ecide
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 _roles_. 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