in her grave the woman of his first love—the wife who had died in absence from him, herself scarcely past the threshold of youth, lovely as an angel and to all that knew her precious beyond expression. A little later his heart was well-nigh broken and his life was well-nigh blasted by the crime of a lunatic brother that for a moment seemed to darken the hope of the world. Recovering from that blow, he threw all his resources and powers into the establishment of the grandest theatre in the metropolis of America, and he saw his fortune of more than a million dollars, together with the toil of some of the best years of his life, frittered away. Under all trials he has borne bravely up, and kept the even, steadfast tenor of his course; strong, patient, gentle, neither elated by public homage nor imbittered by private grief. Such a use of high powers in the dramatic art, and the development and maintenance of such a character behind them, entitle him to the affection of his countrymen, proud equally of his goodness and his renown.
V.
MARY ANDERSON: HERMIONE: PERDITA.
On November 25, 1875 an audience was assembled in one of the theatres of Louisville, Kentucky, to see "the first appearance upon any stage" of "a young lady of Louisville," who was announced to play Shakespeare's Juliet. That young lady was in fact a girl, in her sixteenth year, who had never received any practical stage training, whose education had been comprised in five years of ordinary schooling, whose observation of life had never extended beyond the narrow limits of a provincial city, who was undeveloped, unheralded, unknown, and poor, and whose only qualifications for the task she had set herself to accomplish were the impulse of genius and the force of commanding character. She dashed at the work with all the vigour of abounding and enthusiastic youth, and with all the audacity of complete inexperience. A rougher performance of Juliet probably was never seen, but through all the disproportion and turbulence of that effort the authentic charm of a beautiful nature was distinctly revealed. The sweetness, the sincerity, the force, the exceptional superiority and singular charm of that nature could not be mistaken. The uncommon stature and sumptuous physical beauty of the girl were obvious. Above all, her magnificent voice—copious, melodious, penetrating, loud and clear, yet soft and gentle—delighted every ear and touched every heart. The impersonation of Juliet was not highly esteemed by judicious hearers; but some persons who saw that performance felt and said that a new actress had risen and that a great career had begun. Those prophetic voices were right. That "young lady of Louisville" was Mary Anderson.
It is seldom in stage history that the biographer comes upon such a character as that of Mary Anderson, or is privileged to muse over the story of such a career as she has had. In many cases the narrative of the life of an actress is a narrative of talents perverted, of opportunity misused, of failure, misfortune, and suffering. For one story like that of Mrs. Siddons there are many like that of Mrs. Robinson. For one name like that of Charlotte Cushman or that of Helen Faucit there are many like that of Lucille Western or that of Matilda Heron—daughters of sorrow and victims of trouble. The mind lingers, accordingly, impressed and pleased with a sense of sweet personal worth as well as of genius and beauty upon the record of a representative American actress, as noble as she was brilliant, and as lovely in her domestic life as she was beautiful, fortunate, and renowned in her public pursuits. The exposition of her nature, as apprehended through her acting, constitutes the principal part of her biography.
Mary Anderson, a native of California, was born at Sacramento, July 28, 1859. Her father, Charles Joseph Anderson, who died in 1863, aged twenty-nine, and was buried in Magnolia cemetery, Mobile, Alabama, was an officer in the service of the Southern Confederacy at the time of his death, and he is said to have been a handsome and dashing young man. Her mother, Marie Antoinette Leugers, was a native of Philadelphia. Her earlier years were passed in Louisville, whither she was taken in 1860, and she was there taught in a Roman Catholic school and reared in the Roman Catholic faith under the guidance of a Franciscan priest, Anthony Miller, her mother's uncle. She left school before she was fourteen years old and she went upon the stage before she was sixteen. She had while a child seen various theatrical performances, notably those given by Edwin Booth, and her mind had been strongly drawn toward the stage under the influence of those sights. The dramatic characters that she first studied were male characters—those of Hamlet, Wolsey, Richelieu, and Richard III.—and to those she added Schiller's Joan of Arc. She studied those parts privately, and she knew them all and knew them well. Professor Noble Butler, of Louisville, gave her instruction in English literature and elocution, and in 1874, at Cincinnati, Charlotte Cushman said a few encouraging words to her, and told her to persevere in following the stage, and to "begin at the top." George Vandenhoff gave her a few lessons before she came out, and then followed her début as Juliet, leading to her first regular engagement, which began at Barney Macaulay's Theatre, Louisville, January 20, 1876. From that time onward for thirteen years she was an actress,—never in a stock company but always as a star,—and her name became famous in Great Britain as well as America. She had eight seasons of steadily increasing prosperity on the American stage before she went abroad to act, and she became a favourite all over the United States. She filled three seasons at the Lyceum Theatre, London (from September 1, 1883, to April 5, 1884; from November 1, 1884, to April 25, 1885; and from September 10, 1887, to March 24, 1888), and her success there surpassed, in profit, that of any American actor who had appeared in England. She revived Romeo and Juliet with much splendour at the London Lyceum on November 1, 1884, and she restored A Winter's Tale to the stage, bringing forward that comedy on September 10, 1887, and carrying it through the season. She made several prosperous tours of the English provincial theatres, and established herself as a favourite actress in fastidious Edinburgh, critical Manchester, and impulsive but exacting Dublin. The repertory with which she gained fame and fortune included Juliet, Hermione, Perdita, Rosalind, Lady Macbeth, Julia, Bianca, Evadne, Parthenia, Pauline, The Countess, Galatea, Clarice, Ion, Meg Merrilies, Berthe, and the Duchess de Torrenueva. She incidentally acted a few other parts, Desdemona being one of them. Her distinctive achievements were in Shakespearean drama. She adopted into her repertory two plays by Tennyson, The Cup and The Falcon, but never produced them. This record signifies the resources of mind, the personal charm, the exalted spirit, and the patient, wisely directed and strenuous zeal that sustained her achievements and justified her success.