36. Joseph Jefferson

Returning to the United States, Mr. Jefferson appeared with increased success in the leading cities of the Northern and Western States. His principal success at this time was won in the character of Asa Trenchard, in the play of "Our American Cousin." His personation of the rough, eccentric, but true-hearted Yankee was regarded as one of the finest pieces of acting ever witnessed on the American stage, and drew crowded houses wherever he went. His range of characters included the most refined comedy and the broadest farce, but each delineation bore evidence of close and careful study, and was marked by great originality and delicacy. There was in his performances a freshness, a distinctiveness, and, above all, an entire freedom from any thing coarse or offensive, which charmed his audiences from the first. One of his critics has well said of him: "As Caleb Plummer he unites in another way the full appreciation of mingled humor and pathos—the greatest delicacy and affection with rags and homely speech. As Old Phil Stapleton he is the patriarch of the village and the incarnation of content. As Asa Trenchard he is the diamond in the rough, combining shrewdness with simplicity, and elevating instead of degrading the Yankee character. As Dr. Ollapod, and Dr. Pangloss, and Tobias Shortcut, he has won laurels that would make him a comedian of the first rank. His Bob Acres is a picture. There is almost as much to look at as in his Rip Van Winkle. There is nearly the same amount of genius, art, experience, and intelligence in its personation. Hazlitt says that the author has overdone the part, and adds that 'it calls for a great effort of animal spirits and a peculiar aptitude of genius to go through with it;' Mr. Jefferson has so much of the latter that he can—and to a great extent does—dispense with the former requisite. His quiet undercurrent of humor subserves the same purpose in the role of Bob Acres that it does in other characters. It is full of points, so judiciously chosen, so thoroughly apt, so naturally made and so characteristically preserved, that the part with Jefferson is a great one. The man of the 'oath referential, or sentimental swearing,' makes the entire scope of the part an 'echo to the sense.' Even in so poor a farce as that of 'A Regular Fix,' Mr. Jefferson makes the eccentricities of Hugh de Brass immensely funny. The same style is preserved in every character, but with an application that gives to each a separate being."

After a season of great success in this country Mr. Jefferson decided to visit England. He appeared at the Adelphi Theater, in London, and at once became as popular as he had been at home. His Asa Trenchard, in "Our American Cousin," was received by the English with delight; but his greatest triumphs were won in Boucicault's version of "Rip Van Winkle," which he has since immortalized. This play was first produced at the Adelphi, where it enjoyed an uninterrupted run of nearly two hundred nights.

Returning to the United States in the autumn of 1867, Mr. Jefferson appeared at the Olympic Theater, in New York, in the play of "Rip Van Winkle." Since then he has traveled extensively throughout the United States, and has devoted himself exclusively to the character of Rip Van Winkle; so exclusively, indeed, that many persons are ignorant of his great merits in other roles. By adopting this as his specialty, he has rendered himself so perfect in it that he has almost made the improvident, light-hearted Rip a living creature. A writer in a popular periodical draws the following graphic sketch of his performance of this character:

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