Chapter IV: Part 4

We have thus endeavored to give impressions from memory of certain parts in which Burton was specially famous; and they seem to us, on account of their versatility and range of humorous spirit, to be conspicuous examples of that varied power which led us to style the comedian an expounder of the Humor of the Drama in all its aspects. If the sojourn on earth of old Robert Burton was intended to give the world an "Anatomy of Melancholy," surely the mission of the later Burton was to lay bare the whole body of mirth.

MR. BURTON IN COMEDY AND SHAKESPEARE.

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.

There is a fair collection of classical authors, many of which are of Aldine and Elzevir editions. Among the rarities in this department is a folio copy of _Plautus_, printed at Venice in 1518, and illustrated with wood-cuts. The true name of this writer was T. Maccius Plautus. He was of humble origin, and is supposed to have once been a slave. He lived at Rome about one hundred and eighty years before the beginning of the Christian era, and wrote a number of plays which obtained great celebrity in the time of their author, and continued to be looked upon as models of this species of composition for many centuries after his decease. Twenty of his plays are extant, which are distinguished for the purity of their style and the exquisite humor of their characters, although Horace blames him for the coarseness of his wit. Gellius, who held him in much esteem, says that he was distinguished for his poetry upon the stage at the time that Cato was for his eloquence in the forum. The first edition of his works was printed at Venice, in 1472, by Merula. The edition of 1518, in this collection, is so rare as not to be mentioned by Brunet, De Bure, or Michael Mattaire. There is also a folio edition of Sallust, published at Venice in 1511, with wood-cuts; an excellent copy of Statius, published at Venice in 1498; and a translation from the Greek of Plutarch into Latin by Guarini, of Verona, surnamed Veronese, who was the first of a family celebrated for their literary attainments, and who is frequently confounded with Battista Guarini, the author of "Il Pastor Fido." Guarini Veronese was the grammarian of his day, and a strong advocate for the preservation of the Greek language in its purity. He was an assiduous student, and spent considerable time at Constantinople in copying the manuscripts of the best models in Grecian literature. Accompanied by his precious freight, he set sail for Italy, but was shipwrecked, and lost all of his laboriously acquired treasure, which produced such an effect upon him as to change his hair from a dark color to white in a single night. The world is indebted to him for the first edition of the "Commentaries" of Servius on Virgil, and likewise for the recovery of a number of manuscript poems of Catullus, which he found mouldering and almost obliterated in a garret. With the assistance of his father, he applied himself to the task of deciphering them, and, with the exception of a few verses, reproduced them entirely.

The collection is well supplied with editions of Virgil. In addition to Ogilby's folio, with Hollar and Fairthorne's plates, is a choice copy of the illustrated edition in three folio volumes, and the very rare _fac-simile_ Florentine edition of 1741 (_Ex cod. Mediceo Laurentiano_). This edition is now so scarce that a copy was recently sold in London for fifty pounds sterling.

The collection also contains a copy of the Vatican edition of Terence, in Latin and Italian, after the text of Heinsius, with numerous illustrations of ancient masks, etc., published at Rome in two folio volumes in 1767; an excellent copy of the best edition of Suetonius, with commentaries by Baraldi, printed in Roman letter at Paris in 1512; "Titi Livii," published at Nuremberg in folio, in 1514, in its original wood binding; Livy's Roman History, published in 1600--the first English edition; "Diogenes Laërtius de Vitis et Dogmatibus Philosophorum," published at Amsterdam in 1692; a vellum black-letter copy of Eusebius, of the rare Venetian edition of 1483; Boëtius, published in 1570; the two original editions of the eminent critic, Justus Lipsius; the Antwerp edition of Seneca, published in 1570; the same work in folio, in 1613; and Stephen's edition of Sophocles, published in 1518, which is an admirable specimen of Greek typography.

Among the Italian poets is a copy of Dante, in folio, published in 1497, with most remarkable cuts; and the "Commentaries" of Landino, the most highly valued of all the old commentators upon this poet; also an excellent large-paper copy of Tasso, in the original text, with Morghen's exquisite line engravings, published in 1820, in two folio volumes.

