GENIUS AND OTHER ESSAYS
of that exultation, and for a moment you forget how soon all this will be hushed forever, and, in the triumph of the actor, the grander, more enduring genius of the writer whose imagination first evoked the spell.
The performance of Richelieu, from one point of view, is a complete antithesis to that of the melancholy Dane. In the latter we see and think of Booth; in the former, his household friends, watching My Lord Cardinal from first to last, have nothing to recall him to their minds. The man is transformed, is acting throughout the play. Voice, form and countenance are changed; only the eyes remain, and they are volcanic with strange lustre,—mindful of the past, suspicious of the present, fixed still upon the future with piercing intent. The soul of the Cardinal, nearing its leave of the tenement that has served it so long, glares out of the windows, with supernatural regard, over the luxury, the intrigue, the danger, the politics, the empire it must soon behold no more. As the piece is now produced, with fidelity to details of use and decoration,—with armor, costumery, furniture and music of the period of Louis XIII.,—with all this boast of heraldry and pomp of power, the illusion is most entire. The countenance is that of the old portrait; white flowing locks, cap, robes, raised mustache, and pointed beard,—all are there. The voice is an old man's husky treble, and we have the old man's step, the tremor, and recurring spasmodic power; nor is there any moment when the actor forgets the part he has assumed. Yes, it is age itself; but the sunset of a life whose noonday was gallantry, valor, strength,—and intellectual
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