The actor is born but the artist must be made, and the actor who is not an artist only half fulfils his powers. Edwin Booth had not been long upon the stage before he showed himself to be an actor. During his first season he played Cassio in _Othello_, Wilford in _The Iron Chest_, and Titus in _The Fall of Tarquin_, and he played them all auspiciously well. But his father, not less wise than kind, knew that the youth must be left to himself to acquire experience, if he was ever to become an artist, and so left him in California, "to rough it," and there, and in the Sandwich Islands and Australia, he had four years of the most severe training that hardship, discipline, labour, sorrow, and stern reality can furnish. When he came east again, in the autumn of 1856, he was no longer a novice but an educated, artistic tragedian, still crude in some things, though on the right road, and in the fresh, exultant vigour, if not yet the full maturity, of extraordinary powers. He appeared first at Baltimore, and after that made a tour of the south, and during the ensuing four years he was seen in many cities all over the country. In the summer of 1860 he went to England, and acted in London, Liverpool, and Manchester, but he was back again in New York in 1862, and from September 21, 1863 to March 23, 1867 he managed what was known as the Winter Garden theatre, and incidentally devoted himself to the accomplishment of some of the stateliest revivals of standard plays that have ever been made in America. On February 3, 1869 he opened Booth's Theatre and that he managed for five years. In 1876 he made a tour of the south, which, so great was the enthusiasm his presence aroused, was nothing less than a triumphal progress. In San Francisco, where he filled an engagement of eight weeks, the receipts exceeded $96,000, a result at that time unprecedented on the dramatic stage.
The circumstances of the stage and of the lives of actors have greatly changed since the generation went out to which such men as Junius Booth and Augustus A. Addams belonged. No tragedian would now be so mad as to put himself in pawn for drink, as Cooke is said to have done, nor be found scraping the ham from the sandwiches provided for his luncheon, as Junius Booth was, before going on to play Shylock. Our theatre has no longer a Richardson to light up a pan of red fire, as that old showman once did, to signalise the fall of the screen in _The School for Scandal_. The eccentrics and the taste for them have passed away. It seems really once to have been thought that the actor who did not often make a maniac of himself with drink could not be possessed of the divine fire. That demonstration of genius is not expected now, nor does the present age exact from its favourite players the performance of all sorts and varieties of parts. Forrest was the first of the prominent actors to break away from the old usage in this latter particular. During the most prosperous years of his life, from 1837 to 1850, he acted only about a dozen parts, and most of them were old. The only new parts that he studied were Claude Melnotte, Richelieu, Jack Cade, and Mordaunt, the latter in the play of _The Patrician's Daughter_, and he "recovered" Marc Antony, which he particularly liked. Edwin Booth, who had inherited from his father the insanity of intemperance, conquered that utterly, many years ago, and nobly and grandly trod it beneath his feet; and as he matured in his career, through acting every kind of part, from a dandy negro up to Hamlet, he at last made choice of the characters that afford scope for his powers and his aspirations, and so settled upon a definite, restricted repertory. His characters were Hamlet, Macbeth, Lear, Othello, Iago, Richard the Second, Richard the Third, Shylock, Cardinal Wolsey, Benedick, Petruchio, Richelieu, Lucius Brutus, Bertuccio, Ruy Blas, and Don Cæsar de Bazan. These he acted in customary usage, and to these he occasionally added Marcus Brutus, Antony, Cassius, Claude Melnotte, and the Stranger. The range thus indicated is extraordinary; but more extraordinary still was the evenness of the actor's average excellence throughout the breadth of that range.