Cervantes appears to have been quite a favorite with the possessor of this library, who has the excellent Spanish edition of 1738, with Van der Gucht's beautiful plates and many inserted illustrations, in four volumes; the quarto edition, published at La Hayé, in 1746, containing thirty-one plates from Coypel's designs; Smollett's quarto edition of 1755, in two volumes, with plates by Grignion after designs by Hayman; a folio edition by Shelton, with many curious engravings, published in 1652, besides several modern editions.

In the historical department is a fine edition of Montfaucon's works in twenty folio volumes, including the "Monarchie Française"; the original edition of Dugdale's works, including the "Monasticon" with the old designs; Boissardus's "Romanæ Urbis Antiquitates," in three volumes, folio; and a large number of the old Chroniclers, in their earliest and rarest editions. Among these latter are two copies of the very scarce "Polychronicon," by Raulph Higden, the monk of Chester: the one in black-letter folio, printed in 1495, by Wynkyn de Worde, is wanting in the last page; the other, printed in 1527 by Peter Traveris, and ornamented with wood-cuts, is in perfect order. Both of these volumes have marginal notes, probably in the handwriting of the day.

The collection is particularly rich in copies of original editions of old English poetry, among which are the works of Samuel Daniel, 1602; Sandy's Ovid, published in 1626; Lucan, by Sir Arthur Gorges, published in 1614, noticed in Colin Clout, and personified as Alcyon in Spenser's "Daphnaida"; "Arte of Englysh Poesie," with a fine portrait of Queen Elizabeth, published in 1589; Quarle's works; Harrington's translation of "Orlando Furioso," folio, published in 1591, with plates in compartments; Sir W. Davenant's poems, published in quarto in 1651, with an original poem in the author's handwriting, never published; copies of the editions of 1613 and 1648 of George Wither's poems, and Chapman's "Seven Bookes of the Iliad of Homer," published in 1598.

This latter writer, who was born in Kent, in England, in 1559, was one of the coterie formed by Daniel, Marlowe, Spenser, Shakespeare, and others, and lived upon terms of great good-fellowship with England's greatest bard. He had no mean reputation as a dramatic writer, and was, besides, highly respected as a gentleman. His social position appears to have been an excellent one, and his urbanity of manner such as to endear him to all his friends. His intimate association with Shakespeare seems to establish the fact that in his own day the great poet occupied a prominent place in society, and was as duly appreciated in his own time, as Johnson and Pope in theirs. A monument was planned and erected over the remains of Chapman by his personal friend, Inigo Jones, on the south side of St. George's in the Fields; but in the changes which have disturbed the repose of those who were consigned to their last resting-place in that burial-ground, the monument has been destroyed.

This department possesses the black-letter folios of Chaucer in 1542 (the first complete edition), that of 1561, and that of 1598, all of which are now quite scarce; the folio editions of Milton of 1692 and 1695, possessing the old but characteristic engravings, as well as the quarto edition in two volumes, published at the expense of the Earl of Bath; Touson's edition of 1751, with plates; a large-paper copy of the edition of 1802, which contains Westall's plates; and Martin's edition of 1826, enriched by twenty-four original and beautiful engravings; likewise the first folio edition of Spenser's "Fairy Queen," published in 1609, and Fairfax's Tasso, published in 1624.

Besides the works already noticed, are Sylvester's "Du Bartus"; Warner's "Albion and England," published in 1586; "all the works of John Taylor, the water-poet, being sixty and three in number," published in folio in 1630. This is a very rare work, and is said to have been sold for eighty guineas. A similar work to this is the "Shype of Fools of the Worlde," translated from Brandt, and published in black-letter folio, with many wood-cuts, in 1509. A perfect copy of this work is very rare. The one in the present collection is wanting in the title-page and two last leaves.[12] Its price in the catalogue Anglo-Poetica, is one hundred guineas. The copy of Taylor, in the collection, is a fine large one, and handsomely bound. The real value of these two last volumes, in a literary point of view, is perhaps not great, but still from their peculiar associations they are highly prized by _bibliophiles_. Southey says: "There is nothing in John Taylor which deserves preservation for its intrinsic merit alone, but in the collection of his pieces which I have perused there is a great deal to illustrate the manners of his age. If the water-poet had been in a higher grade of society, and bred to some regular profession, he would probably have been a much less distinguished person in his generation. No spoon could have suited his mouth so well as the wooden one to which he was born. Fortunately he came into the world at the right time, and lived at an age when kings and queens condescended to notice his verses, and archbishops admitted him to their tables, and mayors and corporations received him with civic honors."[13]

[12] In the British Museum, and the _Bibliothèque Impériale_ at Paris,
are perfect copies of this work.

