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a celebrated tragic actor, was born in the county palatine of

, a celebrated tragic actor, was born in the county palatine of Lancaster, 1681. At the age of nine years he was put to Westminster school, under the tuition of the famous Dr. Busby, where he soon discovered an excellent genius and capacity. He had a peculiar turn for Latin poetry, and had fixed many of the finest passages of the antients so firmly in his memory, that he could repeat them with such propriety of emphasis, and gracefulness of action, as to charm every body who heard him. Thence it was, that when, according to custom, a Latin play was to be acted, one of the first parts was given to young Booth; who performed it in such a manner as gained him universal applause, and particular respect from the doctor. This first gave him an inclination for the stage. His father intended him for the church: but when Barton reached the age of seventeen, and was about to be sent to the university, he stole away from school, and went over to Ireland in 1698, with Mr. Ashbury, master of the company. Here he was soon distinguished greatly by his theatrical abilities, especially in tragedy, for which he seemed to be formed by nature; for he had a grave countenance and a good person, with a fine voice and a manly action. When he had been three seasons in Dublin, in which time he had acquired a great reputation, he resolved to return to England; which he accordingly did in 1701, and was recommended to Mr. Betterton, who behaved to him with great civility, and took him into his company. The first character in which he appeared on the English stage, was that of Maximus, in the tragedy of Valentinian; and it was scarce possible for a young actor to meet with a better reception. The Ambitious Stepmother coming on soon after, he performed the part of Artaban, which added considerably to the reputation he had acquired, and made him esteemed one of the first actors. Nor was his fame less in all the succeeding characters which he attempted; but he shone with greatest lustre in the tragedy of Cato, which was brought on the stage in 1712. “Although Cato (says Mr. Cibber) seems plainly written upon what are called whig principles, yet the tories at that time had sense enough not to take it as the least reflection on their administration; but, on the contrary, seemed to brandish and vaunt their approbation of every sentiment in favour of liberty, which, by a public act of their generosity, was carried so high, that one day while the play was acting, they collected 50 guineas in the boxes, and made a present of them to Booth, with this compliment For his honest opposition to a perpetual dictator, and his dying so bravely in the cause of liberty.” The reputation to which Booth was now arrived seemed to entitle him to a share in the management of the theatre; but this perhaps his merit would never have procured, had it not been through the favour of lord Bolingbroke, who, in 1713, recalling all former licences, procured a new one, in which Booth’s name was added to those of Gibber, Wilks, and Dogget. Dogget, however, was so much offended at this, that he threw up his share, and would not accept of any consideration for it; but Gibber tells us, he only made this a pretence, and that the true reason of his quitting was his dislike to Wilks, whose humour was become insupportable to him. When Booth came to a share in the management of the house, he was in the thirty-third year of his age, and in the highest reputation as an actor: nor did his fame as a player sink by degrees, as sometimes has happened to those who have been most applauded, but increased every day more and more. The health of Booth, however, beginning to decline, he could not act so often as usual; and hence became more evident the public favour towards him, by the crowded audiences his appearance drew, when the intervals of his distemper permitted him to tread the stage: but his constitution broke now very fast, and he was attacked with a complication of distempers, which carried him off, May 10, 1733.