Aaron Hill, curiously statistical, states, that by the peculiar delivery of certain sentiments in Cato, Booth was always sure of obtaining from eighteen to twenty rounds of applause during the evening,--marks of approval, both of matter and manner. Like Betterton, he abounded in feeling. There was nothing of the stolidity of "Punch" in either of them. Betterton is said to have sometimes turned as "white as his neck-cloth," on seeing his father's ghost; while Booth, when playing the ghost to Betterton's Hamlet, was once so horror-stricken at his distraught aspect, as to be too disconcerted to proceed, for a while, in his part. Either actor, however, knew how far to safely yield themselves to feeling. Judgment was always within call; the head ready to control the heart, however wildly it might be impelled by the latter. Baron, the French actor, did not know better than they, that while rules may teach the actor not to raise his arms above his head, he will do well to break the rule, if passion carry him that way. "Passion," as Baron remarked, "knows more than art." I have noticed the report that Booth and Wilks were jealous of each other; I think there was more of emulation than of envy between them. Booth could make sacrifices in favour of young actors as unreservedly as Betterton. I find, even when he was in possession, as it was called, of all the leading parts, that he as often played Laertes, or even Horatio, as the Ghost or Hamlet. His Laertes was wonderfully fine, and in a great actor's hands, may be made, in the fifth act, at least, equal with the princely Dane himself. Again, although his Othello was one of his grandest impersonations, he would take Cassio, in order to give an aspirant a chance of triumph in the Moor. In "Macbeth," Booth played, one night, the hero of the piece; on another, Banquo; and on a third, the little part of Lennox. He was quite content that Cibber should play Wolsey, while he captivated the audience by enacting the King. His Henry was a mixture of frank humour, dignity, and sternness. Theophilus Cibber says enough to convince us that Booth, in the King, could be familiar without being vulgar, and that his anger was of the quality that excites terror. He pronounced the four words, "Go thy ways, Kate," with such a happy emphasis as to win admiration and applause: and "when he said, 'Now, to breakfast with what appetite you may,' his expression was rapid and vehement, and his look tremendous." The credit attached to the acting of inferior parts by leading players was shared with Booth by Wilks and Cibber. Of the latter, his son says, that "though justly esteemed the first comedian of his time, and superior to all we have since beheld, he has played several parts, to keep up the spirit of some comedies, which you will now scarcely find one player in twenty who will not reject as beneath his Mock-Excellence."