[13] Southey's "Uneducated Poets," p. 87.

There is a department of curiosities in the shape of odd or rare books, which is quite interesting: among the works are the singular history of M. Ouflé; the "Encyclopædia of Man," printed in English after the manner of Hebrew publications, beginning at the close of the volume and reading to the left; "Anteros," by Baptista Fulgosius, in quarto, published in 1496. This work, "Contre l'Amour," is said to be of extraordinary rarity. Likewise the "Zodiacke of Life," published in 1588; a curious manuscript in not very good Latin, with illuminated letters, upon the Lord's Prayer and the Creed, by Hen. Custas, dated 1614; Memorable Accidents and Massacres in France, in folio, published in 1598; a singular black-letter Edict of Emperor Charles V., published in 1521; a very singular Siamese work on the laws of marriage; Petri Bembi, with a frontispiece by Hans Holbein, published in 1518; "Libri Exemplorum," by Ric Pafradius, published in 1481; the original edition of "The Rogue; or, Life of De Alfarache Guzman," folio, published in 1634, translated by James Mabbe, otherwise known as Don Diego Puedesur.

There is also a copy of the "Opera Hrosvite Illustris Virginis," published in Nuremberg in 1501, in folio, bound in old wooden covers with brass clamps. This work, which contains some wood-engravings equal to etchings, probably the work of Durer, is fully described by Mengerand in his "Esprit des Journaux"; Pisoni's "Historia," with engravings of birds, animals, and fishes, that would excite the surprise of the naturalist of the present day; "Novus Marcellus Doctrina," published at Venice in 1476, on large paper, with colored initials; a curious folio, manuscript history of the "Starre Chamber"; and Lithgow's "Rare Adventures and Painful Peregrinationes," published in 1632, interlined with the author's manuscript emendations, and evidently intended for a new edition. This work is rare--the copy owned by King Charles brought £42 at Jadis's sale.

The collection has a large number of old Bibles, many thousand biblical illustrations, a large number of other illustrated works, and many books and prints especially devoted to the Cromwellian era of English life.

The Shakespeare department contains many separate editions of the works of the immortal bard, each of which is distinguished by some peculiarity. First among these stand the four folios published in 1623, 1632, 1664, and 1685, with a number of the original quartos of separate plays, illustrated copies, some of which belonged to able scholars, and are enriched by their manuscript notes.

Mr. Burton sought to possess every work that alludes to the early editions of Shakespeare, or which serves in any way to illustrate the text. Among these are to be found many of the original tracts, the scarce romances, the old histories, and the rare ballads, upon which he founded his wonderful plays, or which are alluded to in the text. The collection contains the book alluded to by the quaint and facetious _Touchstone_, in "As You Like It," by which the gallants were said to quarrel with the various degrees of proof,--"the retort courteous, the countercheck quarrelsome, and the lie direct"; the "Book of Good Manners," the "Book of Sonnets" mentioned in the "Merry Wives of Windsor," the "Book of Compliments," and the "Hundred Merry Tales"; and Montaigne, translated by Florio, who is supposed by some to be the Holofernes in "Love's Labor's Lost"; the edition of Holinshed, so freely used by Shakespeare in his historical plays, with the lines quoted by him underscored with red ink.

Among the collected editions of Shakespeare is the first quarto, in seven volumes, edited by Pope, which, besides having the reputation of being the least reliable of any edition of Shakespeare's works, is defaced by an engraving of King James I. of England, which the publishers sought to palm upon the public as the likeness of the great dramatist. It is engraved by Vertue from an original painting in the Harleian collection, and does not possess the slightest resemblance to any of the various portraits of Shakespeare.

