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vent half of the hatefulness of the character – the self-closeness with which in real life it coils itself up from the sympathies of men, evaporates. The miser becomes sympathetic ; i.e., is no genuine miser. Here again a diverting likeness is substituted for a very disagreeable reality.
Spleen, irritability--the pitiable infirmities of old men, which produce only pain to behold in the realities, counterfeited upon a stage, divert not altogether for the comic appendages to them, but in part from an inner conviction that they are being acted before us; that a likeness only is going on, and not the thing itself. They please by being done under the life, or beside it ; not to the life. When Gattie acts an old man, is he angry indeed ? or only a pleasant counterfeit, just enough of a likeness to recognize, without pressing upon us the uneasy sense of a reality ?
Comedians, paradoxical as it may seem, may be too natural. It was the case with a late actor. Nothing could be more earnest or true than the manner of Mr. Emery; this told excellently in his Tyke, and characters of a tragic cast. But when he carried the same rigid exclusiveness of attention to the stage business, and wilful blindness and oblivion of everything before the curtain into his comedy, it produced a harsh and dissonant effect. He was out of keeping with the rest of the dramatis persona. There was as little link between him and them, as betwixt himself and the audience. He was a third estate-dry, repulsive, and unsocial to all. Individually considered, his execution was masterly. But comedy is not this unbending thing; for this reason, that the same degree of credibility is not required of it as to serious scenes. The degrees of credibility demanded to the two things may be illustrated by the different sort of truth which we expect when a man tells us a mournful or a merry story. If we suspect the former of falsehood in any one tittle, we reject it altogether. Our tears refuse to flow at a suspected imposition. But the teller of a mirthful tale has latitude allowed him. We are content with less than absolute truth. 'Tis the same with dramatic illusion. We confess we love in comedy to see an audience naturalized behind the scenes-taken into the interest of the drama, welcomed as bystanders, however. There is something ungracious in a comic actor holding himself aloof from all participation or concern with those who are come to be diverted by him. Macbeth must see the dagger, and no ear but his own be told of it; but an old fool in farce may think he sees something, and by conscious words and looks express it, as plainly as he can speak, to pit, box, and gallery. When an impertinent in tragedy, an Osric, for instance, breaks in upon the serious passions of the scene, we approve of the contempt with which he is treated. But when the pleasant impertinent of comedy, in a piece purely meant to give delight, and raise mirth out of whimsical perplexities, worries the studious man with taking up his leisure, or making his house his home, the same sort of contempt expressed (however natural) would destroy the balance of delight in the spectators. To make the intrusion comic, the actor who plays the annoyed man must a little desert nature ; he must, in short, be thinking of the audience, and express only so much dissatisfaction and peevishness as is consistent with the pleasure of comedy. In other words, his perplexity must seem half put on. If he repel the intruder with the sober set face of a man in earnest, and
more especially if he deliver his expostulations in a tone which in the world must necessarily provoke a duel, his real-life manner will destroy ihe whimsical and purely dramatic existence of the other character (which to render it comic demands an antagonist comicality on the part of the character opposed to it), and convert what was meant for mirth, rather than belief, into a downright piece of impertinence indeed, which would raise no diversion in us, but rather stir pain, to see inflicted in earnest upon any worthy person. A very judicious actor (in most of his parts) seems to have fallen into an error of this sort in his playing with Mr. Wrench in the farce of Free and Easy.
Many instances would be tedious ; these may suffice to show that comic acting at least does not always demand from the performer that strict abstraction from all reference to an audience which is exacted of it; but that in some cases a sort of compromise may take place, and all the purposes of dramatic delight be attained by a judicious anderstanding, not too openly announced, between the ladies and gentlemen--on both sides of the curtain.
TO THE SHADE OF ELLISTON.
O YOUSEST of once embodied spirits,
whither at length hast thou flown ? to
what genial region are we permitted to lord conjecture that thou hast fitted ?
Art thou sowing thy WILD OATS yet (the harvest-time was still to come with thee) upon casual sands of Avernus? or art thou enacting ROVER (as we would gladlier think) by wandering Elysian streams?
This mortal frame, while thou didst play thy brief antics amongst us, was in truth anything but a prison to thee, as the vain Platonist dreams of this body to be no better than a county gaol, forsooth, or some house of durance vile, whereof the five senses are the fetters. Thou knewest better than to be in a hurry to cast off these gyves ; and had notice to quit, I fear, before thou wert quite ready to abandon this fleshy tenement. It was thy Pleasure-House, thy Palace of Dainty Devices : thy Louvre, or thy White-Hall.
What new mysterious lodgings dost thou tenant now ? or when may we expect thy aërial house warming ?
Tartarus we know, and we have read of the Blessed Shades ; now cannot I intelligibly fancy thee in either.
Is it too much to hazard a conjecture, that (as the schoolmen admitted a receptacle apart for Patriarchs and un-chrisom babes) there may exist —not far perchance from that store-house of all vanities, which Milton saw in visions,-a LIMBO somewhere for PLAYERS ? and that
Up thither like aërial vapours fly
There, by the neighbouring moon (by some not improperly supposed thy Regent Planet upon earth), mayst thou not still be acting thy managerial pranks, great disembodied Lessee? but Lessee still, and still a manager.
In Green Rooms, impervious to mortal eye, the muse beholds thee wielding posthumous empire.
Thin ghosts of Figurantes (never plump on earth) circle thee in endlessly, and still their song is Fie on sinful Phantasy!
Magnificent were thy capriccios on this globe of earth, ROBERT WILLIAM ELLISTON! for as yet we know not thy new name in heaven.
It irks me to think, that, stript of thy regalities, thou shouldst ferry over, a poor forked shade, in crazy Stygian wherry. Methinks I hear the old boatman, paddling by the weedy wharf, with raucid vcice, bawling“ SCULLS, 'Sculls !” to which, with waving hand, and majestic action, thou deignest no reply, other than in two curt monosyllables, “No: Oars.”
But the laws of Pluto's kingdom know small difference between king and cobbler; manager and