Part 8

As we think of the many parts in which it was our good fortune to see Mr. Burton, we are led into a reflection on the surprising versatility displayed by them; and we question whether the record of any comedian embraces a repertory so extensive, so varied, and so distinguished for general ability. The performances we are about to recall, though exhibiting many humorous features in common, were each a distinct conception; and the execution of each was a dramatic portrait by itself, artistic in measure, faithful in delineation, and felicitous in the expression of points of character. The Burtonian element--in the shape of by-play, gesture, accent, facial device, mimetic effect--was visible in the composition, as a matter of course, contributing to the picture's expansion, deepening its tints and emphasizing its characteristics,--added touches that were the actor's stamp and sign-manual. We have cited _Sleek_ and _Toodles_ as strongly contrasting parts, and so indeed they were; but we might easily adduce instances of versatility quite as striking, and would do so were it not more than likely that they will appear to our readers as our memories progress. It is said that the celebrated William Farren used to style himself a "cock salmon," the only fish of his kind in the market; and if unique dramatic distinction lies in that piscatorial image, most assuredly Mr. Burton was a cock salmon of the first water.

We cannot hope to remember every thing we saw Mr. Burton play, yet we think our recollection will embrace a fair array of those characters in comedy and divers pieces which he alone in his generation seemed adequately to fill, and which were such a boon of delight to the audiences of long ago.

There was his _Micawber_, in the dramatization of "David Copperfield," which succeeded "Dombey and Son,"--equal to if not surpassing his _Cuttle_; an inimitable reproduction of the novelist's creation, full of humorous point, and sustained with an indescribable airy complacence and bland assumption of resource, that made it a perfect treat to lovers of Dickens; and those who saw "David Copperfield" may well rejoice, for they hold in memory Burton's _Micawber_, Johnston's _Uriah Heep_, and Mrs. Hughes' _Betsy Trotwood_!

There was _Bumble_, the beadle, in "Oliver Twist," a very funny piece of acting, and especially so in the well-known scene with _Mrs. Corney_, where, in excess of tenderness, he tells her that "any cat, or kitten, that could live with you ma'am, and _not_ be fond of its home, must be a ass ma'am." And then when the matron is called away and the beadle remains, his proceedings are described by Dickens thus: "Mr. Bumble's conduct on being left to himself was rather inexplicable. He opened the closet, counted the teaspoons, weighed the sugar-tongs, closely inspected the silver milk-pot to ascertain that it was of the genuine metal, and, having satisfied his curiosity on these points, put on his cocked hat cornerwise, and danced with much gravity four distinct times round the table. Having gone through this very extraordinary performance, he took off the cocked hat again, and spreading himself before the fire with his back toward it, seemed to be mentally engaged in taking an exact inventory of the furniture." We deem it enough to say that Mr. Burton's management of the foregoing "business" left nothing to be desired.

We may note, in the mention of "Oliver Twist," that _Nancy Sykes_ was played by the late Fanny Wallack, with a fidelity of purpose and a pathetic abandon that made it painful to witness.

To continue with Dickens: there were _Squeers_ and _Sam Weller_, both capital in their way--the last, however, lacking, as it seemed to us, in true Wellerian flavor; but the _Squeers_ was marked by an appreciative recognition of the schoolmaster's grim traits; and the scene at _Dotheboys Hall_ was admirably given; Mrs. Hughes, as _Mrs. Squeers_, "made up" to the life, and irresistible in her distribution of the treacle.

All these portraits from the pages of Dickens were so many meritorious presentments of the novelist's creations, and would have won enduring fame for an actor of smaller calibre; the truth is, in Mr. Burton's case, that his _Bumble_, _Squeers_, and _Weller_ were but dimly seen, owing to the greater glory of his _Cuttle_ and _Micawber_.

