The celebrated actor Edwin Booth was at this time in Baltimore, a city
distant two hours from the capital. I had heard so much about this
superior artist that I was anxious to see him, and on one of my off
nights I went to Baltimore with my impresario's agent. A box had been
reserved for me without my knowledge, and was draped with the Italian
colours. I regretted to be made so conspicuous, but I could not fail
to appreciate the courteous and complimentary desire to do me honour
shown by the American artist. It was only natural that I should be
most kindly influenced toward him, but without the courtesy which
predisposed me in his favour he would equally have won my sympathy by
his attractive and artistic lineaments, and his graceful and
well-proportioned figure. The play was "Hamlet." This part brought
him great fame, and justly; for in addition to the high artistic worth
with which he adorned it, his elegant personality was admirably
adapted to it, His long and wavy hair, his large and expressive eye,
his youthful and flexible movements, accorded perfectly with the ideal
of the young prince of Denmark which now obtains everywhere. His
splendid delivery, and the penetrating philosophy with which he
informed his phrases, were his most remarkable qualities. I was so
fortunate as to see him also as Richelieu and Iago, and in all three
of these parts, so diverse in their character I found him absolutely
admirable. I cannot say so much for his Macbeth, which I saw one
night when passing through Philadelphia. The part seemed to me not
adapted to his nature. Macbeth was an ambitious man, and Booth was
not. Macbeth had barbarous and ferocious instincts, and Booth was
agreeable, urbane, and courteous. Macbeth destroyed his enemies
traitorously--did this even to gain possession of their goods--while
Booth was noble, lofty-minded, and generous of his wealth. It is thus
plain that however much art he might expend, his nature rebelled
against his portrayal of that personage, and he could never hope to
transform himself into the ambitious, venal, and sanguinary Scottish
king.
I should say, from what I heard in America, that Edwin Forrest was the
Modena of America. The memory of that actor still lives, for no one
has possessed equally the power to give expression to the passions,
and to fruitful and burning imagery, in addition to which he possessed
astonishing power of voice. Almost contemporaneously a number of most
estimable actors have laid claim to his mantle; but above them all
Edwin Booth soared as an eagle.
After a very satisfactory experience in Baltimore, I returned for the
third time to New York, and gave "Othello," "Macbeth," and "The
Gladiator," each play twice, and made the last two appearances of my
season in Philadelphia. After playing ninety-five times in the new
fashion, I felt myself worn out, but fully satisfied with the result
of my venturesome undertaking. When I embarked on the steamer which
was to take me to Europe, I was escorted by all the artists of the
company which had cooperated in my happy success, by my friends, and
by courteous admirers, and I felt that if I were not an Italian I
should wish to be an American.