The collection contains a large-paper copy of Hanmer's beautiful quarto edition, published in 1744, with Gravelot's etchings, which is now quite rare; also, the reprint of the same work, made in 1770, and a fine copy of the quarto edition, known as Heath's, in six volumes, with proof plates after Stothard; a beautiful and undoubtedly unique copy of the Atlas folio edition in nine volumes, published by Boydell in 1802, elegantly bound and tooled with great richness of design. This copy was selected by Boydell, with great care, for Miss Mary Nicol, sister of George Nicol, printer to the king, and a relative of Boydell. It contains proof impressions of the engravings, and an extra volume of original etchings. This work was purchased at the sale of the Stowe library. The certificates of Nicol and the librarian of the Duke of Buckingham, testifying to the value and rarity of this picked specimen of typography and engraving, are bound in the first volume of the work. The collection contains Mr. Boydell's own private portfolio, with the original etchings, artist's proof, and proof before letter, of every engraving, with the portraits, now so difficult to meet with, of the large elephant folio plates, upward of one hundred in number.

But the crowning glory is a folio copy of Shakespeare, illustrated by the collector himself, with a prodigality of labor and expense that places it far above any similar work ever attempted. The letter-press of this great work is a choice specimen from Nicol's types, and each play occupies a separate portfolio. These are accompanied by costly engravings of landscapes, rare portraits, maps, elegantly colored plates of costumes, and water-color drawings, executed by some of the best artists of the day. Some of the plays have over two hundred folio illustrations, each of which is beautifully inlaid or mounted, and many of the engravings are very valuable. Some of the landscapes, selected from the oldest cosmographies known, illustrating the various places mentioned in the pages of Shakespeare, are exceedingly curious as well as valuable.

In the historical plays, when possible, every character is portrayed from authoritative sources, as old tapestries, monumental brasses, or illuminated works of the age in well-executed drawings or recognized engravings. There are in this work a vast number of illustrations, in addition to a very numerous collection of water-color drawings. In addition to the thirty-seven plays, are two volumes devoted to Shakespeare's life and times, one volume of portraits, one volume devoted to distinguished Shakespearians, one to poems, and two to disputed plays,--the whole embracing a series of forty-two folio volumes, and forming, perhaps, the most remarkable and costly monument in this shape ever attempted by a devout worshipper of the Bard of Avon.

The volume devoted to Shakespeare's portraits was purchased by Mr. Burton at the sale of a gentleman's library, who had spent many years in making the collection, and includes various "effigies" unknown to many laborious collectors. It contains upward of one hundred plates, for the most part proofs. The value of this collection may be estimated by the fact that a celebrated English collector recently offered its possessor £60 for this single volume.

In the reading-room, directly beneath the main library, are a number of portfolios of prints illustrative of the plays of Shakespeare, of a size too large to be included in the illustrated collection just noticed. There is likewise another copy of Shakespeare based upon Knight's pictorial royal octavo, copiously illustrated by the owner; but although the prints are numerous, they are neither as costly nor as rare as those contained in the large folio copy.

Among the curiosities of the Shakespeare collection are a number of copies of the disputed plays, printed during his lifetime, with the name of Shakespeare as their author. It is remarkable, if these plays were not at least revised by Shakespeare, that no record of a contradiction of their authorship should be found. It is not improbable that many plays written by others were given to Shakespeare to perform in his capacity as a theatrical manager, requiring certain alterations in order to adapt them to the use of the stage, which were arranged by his cunning and skilful hand, and that these plays afterward found their way into print with just sufficient of his emendations to allow his authorship of them, in the carelessness in which he held his literary fame, to pass uncontradicted by him.

There is a copy of an old play of the period, with manuscript annotations, and the name of Shakespeare written on the title-page. It is either the veritable signature of the poet or an admirably imitated forgery. Mr. Burton inclined to the opinion that the work once belonged to Shakespeare, and that the signature is genuine. If so, it is probably the only scrap of his handwriting on this continent. This work is not included in the list given of Ireland's library, the contents of which were brought into disrepute by the remarkable literary forgeries of the son, but stands forth peculiar and unique, and furnishes much room for curious speculation.