We saw Mr. Burton as _Bob Acres_, in "The Rivals"; as _Tony Lumpkin_, in "She Stoops to Conquer"; as _Goldfinch_, in "The Road to Ruin"; as _Doctor Ollapod_, in "The Poor Gentleman"; as _Sir George Thunder_, in "Wild Oats"; as _Job Thornberry_, in "John Bull"; as _Sir Oliver Surface_, in "The School for Scandal"; as _Graves_, in Bulwer's "Money"; as the _Mock Duke_, in "The Honeymoon"; as _Adam Brock_, in "Charles XII."; as _Van Dunder_, in "The Dutch Governor"; as _John Smith_, in "Nature's Nobleman"; as _Mr. Sudden_, in "The Breach of Promise"; as _Thomas Trot_, in "Paris and London"; as _Don Ferolo Whiskerandos_, in "The Critic" of Sheridan; as _Triplet_, in "Masks and Faces";--certainly a gallery of dramatic portraits that would put to the test the highest order of ability; and we feel bound to say that Burton passed the ordeal well deserving the encomiums that were bestowed upon his efforts. It would be too much to expect that all these delineations were even in points of conception and execution; yet all were entitled to respectful consideration, and many were masterpieces. We will endeavor to go through them briefly, in remembrance of the happy hours we owe to their joyous influence.

The recent appearance of Jefferson as _Bob Acres_ has aroused a new interest in the character, and from all accounts the performance was more than equal to expectation, and has enhanced the reputation of the comedian. We hope to have the pleasure of seeing Mr. Jefferson in due time, and we fancy that his acting of _Acres_ would refresh somewhat our recollection of Burton in the part. As it is, however, we cannot vouch for a clear memory of Burton's _Acres_. We saw it but once, and then early in life, when we were new to the theatre; and all we seem to remember is that he was very funny with his curl papers, and his "referential or allegorical swearing," and that the duel scene was very amusing. It was the opinion of Hazlitt that Sheridan overdid the part, and accordingly he goes on to say: "It calls for a greater effort of animal spirits and a peculiar aptitude of genius in the actor to go through with it, to humor the extravagance, and to seem to take a real and cordial delight in caricaturing himself." This criticism is not without force; but whatever may have been Burton's conception, we are certain that a bright intelligence informed it, and that in the portrayal a requisite display of "animal spirits" was not lacking. If, among the audience that greeted Jefferson, there chanced to be any old play-goers of tenacious memory who had seen Burton, let us hope that they improved the occasion by pleasant reminiscence.

_Tony Lumpkin_ was a very comic piece of acting, and made the people laugh immoderately; but we confess that the character has little charm for us. Burton used to sing the song of "The Three Jolly Pigeons" (in the ale-house scene) with more expression than melody; but he threw into it a great deal of frolic spirit and made it quite a feature.

In our youthful days, when witnessing "The Road to Ruin," we knew very well the moment when we should hear the voice of _Goldfinch_ outside; and we remember his bustling entrance, in sporting frock, buff waiscoat, and top boots, whip in hand, and his rattling flow of horse-talk; his strut and his "that's your sort!" It is said that Lewis, of Covent Garden, (the original _Goldfinch_,) "gave to that catch-phrase a variety of intonation which made it always new and effective"; and Burton certainly played upon it adroitly. His delivery of the text was full of point and animation, and his articulation admirable. "Why, you are a high fellow, Charles," says _Harry Dornton_. "To be sure!" replies _Goldfinch_, "know the odds--hold four-in-hand--turn a corner in style--reins in form--elbows square--wrist pliant--hayait!--drive the Coventry stage twice a week all summer--pay for an inside place--mount the box--tip the coachy a crown--beat the mail--come in full speed--rattle down the gateway--take care of your heads!--never killed but one woman and a child in all my life--that's your sort!" We hear Burton's voice, we see his face and his gestures now!

We were always fond of Colman's "Poor Gentleman," and we took great delight in seeing Burton as _Doctor Ollapod_. As all know, the character affords wide scope for diverting treatment. The incidents are many and droll--and we think Burton turned every thing to the best account. Henry Placide played the part more artistically; but it was not possible for him to expound its humorous nature with the richness that came easily to Burton. We never think of Colman's comedy without a feeling of grateful pleasure; for its representation at various times gave us Burton and Placide as _Ollapod_; Burton as _Sir Robert Bramble_; Dyott, as _Worthington_; Mrs. Hughes as _Lucretia McTab_; and Johnston as _Humphrey Dobbins_.

