The Drama by Sir Irving Henry (most inspirational books of all time TXT) 📕

within forty-eight hours he was dead. He was buried in the Cloisters of Westminster Abbey with every mark of respect and honor.

I may here add that the censure said to have been directed against Betterton for the introduction of scenery is the prototype of that cry, which we hear so often nowadays, against over-elaboration in the arrangements of the stage. If it be a crime against good taste to [130]endeavor to enlist every art in the service of the stage, and to heighten the effect of noble poetry by surrounding it with the most beautiful and appropriate accessories, I myself must plead guilty to that charge; but I should like to point out that every dramatist who has ever lived, from Shakespeare downwards, has always endeavored to get his plays put upon the stage with as good effect and as handsome appointments as possible.

Indeed, the Globe Theatre was burned down during the first performance of King Henry VIII., through the firing off of a cannon which announced the arrival of King Henry. Perhaps, indeed, some might regard this as a judgment against the manager for such an attempt at realism.

It was seriously suggested to me by an enthusiast the other day, that costumes of his own time should be used [131]for all Shakespeare's plays. I reflected a little on the suggestion, and then I put it to him whether the characters in Julius Cæsar or in Antony and Cleopatra dressed in doublet and hose would not look rather out of place. He answered, "He had never thought of that." In fact, difficulties almost innumerable must invariably crop up if we attempt to represent plays without appropriate costume and scenery, the aim of which is to realize the locale of the action. Some people may hold that paying attention to such matters necessitates inattention to the acting; but the majority think it does not, and I believe that they are right. What would Alma-Tadema say, for instance, if it were proposed to him that in a picture of the Roman Amphitheatre the figures should be painted in the costume of Spain? I do not think he would see the point of such a noble disregard of detail; and why should he, [132]unless what is false in art is held to be higher than what is true?

Little more than thirty years were to elapse between the death of the honored Betterton and the appearance of David Garrick, who was to restore Nature once more to the stage. In this comparatively short interval progress in dramatic affairs had been all backward. Shakespeare's advice to the actors had been neglected; earnest passion, affecting pathos, ever-varying gestures, telling intonation of voice, and, above all, that complete identification of themselves in the part they represented—all these qualities, which had distinguished the acting of Betterton, had given way to noisy rant, formal and affected attitudes, and a heavy stilted style of declamation. Betterton died in 1710, and six years after, in 1716, Garrick was born. About twenty years after, in 1737, Samuel Johnson and his friend and pupil, David Garrick, set [133]out from Lichfield on their way to London. In spite of the differences in their ages, and their relationship of master and pupil, a hearty friendship had sprung up between them, and one destined, in spite of Johnson's occasional resentment at the actor's success in life, to last till it was ended by the grave. Much of Johnson's occasional harshness and almost contemptuous attitude towards Garrick was, I fear, the result of the consciousness that his old pupil had thoroughly succeeded in life, and had reached the highest goal possible in the career which he had chosen; while he himself, though looked up to as the greatest scholar of his time, was conscious, as he shows us in his own diary, of how much more he might have done but for his constitutional indolence.

Garrick's family was of French origin, his father having come over to England during the persecution of the Huguenots [134]in 1687, and on his mother's side he had Irish blood in his veins; so that by descent he was a combination of French, English, and Irish, a combination by no means unpromising for one who was going to be an actor.

On reaching London, Garrick enrolled his name in Lincoln's Inn, and was looking about him to see what would turn up, when the news of his father's death reached him. There is no doubt that, if Garrick had consulted his own wishes only, he would at once have gone upon the stage. But fortunately, perhaps, for his future career, he could not bear to grieve his mother's heart by adopting at once, and at such a time when she was crushed with some sorrow for her great loss, a calling which he knew she detested so heartily.

Within a year Mrs. Garrick followed to the grave the husband whom she never ceased to mourn, and David had nothing[135] more to face than the prejudice of his brother, Peter, and of his sisters, if he should resolve ultimately to adopt the profession on which his heart was fixed.

