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 372 ARTISTS AND AUTHORS he persevered, and soon had the satisfaction of convincing his parent that he had decided wisely. He did not at once come to New York after his success in Boston, but went to Providence and to Philadelphia, acting Cassio in "Othello," and Wilford in the " Iron Chest," a part he soon made his own and in which he made his first appearance in New York, playing at the National Theatre in Chatham Street, in 1850. The next year he played Richard III. for the first time, taking the part unexpectedly to fill the place of his father, who was sud- denly ill. In 1852 he went out with his father to San Francisco, where his brother, Junius Brutus Booth, Jr., was the manager of a theatre ; and the father and his two sons acted together. At Sacramento, we are told that the incident occurred which led Edwin Booth to think of acting Hamlet, a part which was to become as closely associated with his name as that of Richard III. was with his father. He was dressed for the part of Jaffier in Otway's play, " Venice Pre- served," when some one said to him " You look like Hamlet, why not play it ? " It was, however, some time before he ventured to assume the part. In October, 1852, the father and son parted, not to meet again. The elder Booth went to New Orleans, and after playing for a week took passage in a steamboat on the Mississippi, and catching a severe cold succumbed after a few days' illness and died. For a while after his father's death Edwin suffered greatly from poverty and from the hardships of his precarious life, unsustained as he now was by the affection and encouragement of a father who, with all his faults, and in all the misfortunes brought on by serious ill-health and some aberrations that were the effect of ill-health* had always been an affectionate and true friend. But a talent such as Edwin Booth possessed, united to a high character, and to a dauntless spirit, could not long be hid, and in a short time his name began to be heard of as that of one destined to great ends. In 1854 he went to. Australia as a member of Laura Keene's company. He had made a deep impression in California, act- ing such parts as Richard III., Shylock, Macbeth, and Hamlet, and on returning there from Australia that first impression was greatly strengthened. On leaving San Francisco he received various testimonials showing the high esteem in which his acting was held by the educated part of the community ; but through- out Edwin Booth's career, the interest he excited in the vast audiences that fol- lowed him was by no means confined to the self-styled "best people." Though he never " played to the gallery," the heart of the gallery was as much with him as the heart of the boxes, and he knew the value of its rapt silence as well as of its stormy voices. In Boston, in 1857, he played Sir Giles Overreach, in Massinger's "A New Way to Pay Old Debts," and the profound impression he made in it confirmed him in his purpose to devote himself to tragic acting. The story of an actor's life is seldom eventful, and Mr. Booth's history, after his first assured success, is the record of a long line of triumphs without a failure. The most remarkable of these triumphs was at the Winter Garden Theatre in New York, where he acted Hamlet to large and ever-increasing audiences for over one hundred suc- cessive nights, that is, from November 21, 1864, to March 24, 1865. On this