We have referred in another place to _Sir George Thunder_ and _Job Thornberry_; and we need not dwell upon them further than to say that both gave glimpses of that versatile power to which we have alluded, and both were full of the comedian's characteristic ability.

We suppose that _Sir Oliver Surface_ would not be deemed a part exactly in Mr. Burton's "line"; and yet, as we remember it, he invested the character with a simple dignity, and played it with manly directness and feeling.

Our memory of _Mr. Graves_ and the _Mock Duke_ is dim and distant; but if our readers desire another example of versatility, we commend the two parts as furnishing a most conspicuous instance.

We have never seen "Charles XII." and "The Dutch Governor" since we saw Burton as _Adam Brock_ and _Van Dunder_; but we assure the play-goers of to-day that the dramas were well worth seeing long ago when Liston played in them, and equally so when his great successor appeared in them at a later period. Burton rarely played _Adam Brock_, and we cannot remember seeing it more than once, when it impressed us greatly. "The Dutch Governor," on the contrary, was a favorite attraction at the Chambers Street Theatre, and Burton's _Van Dunder_ was a rich feast of mirthful enjoyment.

Pardey's "Nature's Nobleman," purporting to be an American comedy, was first produced at Burton's in 1851. The prologue, which was spoken by the manager, contained these lines:

"The drama languishes. Let us detect-- Polonius-like--the cause of this defect! 'Tis certain that the sprightliest tongue must fail To win attention to an 'oft-told tale.' We cannot, ever, with 'crook'd Richard' fight, Or weep with Desdemona every night; And even cloying is the luscious sack, If we too often sip with 'burly Jack'; Nor, every week, will people take the trouble To witness Hecate's cauldron hiss and bubble; Nor can we, as we have done, hope to draw Still on the Rivals or the Heir-at-Law. We've seen shy 'Jack' his father's anger rouse; We've heard Lord Dowlas 'tutored' by his spouse. Old English comedy should now give way; It has, like Acres' 'dammes,' had its day. Hang up bag wigs--our study now should be The men and the moustachios that we see. Let us some pictures of the time provide; Let the pen practically be applied."

Whether or no the comedy gave us "the men and the moustachios that we see," or provided "some pictures of the time," we shall not pretend to say;--one would think so, since Blake, Burton, Bland, Dyott, Mrs. Hughes, Mary Taylor, Miss Weston, and Caroline Chapman were in the cast,--but, at all events, it gave us Burton's _John Smith_, which was well worth a journey to see. _John Smith_ is "gentleman" to the _Earl of Leamington_ (Dyott), who is making an American tour. The _Earl_ gives his attendant a two-months' holiday to enjoy himself; and _Smith_, having dressed within an inch of his life, is taken for the _Earl_, and yields to the temptation to pass himself off as such. Out of this complication arise situations ludicrous in the extreme, through which Burton moved, the dispenser of mirth without end. His "make-up," his air, his self-sufficiency, his ignorance,--of which he is grotesquely unconscious,--his blundering malapropos speeches, his frequent social collapses and absurd attempts at recovery, his facial expression at mental mishap and irresistible by-play consequent, his constant display of mimetic power, his voice, look, manner,--all together made a picture of varied humor, which kept the house in hearty laughter from his entrance to the curtain's fall.

_Mr. Sudden_, in Buckstone's "Breach of Promise," was still another of those peculiar parts upon which Burton lavished his supreme gift of humor; and we owe to its diverting exposition many a gladsome hour.

Funny, too, beyond measure, were _Thomas Trot_ and _Don Whiskerandos_; we see the first in the many comic incidents during the voyage from Paris to London; and we see _Don Whiskerandos_ "quit this bustling scene" by rolling himself with marvellous celerity out of sight in the folds of the stage carpet.

We have reached the end of our string, with the exception of _Triplet_, and should love to linger in description on the blended humor and pathos of the impersonation. Let it suffice that not even Mr. Fisher's admirable presentment can dim the recollection of Burton's masterly delineation.

And now let us in our remaining space recall our memories of the Shakespearian parts in which we saw the great actor.

