GENIUS AND OTHER ESSAYS
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.
After all, what are we saying, except that his genius is rather Corinthian than Doric, and therefore more cultured, mobile, and of wider range? If Kemble was the ideal Coriolanus and Henry V., he was too kingly as Hamlet, and Booth is the princeliest Hamlet that ever trod the stage. If Kean and the elder Booth were more supernal in their lightnings of passion and scorn,—and there are points in Richelieu which leave this a debatable question,—Edwin Booth is more equal throughout, has every resource of taste and study at his command; his action is finished to the last, his stage-business perfect, his reading distinct and musical as a bell. He is thus the ripened product of our eclectic later age, and has this advantage about him, being an American, that he is many-sided, and draws from all foreign schools their distinctive elements to fuse into one new, harmonious whole.
It is our fashion to speak of the decline of the Drama, to lament not only a decay of morals, manners, and elocution, but the desertion of standard excellence for the frippery which only appeals to the lightest popular taste. But this outcry proceeds mostly from old fogies, and those who only reverence the past, while the halo which gilds the memories of youth is
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