The English Stage: Being an Account of the Victorian Drama. Filon Augustin
their roman comique was a roman tragique in reality.
The public of these small towns wanted, on their part, to know something of what went on behind the scenes. Sides were taken on the subject of the actor’s life, and hot discussions were called forth. Idle pens took to writing pamphlets for or against individual actors, and these had to defend themselves as best they might against their malignant inquisitors, using their booths as pulpits for the purpose. Here, for instance, is an incident that occurred one evening in a Northern town after the curtain had been raised for Antony and Cleopatra. The jeune premier comes forward to the footlights, and takes the hand of one of the leading actresses with the stiff, staid courtliness of former days, and the following dialogue is exchanged between them: —
“Have I ever been guilty of any injustice of any kind to you since you have been in the theatre?”
“No, sir” (she replies).
“Have I ever behaved to you in an ungentlemanlike manner?”
“No, sir.”
“Have I ever kicked you?”
“Oh, no! sir!”
The audience applauds. Antony and Cleopatra assume their correct attitudes and (this prologue to Shakespeare successfully performed) proceed with their rôles.2
From time to time a great artist came forth, after three or four generations of mediocrities, from one of these theatrical nurseries. The others remained tied to their stake, revolving ceaselessly within the orbit of their chain. For them there was no question of glory or fortune. They lived simply and happily, if only they came to the end of the year without having gone to prison, and if only at the end of their life they saw their children growing up and getting educated. Their courage they derived in part from the bottle, in part from religion. A correspondence which has come to light through an unforeseen chance (a grandson who had become famous) revivifies for us the actor-manager on circuit. He is a good fellow, but a trifle sententious. He quotes from the works of his authors, tragic and comic (he has them at his finger-ends) axioms upon all the incidents and experiences of life. He quotes them just as Nehemiah Wallington or Colonel Hutchinson used to quote the Bible. He is as easily excited and as easily calmed as a child. A storm troubles him as a bad omen. A rainbow smiles on him as a promise. Providence may be trusted, he believes, to look after the takings of poor players. He is the Vicar of Wakefield become père noble.
Neither in this monotonous and easy-going phase of life, nor in the theatrical world of London, had anyone any idea of modifying the forms or the tendencies of the stage. Those whose duty it should have been to give the necessary impulse did not seem even to suspect that there was any such work for them to perform. The critics of the time, Hazlitt, Leigh Hunt, Charles Lamb, have achieved a permanent place in literature. And yet when one reads them one is disappointed. Except for a few pages of Lamb, one may look to them in vain for the expression of anything like a general idea. They are taken up almost altogether in discussing and comparing the different actors. It does not occur to them to attempt an appreciation or a classification of the plays, for these plays had already been definitively classified and pronounced upon. There was no drama, they seemed to think, except that of Shakespeare and his satellites; and as for comedy, it had said its last word when Goldsmith and Sheridan died. And they were quite content that this should be so. They saw no reason why they, their successors, and the general public, should not continue until the end of time to carp over an entry of Macbeth or an exit of Othello! – or why they should not sit out revivals without end of The School for Scandal or She Stoops to Conquer. There are eras which will have novelties at all cost, and eras which cling to antiquity.
Macready, with the instinct of a “realistic” and “modern” actor, kept on the lookout for authors. A former Irish schoolmaster, who also had been an actor, and whose name was Sheridan Knowles, brought him a tragedy entitled Virginius which he had written in three months. He made a good deal of this point, never having read, probably, the scene of the sonnet of Oronte. The piece was put into rehearsal and played at Covent Garden in the spring of 1820. Reynolds introduced the unknown author to the public in a carefully-written prologue. In it he ridiculed the drama of the period, which he described as “stories” —
“… piled with dark and cumbrous fate,
And words that stagger under their own weight.”
He promised to return to Truth and Nature, the invariable programme of all attempts at reforming the drama. And as a matter of fact, Virginius might be accepted in a certain sense as a return to Truth and Nature. It belonged to what we were going to call in France, twenty-five years later, the School of Common Sense. Or if one prefers to look back instead of forward, one might say that in it the rules of Diderot and Sedaine’s Drame Bourgeois seem to have been transferred to Roman tragedy. The piece, like the plays of Shakespeare, was partly in verse and partly in prose, but the verse was little more, really, than metrical prose. The plot developed clearly and logically with a scrupulous observance of the probable and natural. The heroine (one smiles at having to describe her by so grand a name) is for all the world a little pensionnaire who might have got her ideas on rectitude from Miss Edgeworth. She occupies herself with her needle in working together her initials and those of the young man of her choice, who is no other than the tribune Icilius. It is this piece of embroidery which reveals her secret. “My father is incensed with you,” she says to Icilius, and, her lover becoming impassioned, she covers her face with her hands, saying (as is correct at such a juncture), “Leave me, leave me!” He does not obey, and the author, not knowing how else to prolong the scene, has recourse to high-sounding language… “Thou dost but beggar me, Icilius,” exclaims Virginia, “when thou makest thyself a bankrupt.” And Icilius replies, … “My sweet Virginia, we do but lose and lose, and win and win, playing for nothing but to lose and win. Then let us drop the game – and thus I stop it,” and he stops it by seizing her in his arms.
In the scene in which the client of Appius attempts to possess himself of her, Virginia remains absolutely mute. She is mute also in the great scene of the judgment, and she seems, moreover, to have understood nothing of what has been happening, for she asks her father if he is going to take her home. From the angels and furies of Shakespeare and Corneille we have come down to a virtuous idiot, and are told that this is a return to Nature.
Virginius is an excellent father, a liberal-minded member of the middle class, interesting himself in politics. He knows his rights and does not stand in awe of the ministers. He reminds one of the city man who returns home to his comfortable residence in Chiswick or Hampstead after his day’s work in his Leadenhall Street office. He is a widower, but his house is looked after by a very respectable elderly person, in whose excellent sentiments and weak intelligence we recognise a housekeeper of the superior type. The whole household is tranquil, well behaved, Christian, – I might even say, Puritan.
Doubtless the Romans of the republic were men like ourselves, but a true picture of their humanity should reveal characteristics different from ours. The author should either have sought out these characteristics, or else have restricted himself to that sphere of great passions and heroic madnesses in which all the centuries meet on common ground. One is obliged, however unwillingly, to admit the impossibility of retrospective realism.
When Virginius returns from the camp to defend his child, he gazes on her long, and tells her he had never seen her look so like her mother —
“… It was her soul, … her soul that played just then
About the features of her child, and lit them
Into the likeness of her own. When first
She placed thee in my arms – I recollect it
As a thing of yesterday! – she wished, she said,
That it had been a man. I answered her,
It was the mother of a race of men;
And paid her for thee with a kiss.”…
There is something at once virile and moving in this passage, but how many such cases are to be found in this tragedy? The paternal emotion
William Archer,