"A Midsummer-Night's Dream" was produced at Burton's in 1854, and the manager played _Bottom_. We well remember with what delight the play was received, and what a marked sensation was created by the scenery and stage effect. The public wondered how so much could be presented on so small a stage, and its accomplishment was a theme of general admiration. The fairy element was made a beautiful feature, and the spirit of poetry brooded over the whole production. The unanimity of the press in its encomiums on the revival was remarkable; and no more emphatic recognition of Burton's appreciation and knowledge of Shakespeare could be given than was expressed in that approving accord.

As we think of it now, it seems to us that Burton's idea of _Bottom_ was the true one, and we enjoyed the performance immensely. It is very easy to make the character a sort of buffoon; but nothing, of course, was further than that notion from Burton's conception. Mr. Richard Grant White gives, in his "Shakespeare's Scholar," an admirable analysis of _Bottom's_ characteristics, and at the close remarks: "As Mr. Burton renders the character, its traits are brought out with a delicate and masterly hand; its humor is exquisite." We remember his acting in the scene where the artisans meet for the distribution of parts in the play to be given before the _Duke_;--how striking it was in sustained individuality, and how finely exemplified was the potential vanity of Bottom. With what ingrained assurance he exclaimed: "Let me play the lion too; I will roar, that it will do any man's heart good to hear me; I will roar, that I will make the duke say, _Let him roar again, let him roar again!_" He was capital, too, in the scene of the rehearsal, and in his translation; and the love scene with _Titania_ aroused lively interest. What pleased us greatly was the vein of engaging raillery which ran through his delivery of the speeches to the fairies, _Cobweb_, _Peas-blossom_, and _Mustard-seed_. It goes without saying, that as _Pyramus_ in the tragedy Burton created unbounded amusement, and discharged the arduous part of the ill-starred lover with entire satisfaction to everybody.

_Sir Toby Belch_, in "Twelfth Night," was one of Burton's richest performances, and we remember it with the greatest pleasure. It was characterized by true Shakespearian spirit, and was acted with an animation and unctuous humor quite impossible to describe. The scene of the carousal wherein _Sir Toby_ and _Aguecheek_ are discovered; the arrival of the Clown with his "How, now, my hearts? Did you never see the picture of we three?" and _Belch's_ greeting of "Welcome, ass,"--inaugurated an episode of extraordinary mirth, in which Burton moved the absolute monarch of merriment. The duel scene and the scene in the garden, when _Malvolio_ reads the letter, were full of the comedian's diverting power; and we can recall no single instance of humorous execution which more perfectly fulfilled all conditions.

Burton played _Touchstone_ and _Dogberry_, as has been mentioned; but it was never our good fortune to see him in either. We saw him as _Caliban_, in "The Tempest"; as _Autolycus_, in "Winter's Tale"; and as _Falstaff_, in "The Merry Wives of Windsor." His _Caliban_ we have tried to forget rather than remember; it terrified us and made us dream bad dreams; but for all that, we know that it was a surprising impersonation. His _Autolycus_ was a model of oily roguery, and another instance of that wondrous versatility of genius with which the comedian was endowed. Very dim in memory is Burton's _Sir John Falstaff_. We remember the scene in the Garter Inn, and the letters to the merry wives, and, of course, the _dénouement_ of the clothes-basket, and the frolic at Herne's Oak,--but we cannot go into detail; and we always thought we should like Burton so much better in the _Falstaff_ of "Henry IV." The mention of "Henry IV." reminds us that it was once produced at the Chambers Street Theatre, when Hackett played _Sir John_ to Lester Wallack's _Prince Hal_; and in order that nothing might be lacking in honor to Shakespeare, Burton and Blake played the two _Carriers_ in Scene I. of Act II. Fancy those two comedians with about twenty-five lines only between them in a play of five acts! But they must have covered themselves with glory.

We have endeavored in this retrospect to furnish a view of the comedian in a number of characters; and we think, however meagre our account, it still forcibly indicates the scope and range of Burton's abilities, and exhibits him in a wide scene of varied and striking dramatic power. We have depicted him in farce, in comedy, and in Shakespearian delineations; and it is not too much to say that generations will likely pass ere his fellow shall appear. We have heard and read of attempts being made by ambitious actors to revive his masterpieces, and that the efforts were highly commendable. Perhaps they were--

"A substitute shines brightly as a king Until a king be by."