These forgeries form a curious feature in the Shakespeare history of the last century. They were executed by William Henry Ireland, the son of a gentleman of much literary taste, and a devoted admirer of Shakespeare. Young Ireland, who was apprenticed to an attorney, possessed the dangerous faculty of imitating the handwriting of another person with such perfection as to deceive the most careful critic. His occupation led him much among old records, by which means he acquired a knowledge of the phraseology used in them, and the general appearance imparted by age to the paper and ink, all of which he was enabled to imitate very closely.

His father's reverence for Shakespeare induced him to endeavor to palm off upon himself and friends, probably at first as a good joke, some originals of the great poet. One of these was a declaration of his faith in the Protestant church, which, when shown to Dr. Parr, drew from this great scholar the observation that, although there were many fine things in the church service, here was a man who distanced them all.

Mr. Boaden, a gentleman of great taste, states that when he first saw these papers he looked upon them with the purest delight, and touched them with the greatest respect, as veritable and indisputable relics. A number of gentlemen met at Mr. Ireland's house, and after carefully inspecting the manuscripts, subscribed a paper vouching their authenticity. Among these were Dr. Parr, Dr. Valpy, Pye, the Poet-Laureate, Herbert Croft, and Boswell. It is said that when Boswell approached to sign the paper he reverentially fell upon his knees, thanked God that he had witnessed the discovery, and, in the language of Simeon, exclaimed: "_Nunc dimittis servum tuum, Domine, in pace_."

It was now too late for young Ireland to retreat, if he ever intended to have done so, and the discovery of the imposture remained for Malone and Chalmers fully to develop. The disclosure is said to have brought the elder Mr. Ireland in sorrow to his grave, and to have bestowed upon the young scapegrace, who, either thoughtlessly, or with malice aforethought, had embittered the last years of the life of a tender parent, the epithet (which clung to him ever afterward) of "Shakespeare Ireland."

The contemporaries of Shakespeare are quite numerous. In the cases devoted to the old English drama are the original and best editions of Chapman, Marston, Heywood, Dekker, Greene, Rowley, Massinger, Ford, Jonson, and Field. Besides the original quartos, the library contains most of the collected editions of the old dramatists, and in this department it is quite complete.

Three book-cases are devoted to works pertaining to the history of the stage, in every country and language, from the commencement of the art to the present time, and scarcely a work relating to the history, progress, or criticism of the stage can be named which is not to be found in the collection.

A full-length statue of Shakespeare in freestone, placed in a niche upon the northern side of the room, and surrounded by carved tracery of a Gothic design, has already been noticed. Upon the eastern side the Stratford bust is placed on a bracket of the age of Elizabeth. The celebrated antiquary, Cottingham, devoted his personal attention to this work, and no other copy has been given to the world. This bust, the bracket upon which it rests, a curious old drinking-vessel of stone with a metal lid, all found in the garden of Shakespeare's house at New Place, a well-carved head of a Nubian girl, and the key-stone of an entrance arch of the theatre at Pompeii, were purchased by the owner of the present collection at the extensive sale of the personal effects of Mr. Cottingham.

There is also a beautifully carved tea-caddy, made from the wood of Shakespeare's mulberry-tree, which formerly belonged to Garrick, and a small copy of Roubilliac's statue of Shakespeare, which is the first specimen of china-ware executed at Chelsea, in England. This likewise belonged to Garrick. There are likewise two drinking-cups with silver rims, said to be made of the wood of a crab-tree under which Shakespeare slept during his celebrated frolic, formerly in the possession of Betterton.

CONCLUSION.