It was not, however, till nearly three years after, in 1741, that Garrick, determined to take the decisive step, first feeling his way by playing Chamont in The Orphan, and Sir Harry Wildair, at Ipswich, where he appeared under the name of Mr. Lydall; and under this same name, in the same year, he made his first appearance at Goodman's Fields Theatre, in the part of Richard III. His success was marvellous. Considering the small experience he had had, no actor ever made such a successful début. No doubt by waiting and exercising his powers of observation, and by studying many parts in private, he had to a certain extent, matured his powers. But making allowance for all his great natural gifts, there is no denying that Garrick, in [136]one leap, gained a position which, in the case of most other actors, has only been reached through years of toil. He seems to have charmed all classes: the learned and the ignorant, the cultured and the vulgar; great statesmen, poets, and even the fribbles of fashion were all nearly unanimous in his praise. The dissentient voices were so few that they were drowned in the clamor of applause. Quinn might snarl and growl; and Horace Walpole, who seems to have grown alarmed at so much of the incense of praise finding its way to the nostrils of another, might give vent to a few feeble sneers; such as when he said, "I do not mention the things written in his praise because he writes most of them himself." But the battle was won. Nature in the place of Artificiality, Originality in the place of Conventionality, had triumphed on the stage once more.

Consternation reigned in the home at [137]Lichfield when the news arrived that brother David had become a play-actor; but ultimately the family were reconciled to such degradation by the substantial results of the experiment. Such reconcilements are not uncommon. Some young man of good birth and position has taken to the stage; his family, who could not afford to keep him, have been shocked, and in pious horror have cast him out of their respectable circle; but at last success has come, and they have managed to overcome their scruples and prejudices and to profit by the harvest which the actor has reaped.

Garrick seems to have continued playing under the name of Lydall for two months, though the secret must have been an open one. It was not till December the second, the night of his benefit, that he was at last announced under his own name; and henceforward his career was one long triumph, [138]checkered, indeed, by disagreements, quarrels and heart-burnings (for Garrick was extremely sensitive), caused, for the most part, by the envy and jealousy which invariably dog the heels of success.

Second-rate actors, like Theophilus Gibber, or gnats such as Murphy, and others, easily stung him. He was lampooned as "The Sick Monkey" on his return to the stage after having taken a much needed rest. But discretion and audacity seemed to go hand-in-hand, and the self-satisfied satirizer generally over-shoots the mark. Garrick was ever ready with a reply to his assailants; when Dr. Hill attacked his pronunciation, saying that he pronounced his "i's" as if they were "u's," Garrick answered—

"If 'tis true, as you say, that I've injured a letter,
I'll change my note soon, and I hope for the better.
May the just right of letters as well as of men,
Hereafter be fixed by the tongue and the pen.
Most devoutly I wish that they both have their due,
And that I may be never mistaken for U."

[139]Comparing Garrick with Betterton, it must be remembered that he was more exposed to the attacks of envy from the very universality of his success. Never, perhaps, was there a man in any profession who combined so many various qualities. A fair poet, a most fluent correspondent, an admirable conversationalist, possessing a person of singular grace, a voice of marvellous expressiveness, and a disposition so mercurial and vivacious as is rarely found in any Englishman, he was destined to be a great social as well as a great artistic success. He loved the society of men of birth and fashion; he seems to have had a more passionate desire to please in private even than in public, and almost to have justified the often quoted couplet in Goldsmith's "Retaliation."

"On the stage he was natural, simple, affecting,
'Twas only that when he was off he was acting."

Some men, envious of the substantial [140]fortune which he realized by almost incessant hard work, by thorough good principle with regard to money, and by a noble, not a paltry, economy, might call him mean; though many of them knew well, from their own experience, that his nature was truly generous—his purse, as well as his heart, ever open to a friend, however little he might deserve it. Yet they sneered at his want of reckless extravagance, and called him a miser. The greatest offender in this respect was Samuel Foote, a man of great accomplishments, witty, but always ill-natured. It is difficult to speak of Foote's conduct to Garrick in any moderate language. Mr. Forster may assert that behind Foote's brutal jests there always lurked a kindly feeling; but what can we think of the man who, constantly receiving favors from Garrick's hand, could never speak of him before others without a sneer; who the moment he had received the loan [141]of money or other favor for which he had cringed, snarled—I will not say like a dog, for no dog is so ungrateful—and snapped at the hand which had administered to him of its bounty. When this man, who had never spared a friend, whose whole life had been passed in maligning others, at last was himself a victim of a vile and cruel slander, Garrick forgot the gibes and sneers of which Foote had made him so often the victim, and stood by him with a noble devotion as honorable