MR. BURTON'S LIBRARY.

"My library was dukedom large enough."--SHAKESPEARE.

MR. BURTON'S LIBRARY.

Mr. Burton resided at No. 174 Hudson Street, New York, and owned also a beautiful country-seat at Glen Cove, Long Island, now the property of Mr. S. L. M. Barlow. In a building adjoining his Hudson Street residence, and connected therewith by a conservatory gallery, were contained his magnificent library, treasures of art, and precious relics. Scholars, actors, and men of art and letters were frequent visitors there, and the owner took a laudable pride in displaying his matchless collection.

A very interesting story of the painter Elliot may be told in this connection. He was often a visitor, and the striking resemblance between the artist's head and the accepted bust of Shakespeare was a matter of common observation. On one occasion, on being shown by Burton a choice Shakespearian acquisition, he became intensely interested, and quietly seated himself in a study-chair the better to examine the prize. "Meantime," says our narrator, "Burton and myself were engaged in other parts of the house, and at last we came back to the library. Burton looked through the door, and placing one hand on his mouth, he put the other on my chest, and thus held me back. I shall never forget his singular look at the moment. There sat Elliot at the table, dressed in a suit of plain black, his hand supporting his cheek, and his eyes intent upon the book. The evening light from the ceiling fell softly upon his high and delicately formed forehead; just over him was an exact copy of the effigy which marks the great dramatist's grave. The resemblance, or the hallucination, for the moment was complete, and Burton, with eyes fairly dilating with admiration and astonishment, said: 'Shakespeare living again! Was there ever such a resemblance?'"

It has been thought appropriate to include in this volume a description of the library, from the pen of James Wynne, M.D., who in 1860 published an account of his visits to various private libraries in New York, and Mr. Burton's was among the number. At the time of Mr. Burton's death the collection was probably larger, Dr. Wynne's visit having been made at a much earlier date than the publication of his volume. Every lover of Shakespeare, we think, will thank us for enriching this book with a description of that matchless library.

WM. E. BURTON'S LIBRARY.

Mr. Burton's library contains nearly sixteen thousand volumes. Its proprietor had constructed for its accommodation and preservation a three-story fire-proof building, about thirty-five feet square, which is isolated from all other buildings, and is connected with his residence in Hudson Street by a conservatory gallery. The chief library room occupies the upper floor of this building, and is about twenty-five feet in height. Its ceiling presents a series of groined rafters, after the old English style, in the centre of which rises a dome sky-light of stained glass. The sides of the library are fitted up with thirty-six oak bookcases of a Gothic pattern, which entirely surround it, and are nine feet in height. The space between the ceiling and the bookcases is filled with paintings, for the most part of large size, and said to be of value. Specimens of armor and busts of distinguished authors decorate appropriate compartments, and in a prominent niche at the head of the apartment, stands a full-length statue of Shakespeare, executed by Thom, in the same style as the Tam O'Shanter and Old Mortality groups of this Scotch sculptor.

The great speciality of the library is its Shakespeare collection; but although very extensive and valuable, it by no means engrosses the entire library, which contains a large number of valuable works in several departments of literature.

The number of lexicons and dictionaries is large, and among the latter may be found all the rare old English works so valuable for reference. Three bookcases are devoted to serials, which contain many of the standard reviews and magazines. One case is appropriated to voyages and travels, in which are found many valuable ones. In another are upward of one hundred volumes of table-talk, and numerous works on the fine arts and bibliography. One bookcase is devoted to choice works on America, among which is Sebastian Munster's "Cosmographia Novum Orbis Regionum," published in folio at Basle in 1537, which contains full notes of Columbus, Vespucci, and other early voyagers. Another department contains a curious catalogue of authorities relating to _Crime and Punishment_; a liberal space is devoted to _Facetiæ_ another to American Poetry, and also one to Natural and Moral Philosophy. The standard works of Fiction, Biography, Theology, and the Drama are all represented.