EDWIN BOOTH
voice, making the listener apprehensive of the higher and louder tones. This insufficiency has passed away with practice and growth, and his utterance now has precisely the volume required in Hamlet,—being musical and distinct in the quiet parts, and fully sustaining each emotional outburst.
In effective compositions there is a return to the theme or refrain of the piece, when the end is close upon us. One of the finest points in this play is, that after the successive episodes of the killing of Polonius, the madness and death of Ophelia, and the wild bout with Laertes at her burial, Hamlet reassumes his everyday nature, and is never more thoroughly himself than when Osric summons him to the fencing-match, and his heart grows ill with the shadow of coming death. The Fates are just severing his thread; events that shall sweep a whole dynasty, like the house of Atreus, into one common ruin, are close at hand; but Philosophy hovers around her gallant child, and the sweet, wise voice utters her teachings for the last time: "If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come; the readiness is all. Let be." Then follow the courtesy, the grace, the fraud, the justice, of the swift, last scene; the curtain falls; and now the yearning sympathies of the hearers break out into sound, and the actor comes before the footlights to receive his meed of praise. How commonplace it is to read that such a one was called before the curtain and bowed his thanks! But sit there; listen to the applauding clamor of two thousand voices, be yourself lifted on the waves
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