EDWIN BOOTH
predecessors failed to comprehend his image. But what does this tragedy demand of an actor? Proverbially, that he himself shall fill it, and hold the stage from its commencement to its end. The play of "Hamlet" is the part of Hamlet. The slowness of its action, and the import of its dialogue and soliloquies, make all depend upon the central figure. Next, he is to depict the most accomplished gentleman ever drawn; not gallant, gay Mercutio, nor courtly Benedict, but the prince and darling of a realm; one who cannot "lack preferment," being of birth above mean ambition and self-conscious unrest; a gentleman by heart, no less,—full of kindly good-fellowship, brooking no titles with his friends, loving goodness and truth, impatient of fools, scorning affectation; moreover, the glass of fashion and the mould of form, the modern ideal of manly beauty,—which joins with the classic face and figure that charm of expression revealing a delicate mind within. For our Hamlet is both gentleman and scholar. History and philosophy have taught him the vice of kings, the brevity of power and forms, the immortality of principles, the art of generalization; while contact with society has made him master of those "shafts of gentle satire," for which all around him are his unconscious targets. His self-respect and self-doubt balance each other, until the latter outweighs the former, under the awful pressure of an unheard-of woe. Finally, he comes before us in that poetical, speculative period of life following the years of study and pleasure, and preceding those of executive leadership. Prince, gentle-
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