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CHARLES FECHTER<br />

Glavis, there was a remarkable display of<br />

this power in Mr. Fechter, when he made<br />

three commonplace words, "Away with<br />

you ! " fall upon his tormentors like a bolt<br />

from a thundercloud. Mr. Booth played<br />

Ruy Bias and Claude Melnotte rather<br />

often in his early life, and briefly returned<br />

to them a few years before his death.<br />

His performance of neither part — though<br />

his playing did not lack distinction, of<br />

course — was worthy to be ranked with<br />

Fechter's. Booth's Ruy Bias seemed dry<br />

and slow in comparison with the French ac-<br />

tor's, and Booth's Claude Melnotte, which<br />

resembled a double dahlia, was insignifi-<br />

cant beside an impersonation that had the<br />

splendor and fragrance of an Oriental rose.<br />

Fechter was essentially a player of melo-<br />

drama, however, — a master of the ex-<br />

terior symbolism of the histrionic art, but<br />

fully qualified neither to search into the<br />

spiritual and intellectual depths of the<br />

greatest dramatic conceptions, nor to carry<br />

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