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To some extent it was the theory of Garrick and Fechter and Edwin Booth; though it was rejected by the two Keans, and by Edwin Forrest, who entered so throughly into the character which he assumed, and who let loose such tremendous bursts of passion that other actors dreaded to support him on the stage in such parts as Spartacus and Metamora.
The Booths, the Cookes, the Keans, the Kembles, the Forrests, the Jeffersons, the Wallacks, and other great actors whose names are written on the imperishable tablets of fame have traveled over just such roads. Smith and the company, after a good night's rest and a hearty breakfast, reached Gotown early in the forenoon.
To some extent it was the theory of Garrick and Fechter and Edwin Booth; though it was rejected by the two Keans, and by Edwin Forrest, who entered so throughly into the character which he assumed, and who let loose such tremendous bursts of passion that other actors dreaded to support him on the stage in such parts as Spartacus and Metamora.
But the time was soon to come when I was to be fired by a passion for work. Meanwhile I was unconsciously learning a number of lessons which were to be most useful to me in my subsequent career. From April 1856 until 1859 I acted constantly at the Princess's Theater with the Keans, spending the summer holidays in acting at Ryde.
If this sort of acting, which is supposed to have come down to us from the Elizabethan age, and which culminated in the school of the Keans, Kembles, and Siddonses, ever had any fidelity to life, it must have been in a society as artificial as the prose of Sir Philip Sidney.
Such thoughts as these did not trouble my head when I acted with the Keans, but, child as I was, the beauty of the productions at the Princess's Theater made a great impression on me, and my memory of them is quite clear enough, even if there were not plenty of other evidence, for me to assert that in some respects they were even more elaborate than those of the present day.
But such cases suggest to us that there may have been many Folletts who never held a brief, many Keans who never acted but in barns, many Vandyks who never earned more than sixpence a day, many Goldsmiths who never were better than penny-a-liners, many Michaels who never built their St.
An accomplished critic has said that Shakespeare himself might have been surprised had he heard the "Fool, fool, fool!" of Edmund Kean. And though all actors are not Keans, they have in varying degree this power of making a dramatic character step out of the page, and come nearer to our hearts and our understandings.
The Charles Keans from whom I received my first engagement, were both remarkable people, and at the Princess Theater were doing very remarkable work. Kean the younger had not the fire and genius of his wonderful father, Edmund, and but for the inherited splendor of his name it is not likely that he would ever have attained great eminence as an actor.
But on more than one occasion he ran away from both school and home, and once made the trip of the Chesapeake to the oyster fisheries without advising anybody of his family. While yet very young, Wilkes Booth became an habitue at the theater. His traditions and tastes were all in that direction. His blood was of the stage, like that of the Keans, the Kembles, and the Wallacks.
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