CHAPTER XXXV.

perhaps his most finished part, as his Richelieu is the most popular with the masses. It has been said that his Hamlet is not Shakespeare's Hamlet, and this may be true: but it is so exquisite, so perfect, that whether it be the conception of Shakespeare or Edwin Booth, it is the most powerful, the most life-like counterfeit of "the melancholy Dane" ever seen on any stage, and leaves nothing to be desired. His personation of the grim old cardinal, whose decrepit body is alone sustained by his indomitable will, is masterly, and we see before us, not Edwin Booth, the actor of to-day, but the crafty, unscrupulous, witty, determined prime minister of France, who bends kings and princes to his will. It is absolutely life-like, and to those who have seen the portraits of the old cardinal in the museums of France, the accuracy with which Booth has counterfeited the personal appearance of Richelieu is positively startling. The plays are so superbly set upon the stage that we lose sight of the little space they occupy, and seem to be gazing upon a real world. His Richard has such a strong humanity in it, that it more than half vindicates the humpbacked tyrant's memory,