IN depicting the career of William E. Burton as Actor, Author, and Manager, we are aware of the secondary value of his authorship, as compared with his dramatic achievements. Nevertheless, his pen was a ready and fertile one, and produced much that was meritorious, though belonging to an ephemeral order. His plays, however, continue in the list of present theatrical publications. Of his editorship it may be affirmed that his conduct of "The Gentleman's Magazine" and "Literary Souvenir" was marked by taste and discrimination; and nothing but unqualified praise can be bestowed upon his superintendence of the compilation of humorous literature known as Burton's "Cyclopædia of Wit and Humor." It is by far the most complete repository of mirthful composition ever published in this country--or elsewhere, so far as we know,--and enjoys the peculiar advantage of being the only one in which the productions of American humor have any thing approaching an adequate representation. The selections throughout are indicative of great critical sagacity, and a keen perception and sympathetic appreciation, in the general arrangement, are everywhere suggested. As manager he certainly fulfilled all conditions, as we believe the relation of his successes in that sphere will sufficiently attest. But whatever his capacity in the vocations named, all is dwarfed by his transcendent powers as a comedian. He is remembered, and will be remembered, not as the author or manager, but as the great actor who swayed mankind with his supreme gift of humor. Many of the creations of his genius went away with him in death; and the traditions of his triumphs will long be distinguished in dramatic annals. Lastly, we have seen him a Shakespearian student and the possessor of a library perfectly glorious in its expression of devotion and homage to the great poet,--and linked with that proud association we leave his memory and his name.

INDEX.

Abbot, Mr., 14, 15

Abbott, Mrs., 97

"A Chapter of Accidents," song, 12

Albany, N. Y., 90, 101

"All at Coventry," 116

American Theatre, Phila., 20

"Amilie; or, The Love Test," 23

"An Alarming Sacrifice," 116

"Animal Magnetism," 112

"Antigone," 22

"Antony's Orations," 15

"An Unwarrantable Intrusion," 58

"Apollo in New York," 115

Arch Street Theatre, Phila., 9, 13, 26

Astor Place Opera-House, 97

"As You Like It," 97, 113

Atlanta, Ga., 155

"Bachelors' Torments," 53

Balls, Mr., 15

Baltimore, Md., 26, 37

"Banker's Daughter," the, 132

"Barbers at Court," 116

Barlow, S. L. M., 179

Barnett, Morris, 98, 156

Barrett, Geo., 38, 45;
extended mention, 75, 76

Barry, Thos., 38

"Beehive," the, 115

"Betsey Baker," 116

Biddle, Nicholas, 24

Blake, W. R., 38, 45, 51;
extended mention, 51-55;
mention, 68, 72, 78, 92, 111, 169, 175

Bland, Humphrey, 45, 51;
extended mention, 74, 97, 169

"Blighted Being," a, 73

"Blue Devils," 112, 140

Booth, Edwin, 47, 101

Boston, Mass., 37, 102

Boston Theatre, 102

Boucicault, Dion, 47, 98, 101, 132

"Box and Cox," 114

"Breach of Promise," the, 94, 113, 163, 171

Broadway Theatre, 38; 67, note

"Broken Heart," the, 114

Brooklyn, N. Y., 39

Brougham, Jno., 37, 45;
extended mention, 55-64, 71, 92, 149

Brougham's Lyceum, 60

Brougham, Mrs., 60

Buckland, Mrs. Kate, 45

Buckstone, J. B., 36, 131

Burton's Company in Chambers Street;
extended review of particular players, 45-92

"Burton's N. Y. Directory," 114

Burton's New Theatre, 88, 99, 100, 101, 102

Burton, Robert, 158

Burton's Theatre, Chambers Street, 27, 29, 34, 36, 39, 40, 42,
44, 47, 56, 63, 74, 85, 88, 93, 97, 99, 149, 168, 169, 172, 175

