Records of a Girlhood. Fanny Kemble
it; when next I write to you I will let you know all that we hear of the result. I must repeat some part of my last letter, in case you did not receive it. We have taken a house in James Street, Buckingham Gate, Westminster, which appears to be in every way a desirable and convenient abode; in itself it is comfortable and cheerful, and its nearness to Henry's school and comparative nearness to the theatre, together with its view over the park, and (though last, not least) its moderate rent, make up a mass of combined advantages which few other situations that we could afford can present.
I am extremely busy, dearest H–, and extremely elated about my play; I know I mentioned it before to you, but you may have reckoned it as one of the soap-bubbles which I am so fond of blowing, admiring, and forgetting; however, when I tell you that I have finished three acts of it, and that the proprietors of Covent Garden have offered me, if it succeeds, two hundred pounds (the price Miss Mitford's "Foscari" brought her), you will agree that I have some reason to be proud as well as pleased.
As nobody but myself can give you any opinion of it, you must be content to take my own, making all allowances for etc., etc., etc. I think, irrespective of age or sex, it is not a bad play—perhaps, considering both, a tolerably fair one; there is some good writing in it, and good situations; the latter I owe to suggestions of my mother's, who is endowed with what seems to me really a science by itself, i.e. the knowledge of producing dramatic effect; more important to a playwright than even true delineation of character or beautiful poetry, in spite of what Alfieri says: "Un attore che dirà bene, delle cose belle si farà ascoltare per forza." But the "ben dire cose belle" will not make a play without striking situations and effects succeed, for all that; at any rate with an English audience of the present day. Moreover (but this, as well as everything about my play, must be entre nous for the present), my father has offered me either to let me sell my play to a bookseller, or to buy it for the theatre at fifty pounds.
Fifty pounds is the very utmost that any bookseller would give for a successful play, mais en revanche, by selling my play to the theater it cannot be read or known as a literary work, and as to make a name for myself as a writer is the aim of my ambition, I think I shall decline his offer. My dearest H–, this quantity about myself and my pursuits will, I am afraid, appear very egotistical to you, but I rely on your unchangeable affection for me to find some interest in what is interesting me so much.
CHAPTER VII
The success of the English theater in Paris was quite satisfactory; and all the most eminent members of the profession—Kean, Young, Macready, and my father—went over in turn to exhibit to the Parisian public Shakespeare the Barbarian, illustrated by his barbarian fellow-countrymen. I do not remember hearing of any very eminent actress joining in that worthy enterprise; but Miss Smithson, a young lady with a figure and face of Hibernian beauty, whose superfluous native accent was no drawback to her merits in the esteem of her French audience, represented to them the heroines of the English tragic drama; the incidents of which, infinitely more startling than any they were used to, invested their fair victim with an amazing power over her foreign critics, and she received from them, in consequence, a rather disproportionate share of admiration—due, perhaps, more to the astonishing circumstances in which she appeared before them than to the excellence of her acting under them.
One of the most enthusiastic admirers of the English representations said to my father, "Ah! parlez moi d'Othello! voilà, voilà la passion, la tragédie. Dieu! que j'aime cette pièce! il y a tant de remue-ménage."
A few rash and superficial criticisms were hardly to be avoided; but in general, my father has often said, in spite of the difficulty of the foreign language, and the strangeness of the foreign form of thought and feeling and combination of incident, his Parisian audience never appeared to him to miss the finer touches or more delicate and refined shades of his acting; and in this respect he thought them superior to his own countrymen. Lamartine and Victor Hugo had already proclaimed the enfranchisement of French poetical thought from the rigid rule of classical authority; and all the enthusiastic believers in the future glories of the "Muse Romantique" went to the English theater, to be amazed, if not daunted, by the breadth of horizon and height of empyrean which her wings might sweep, and into which she might soar, "puisque Shakespeare l'a bien osé."
My dearest H–,
I do not think you would have been surprised at my delay in answering your last, when I told you that on arriving here I found that all my goods and chattels had been (according to my own desire) only removed hither, and that their arrangement and bestowal still remained to be effected by myself; and when I tell you that I have settled all these matters, and moreover finished my play, I think you will excuse my not having answered you sooner. Last Monday, having in the morning achieved the termination of the fourth act, and finding that my father did not act on Tuesday, I resolved, if possible, to get it finished in order to read it to him on Tuesday evening. So on Monday evening at six o'clock I sat down to begin my fifth act, and by half-past eleven had completed my task; I am thus minute because I know you will not think these details tiresome, and also because, even if it succeeds and is praised and admired, I shall never feel so happy as when my father greeted my entrance into the drawing-room with, "Is it done, my love? I shall be the happiest man alive if it succeeds!"
On Tuesday evening I read it to them, and I was so encouraged by the delighted looks my father and mother were continually exchanging, that I believe I read it with more effect than they either of them had thought me capable of. When it was done I was most richly rewarded, for they all seemed so pleased with me and so proud of me, that the most inordinate author's vanity would have been satisfied. And my dear mother, oh, how she looked at me!—forgive me, dear, and grant some little indulgence to my exultation. I thought I deserved some praise, but thrice my deserts were showered upon me by those I love above everything in the world.
When commendation and congratulation had a little given way to reflection, my mother and John entreated my father not to let the play be acted, or, if he did, to have it published first; for they said (and their opinion has been sanctioned by several literary men) that the work as a literary production (I repeat what they say, mind) has merit enough to make it desirable that the public should judge of it as a poetical composition before it is submitted to the mangling necessary for the stage.
Of course, my task being finished, I have nothing more to do with it; nor do I care whether it is published first or after, provided only it may be acted: though I dare say that process may not prove entirely satisfactory to me either; for though Mr. Young and my father would thoroughly embody my conception of the parts intended for them, yet there is a woman's part which, considering the materials history has furnished, ought to be a very fine one—Louisa of Savoy; and it must be cut down to the capacity of a second-rate actress. The character would have been the sort of one for Mrs. Siddons; how I wish she was yet in a situation to afford it the high preferment of her acceptance!
My father has obtained a most unequivocal success in Paris, the more flattering as it was rather doubtful, and the excellent Parisians not only received him very well, but forthwith threw themselves into a headlong furor for Shakespeare and Charles Kemble, which, although they might not improbably do the same to-morrow for two dancing dogs, we are quite willing to attribute to the merits of the poet and his interpreter. The French papers have been profuse in their praises of both, and some of our own have quoted their commendations. My mother is, I think, recovering, though slowly, from her long illness. She is less deaf, and rather less blind; but for the general state of her health, time, and time alone, will, I am sure, restore it entirely. I have just seen the dress that my father had made abroad for his part in my play: a bright amber-colored velours épinglé, with a border of rich silver embroidery; this, together with a cloak of violet velvet trimmed with imitation sable. The fashion is what you see in all the pictures and prints of Francis I. My father is very anxious, I think, to act the play; my mother, to have it published before it is acted; and I sit and hear it discussed and praised and criticised, only longing (like a "silly wench," as my mother calls me when I confess as much to her) to see my father in his lovely dress and hear the alarums of my fifth act.
I am a little mad, I