The English Stage: Being an Account of the Victorian Drama. Filon Augustin
Читать онлайн книгу.
a critic, and quite properly, not merely a snapshot of a literary movement at a certain specified moment, but some record also of its process of formation. Affairs in England, even more than elsewhere, require to be thus approached by the historical method. There is no understanding what they are until you have learned what they have been. In the present instance, before examining the resuscitated drama, it is necessary to see of what it died, and how long it remained entombed. All this has to be found out for oneself. The critics of the preceding generations wasted their energies upon inessential details. Theatrical “Reminiscences” are crowded with fictitious anecdotes. This department of history is like a garden that has been neglected and grown wild; the pathways are lost to sight.
I have believed – fondly, perhaps – that, by my special opportunities, I should escape some of these difficulties. I have resided long in England. I know something of its people and its customs. I know how much value to attach to individual testimonies, aided as I am by the thousand opinions and feelings which are in the air, so to speak, but which find their way never into print. I get the impressions of the public from the public itself. Lastly, I love the theatre, and have been an enthusiastic playgoer. During the last three or four years more especially I have seen all the new pieces; and I may perhaps take this opportunity of expressing my appreciation of the courtesy so kindly extended to me in this connection by the principal managers. I may mention, among those to whom I am most indebted, Mr. Tree, Mr. Hare, Mr. Wyndham, Mr. Alexander, and Mr. Comyns Carr, the talented dramatist who, in his King Arthur, provided Sir Henry Irving with the opportunity of rendering a last homage to the genius of Tennyson. Indeed, I have met with wide-open doors and outstretched hands wherever I have sought assistance in theatrical circles. Many authors have been good enough to place at my disposal copies of their works which had been printed only for their own use, or for that of their interpreters upon the stage.
But my greatest debt, of course, is to contemporary critics. After having first assisted me in my studies, they have done me the further kindness of encouraging me with their sympathy upon the publication of the successive instalments of my work in the pages of the Revue des Deux Mondes. Their mere attention had been a reward; their kindly approval was more than I had hoped for. I trust they will be able to accord the same indulgent reception to my book, now that it is complete, and that the spirit and feelings which have actuated me in my work will be more fully apparent.
I owe a special acknowledgment to Mr. William Archer. You will see in the course of my book the part which he has played and is still playing, the excellent seeds which he has sown broadcast, not all of which have yet borne fruit. Here, I shall say only that, had I not had his books as a guiding thread, I should have hardly ventured to risk myself in the labyrinth of theatrical history.
There are, in the England of to-day, two schools of dramatic criticism, whose divergence of opinion is clearly marked. They are called “New Critics” and “Old Critics,” though accidents of date or age are hardly at all accountable for their antagonisms; it is possible that during the next few years the old criticism may become rejuvenated and that the new criticism may age. For my part, I have sided with neither the one nor the other, because the rôle of neutral is best suited to a foreigner. I have supplemented my own personal impressions by quotations, taken impartially from both camps, of what has struck me in their criticisms as noteworthy, or happy, or true. I think that the new school is right in wishing to free the English theatre from foreign influences, and in its efforts to give the drama a moral value and an ideal. But I think the old school is not far wrong when it defends, to a certain extent, the more popular forms of dramatic art, and when it would have the drama follow the indications of success, and not isolate itself from that public of whose feelings it should be the living expression.
One word in conclusion. Among the French critics who have done me the honour of discussing my work during its serial publication, more than one has come to the conclusion that, after all, these new English dramas were not such great affairs, and that it was hardly worth while to make so much fuss about them. They forget, these good people, that I promised them no marvels; I did not invite them to a display of masterpieces. If there are to be masterpieces at all, they will be of to-morrow, not to-day. What I have set out to do is to ascertain at what temperature the drama comes to flower, to see how a great section of the human race sets about making to itself a new vehicle of enjoyment, of emotion, of thought, and, I may even add, of moral education. It is an essay in literary history, but also in social history. The two things go together, – are, indeed, henceforth inseparable.
I do not merely follow, step by step, the gradual transformation of the theatrical world; I have endeavoured to make clear the attitude taken up by the drama in presence of the crisis through which society has been passing during the last score or so of years. In this strange conflict between laws and manners, upon which side will the drama definitively take up its stand? What part will it play, and what place will it assume, in the renovation of England by the democracy? Will it help democracy with earnest homilies? Or check it with satire and ridicule? Or will it turn aside from such things altogether, and aspire to those serene heights of art, to which the noises of the plain can never reach? The secret of its downfall or glory lies perhaps in the answering of these questions. It was time to submit them, pending the hour of their solution.
CHAPTER I
A Glance back – From 1820 to 1830 – Kean and Macready – The Strolling Player – The Critics – Sheridan Knowles and Virginius– Douglas Jerrold – His Comedies —The Rent Day—The Prisoner of War—Black-eyed Susan– Collapse of the Privileged Theatres – Men of Letters come to the Rescue of the Drama – Bulwer Lytton —The Lady of Lyons—Richelieu—Money.
From 1820 to 1830 the Theatre, or, to be precise, the theatres, prospered to all appearances exceedingly. We shall see just now the real significance of this prosperity; it may be compared to the great ball given by Mercadet on the eve of his bankruptcy. But no one foresaw the collapse that was impending. It was the reign of the Adonis of sixty, who had spent his life inventing pomades and breaking oaths. It would have been droll, indeed, had the man who washed his dirty linen in the House of Lords pretended to be scandalised by the licence of the stage. And his heir, also a worn-out man of pleasure, had lived for a time with an actress, Mrs. Jordan, who, before his accession to the throne, died of grief, and forsaken, at St. Cloud. The small girl named Victoria, who roamed at this time amongst the lonely avenues of the old park at Broadstairs, and who was destined presently to bring marital love and the domestic virtues back into fashion, was still engrossed in the minding of her dolls.
The “privileged” theatres were frequented, or patronised, – to use the recognised English expression, with its savour of old-time condescension, – by Society. By the term “privileged,” subventioned must not be understood. To Drury Lane and Covent Garden alone belonged the right of producing the legitimate drama, the plays of Shakespeare, that is to say, and of his successors. This was their “privilege,” a privilege which might soon have become but a doubtful benefit had not great actors arisen to keep alive the classical drama by their command on the suffrages of the masses. The generation of actors who had studied in the school of Garrick, and had maintained its traditions, was taking its farewell of the stage in the person of John Kemble and Mrs. Siddons – Siddons, “whose voice,” one of her contemporaries tells us, “was more delicious than the most delicious music.” Edmund Kean had already come forward, and after him, Macready.
I try to picture to myself these two men as they appeared upon the stage, to produce for myself from all the accounts of them that I have read the illusion of their living presence. The first thing that comes home to one is Kean’s Bohemianism, Macready’s respectability and good-breeding. Macready was the friend of the leading men of letters of his time, and had the advantage of their advice and support. Kean’s only intimate was the brandy-bottle that killed him. Writing to Frederick Yates, the manager of the Adelphi, to ask him for a box, he says, “I don’t want to herd with the mob. I like the money of the public, but the public itself I scorn.” He in his turn might be looked upon with scorn, were it not for the sufferings of his childhood and youth. If ever man had the right to hate life, it was he.
At Madame Tussaud’s the two rivals may now be seen standing side by side, Kean wearing the kilt of Macbeth and Macready