And now for the brief story of Booth’s dignified career.  Barton came of good English stock, and his father, with a true British desire to rule the destinies of his family, mapped out a clerical life for the boy.  But the latter had no thought of the pulpit, and from the time that he acted in the “Andria” of Terence, at Westminster School, his hope was all for the stage.  ’Tis very easy to applaud that hope now; perhaps his relations looked upon it as a temptation offered by the Evil One.  When he reached the mature age of seventeen, and had orders to begin his university training, what does the youth do but run away from home, and, taking the theatrical bull by the horns, appear on the Dublin boards.

“He first apply’d to Mr. Betterton, then to Mr. Smith, two celebrated actors,” says Chetwood, “but they decently refused him for fear of the resentment of his family.  But this did not prevent his pursuing the point in view; therefore he resolv’d for Ireland, and safely arrived in June 1698.  His first rudiments Mr. Ashbury[A] taught him, and his first appearance was in the part of Oroonoko, where he acquitted himself so well to a crowded audience, that Mr. Ashbury rewarded him with a present of five guineas, which was the more acceptable as his last shilling was reduced to brass (as he inform’d me).  But an odd accident fell out upon this occasion.  It being very warm weather, in his last scene of the play, as he waited to go on, he inadvertently wiped his face, that, when he enter’d, he had the appearance of a chimney-sweeper (his own words).  At his entrance he was surprised at the variety of noises he heard in the audience (for he knew not what he had done), that a little confounded him, till he received an extraordinary clap of applause, which settled his mind.  The play was desir’d for the next night of acting, when an actress fitted a crape to his face, with an opening proper for the mouth, and shap’d in form for the nose; but, in the first scene, one part of the crape slip’d off.  ‘And zounds!’ said he (he was a little apt to swear), ’I look’d like a magpie.  When I came off, they lamp-black’d me for the rest of the night, that I was flayed before it could be got off again.’"[B]

[Footnote A:  Joseph Ashbury, Master of the Revels, in Ireland, actor, and manager of the theatre in Dublin.]

[Footnote B:  Chetwood adds in a footnote:  “The composition for blackening the face are ivory-black and pomatum, which is, with some pains, clean’d with fresh butter.”  “Oroonoko” was what we would now call a “black face” part.]

But Booth was too much in earnest to be daunted by anything so trifling as the misplacing of a mask.  He studied hard, despite a youthful liking for the jolly joys of Bacchus, and soon made for himself an enviable position upon the Dublin stage.  For the youth had all the qualities that went toward the formation of a fine actor; he possessed keen dramatic instinct, poetic sensibility, a beautiful voice, a handsome