that a laugh of approbation may be obtained from the understanding few; but there is nothing more dangerous than exciting the laugh of simpletons, who know not where to stop. The majority is not the wisest part of the audience; and for that reason I will run no hazard.*” He therefore suppressed the rage of his voice in this line, at the same time that he spoke it with a firmness and decision of tone correspondent to the character.

This play was revived at Drury Lane Theatre, about the year 1726, with the public approbation, and was cast in the following strong manner:

à very pleasing, agreeable Actress, and in private life unblemished. She died in 1733.

A

JAFFIER.

This was another of Booth's principal parts, herein he is said to have excelled. He had likewise a fine representative of Belvidera in Mrs. Porter, who was an eléve of the celebrated Mrs. Barry, whom she succeeded when that Actress left the Stage. Booth was no admirer of Mrs. Oldfield's Tragedy, but was in raptures when he spoke of Mrs. Porter in Belvidera. She is said to have particularly excelled in the agony she expressed when forced from Jaffier in the second act, and in the madness of the last.

Nor

should ever be forgot," says Davies, "her delicate manner of putting Jaffier in mind of his ap pointment in the third act,

Remember twelve!".

Soon after Booth had obtained a share in the patent of Drury Lane Theatre, he thought he could strengthen the cast of this play, by taking the part of Pierre himself instead of Mills, who. had been in possession of it for many years; but proposing this one day in the Green Room to Wilks, the latter instantly took fire, and throwing down the part of Jaffier, which he held in his hand, solemnly protested "he would never play it again." Mills was an old friend of Wilks;

3

and in the warmth of his temper, he might imagine a blow was levelled at him; or perhaps he might be apprehensive, in this change of parts, Booth might carry away the laurels from himself. However, Booth, though vexed and disappointed, suppressed his anger, and submitted to act the part of Jaffier, which he continued in till he left the Stage.

This celebrated Actor, though in general a very liberal regulated man, was not altogether free from that irritation which men in the same walk of profession feel at the success of others. After he had resigned his employment as an Actor in 1729, Wilks was called upon to perform two of his principal parts, Jaffier and Lord Hastings; and though Booth's infirmities would not permit of his performance, his love of the Theatre often carried him to the house, and particularly on those nights when Wilks performed those characters which he himself appeared in with such uncommon lustre. But the display of the boxes, and the overflow of audiences, could not atone for the applause which Wilks obtained in these parts. He found this severe truth, (experienced by many in this and other public professions,) that few are capable of making judicious distinctions; and that by far the greater part have neither memory, or judgment, to recollect or relish any thing beyond their present enjoyments. He likewise found

3

found in himself (or at least it appeared so to others) that he was not free from the jealousy of a rival's merit; as, amidst the thunders of applause which Wilks received from crowded and successive audiences, Booth alone sat silent, and seemed insensible to the merits of his brother Manager.

Though we recount this anecdote on the credit of Victor, who told it to Davies in a private conversation, it should not discredit his general character, which was as much esteemed by his brother performers as by the voice of the public, and which the following little anecdote, amongst others, will demonstrate.

Harper, a low Comedian of some merit, remonstrated to him one day in the Green Room, that Shepherd's income was greater than his by twenty shillings per week; though he presumed, he said, "that his own industry, and variety of business, were not inferior to Mr. Shepherd's." "Well then," says Booth, "suppose we should make you both equal, by reducing his salary to your's?" By no means, Sir," says Harper, with an honest pride of character: "I would not injure Mr. Shepherd for the world; I would only, by your favour, honestly serve myself."

The Manager felt pleased with Harper's frankness, but said no more: however, at the end of B b 4

the

the week, Harper found his allowance increased according to the sum he demanded.

THE GHOST, in Hamlet.

We have no written criticism, that we know of, of Booth in this part, except that it was a character that he stood well in with the town, and that he performed it under the perfect approbation of Betterton, who was his Hamlet for many years it was, however, the constant eulogy of Macklin, who said, he never was imitated with effect. His tones and manner throughout his conference with Hamlet, were grave and pathetic; his tread solemn and awful; and in the recital of his murder by a brother's hand, and the conduct of "his most seeming virtuous Queen," the audience appeared to be under the impression of seeing and hearing a real Ghost.

He was, beside, always particularly well dressed for the character, even to the soles of his shoes, which, from being covered with felt, made no noise in walking on the stage, which he crossed as if he slid over it, and which strongly corresponded with the ideas we have of an incorporeal being.