Burton, Wm. Evans, subject of memoir, mention, preface;
birth and parentage, education, 3;
edits a monthly magazine, amateur acting, 4;
adopts the profession, first appearance in London, 5;
succeeds Listen at Haymarket, plays with E. Kean, 6;
his play of "Ellen Wareham," 7;
progress and arrival in America, 8;
first appearance in America, 9;
portrait by Inman, 9;
his success in Philadelphia, 9 _et seq._;
his musical talent, 12;
development and versatility, 13;
popularity and benefits, 14;
busy with pen, 16;
starts "The Gentleman's Magazine," 16;
connection with E. A. Poe, 16, 17;
letter to Poe, 18;
literary ventures, 19, 20;
President Martin Van Buren an auditor, 20;
amusing experience at Napoleon, 20 _et seq._;
speech for the author of "Antigone," 22;
first appearance in New York, 22;
sundry appearances, 23;
opens National Theatre, Phila.; produces "Naiad Queen";
at Providence; manager in New York, 24;
loss by fire, 25;
returns to Philadelphia, 26;
survey of career in Phila., 27 _et seq._;
opens Chambers St. Theatre, 36;
energy and perseverance, 37;
charitable benefits, 38;
popularity of theatre, 39;
his power of attraction, 40, 41;
encomium of Jos. N. Ireland, 42, 43;
extended mention of members of company, 45-92;
produces "Dombey and Son," 56;
pleasantries with Brougham, 58;
stage incident, 59;
surprised by Thompson, 84;
amusing correspondence with Norton, 85, note;
relations with Mrs. Hughes, 88;
his attributes as manager, 95;
Shakesperian revivals, 95, 96;
plays for Dramatic Fund and Centenary Festival, 97, 98;
plays at Niblo's, 99;
closes Chambers St. and opens New Theatre, 99;
progress, 100;
plays _Dogberry_, appears in Albany, 101;
in Boston, 102;
New Theatre closed, starring tour, 102;
last appearance in New York, 103;
engagement in Canada, and letter to his children, 103-110;
last appearance on any stage, and death, 110;
list of parts acted, 111-117;
personal appearance, 121;
mental equipment, 122, 123;
an expounder and representative of the humor of the drama, 124, 125;
his comic power mentioned by Wemyss, 125;
his performances in farce, 123:
"The Mummy," 134 _et seq._;
_Madame Vanderpants_, 137 _et seq._;
"The Wandering Minstrel," _Pillicoddy_, 139.
His specially famous parts:
_Paul Pry_, 144 _et seq._;
_Captain Cuttle_, 148 _et seq._;
Ireland's tribute to _Cuttle_ 151, note;
Aminadab Sleek, 152 _et seq._;
stage incident of "Serious Family," 153;
ushered in with thunder, 155;
_Timothy Toodles_, 156 _et seq._
His performances in comedy, 158 _et seq._:
_Micawber_, 160;
_Mr. Bumble_, 161;
_Squeers_, _Sam Weller_, 162;
_Bob Acres_, 164;
_Tony Lumpkin_, _Chas. Goldfinch_, 165;
_Dr. Ollapod_, 166;
_Sir. Geo. Thunder_, _Job Thornberry_ (see 59 and 68), 167;
_Sir Oliver Surface_, 167;
_Mr. Graves_, _Mock Duke_, _Adam Brock_, _Van Dunder_, 168;
"Nature's Nobleman," 168;
_John Smith_, 170;
_Mr. Sudden_, _Thomas Trot_, _Don Whiskerandos_, _Triplet_, 171.
His performances in Shakespeare:
"A Midsummer-Night's Dream," 171;
_Bottom_, 172 _et seq._;
_Sir Toby Belch_, 174;
_Caliban_, _Autolycus_, _Falstaff_, 175;
one of the _Carriers_ in "Henry IV.," 176.
His residence and library; story of the painter, Elliot, 179;
description of library, 181 _et seq._

Burton, Wm. Geo., father of subject, 3, 4

"Busybody," the, 117

Campbell, Thos., 142

Carey & Hart, 20

"Caste," 132

Castle Garden, 98

"Catspaw," the, 114

Chambers Street Theatre (see Burton's Theatre, Chambers St.)

Chapman, Caroline, 45;
extended mention, 60, 61

Chapman, Mr., 97

"Charles II.," 94, 116

"Charles XII.," 94, 116, 163, 168

Chatham Garden Theatre, 53

Chatham Theatre, 97

Chestnut Street Theatre, 13, 15, 26

Chippendale, Mr., 97

"Cinderella," 113

Clapp, W. W., preface.

Clarke, C. W., 45

"Cockney," the, 116

Cole, John O., 90