GENIUS AND OTHER ESSAYS
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 re-
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