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How the soul expands from this narrow cell and bids defiance to the massive walls! What Elysian scenes begin to dawn amidst the dark

fulness came back upon the heart; and the | of ham, sandwiches, and broiled mushrooms, glorious clouds which fringed the western ho- to enable us to do justice to the liquid delicarizon looked prophetic of golden years" pre-cies before us. The usual order of wines is destined to descend and bless mankind." This disregarded; no affected climax, no squeamish soft, highly-flavoured Port, in every drop of assortments of tastes for us here; we despise which you seem to taste an aromatic flower, all rules, and yield a sentimental indulgence to revives that delicious evening, when, after the aberrations of the bottle. "Riches finedays of search for the tale of Rosamond Grey, less" are piled around us; we are below the of which I had indistinctly heard, I returned laws and their ministers; and just, lo! in the from an obscure circulating library with my farthest glimmer of the torches lies outstretched prize, and brought out a long-cherished bottle, our black Mercury, made happy by our leav given me two years before as a curiosity, by ings, and seeming to rejoice that in the cellar, way of accompaniment to that quintessence of as in the grave, all men are equal. imaginative romance. How did I enjoy, with a strange delight, its scriptural pathos, like a newly discovered chapter of the Book of Ruth; hang enamoured over its young beauty, love-ness! Now do I understand the glorious tale lier for the antique frame of language in which of Aladdin and the subterranean gardens. It it was set; and long to be acquainted with the is plain that the visionary boy had discovered author, though I scarcely dared aspire so high, just such a cellar as this, and there eagerly and little anticipated those hundreds of happy learned to gather amaranthine fruits, and evenings since passed in his society, which range in celestial groves till the Genius of the now crowd on me in rich confusion!-Thus Ring, who has sobered many a youth, took is it that these subtlest of remembrancers not him in charge, and restored him to common only revive some joyful season, but this also air. Here is the true temple, the inner shrine ❝contains a glass which shows us many of Bacchus. Feebly have they understood the more," unlocking the choicest stores of memo-attributes of the benignant god, who have rery, that cellar of the brain, in which lie the treasures which make life precious.

presented him as delighting in a garish bower with clustering grapes; here he rejoices to sit, in his true citadel, amidst his mightier treasures. Methinks we could now, in prophetic mood, trace the gay histories of these imbodied inspirations among those who shall feel them hereafter; live at once along a thousand lines

kindle; reverse the melancholy musing of Hamlet, and trace that which the bungholestopper confines to "the noble dust of an Alexander," which it shall quicken; and peeping into the studies of our brother contributors, see how that vintage which flushed the hills of France with purple, shall mantle afresh in the choice articles of this Magazine.

But see! our party have seated themselves beneath that central arch to enjoy a calmer pleasure after the fatigues of their travel. They look romantic as banditti in a cave, and goodhumoured as a committee of aldermen. A cask which has done good service in its day-of sympathy and thought which they shall the shell of the evaporated spirit-serves for a table, round which they sit on rude but ample benches. The torches planted in the ground cast a broad light over the scene, making the ruddy wine glisten, and seeming, by their irregular flickering, as if they too felt the influence of the spot. My friend, usually so gentle in his convivialities, has actually broken forth into a song, such as these vaults never heard; our respected senior sits trying to preserve his solemn look, but unconsciously smiling; and Mr. B- -1, the founder of the banquet, is sedulously doing the honours with only intenser civility, and calling out for fresh store

But it is time to stop, or my readers will suspect me of a more recent visit to the cellar. They will be mistaken. One such descent is enough for a life; and I stand too much in awe of the Powers of the Grave to venture again so near to their precincts.

ON THE DESTRUCTION OF THE BRUNSWICK
THEATRE BY FIRE.

[NEW MONTHLY MAGAZINE.]

We notice this lamentable accident in our as transgressions, and to estimate not only dramatic record, not for the sake of inquiry what is done but what is resisted. We can, into its causes, or of multiplying the dismal indeed, do this but partially, yet we should, as associations which it awakens, but for the far as possible, dispose ourselves to be just in striking manner in which it has brought out our moral censures; and we shall find in those the proper virtues of players. Actors of all whom we call "good for nothing people," more ranks; managers of all interests; the retired good than we think for. Actors are, no doubt, and the active; the successful and the obscure; more liable to deviate from the ordinary prothe refined and the vulgar; from Mrs. Siddons prieties of conduct, than merchants or agriculdown to the scene-shifters of Sadler's Wells, turists; it is their business to give pleasure to have pressed forward to afford their sympathy others, and, therefore, they must incline to the and relief to the living sufferers. The pro- pleasurable; they live in the present, and it is prietors of the patent theatres, who were just no wonder that, as their tenure is more precacomplaining of the infringements on their pur- rious than that of others, they take less thought chased rights, which have rendered them for the future. But if they have less of almost valueless, at once forgot the meditated the virtue of discretion, they have also less of injury to themselves, and saw nothing but the that alloy of gross selfishness to which it is misery of their comrades. It is only on occa- allied; they have much of the compassion sions such as these that the charities which which they help to diffuse; and ludicrous as are nurtured amidst the excitements and vi- their vanities sometimes are, they give way at cissitudes of a theatrical life are exhibited, so once on the touch of sympathy for unmerited as to put the indiscriminate condemnations of or merited sorrow. Mr. Kean is an extreme the crabbed moralist and the fanatic to shame. instance, perhaps, both of imprudence and geThere is more equality in the distribution of nerosity; and accordingly no man living has goodness and evil than either of these classes been treated with greater injustice by a mora! imagine; for the "respectable" part of the and discerning public. Raised in a moment community are powerful and permanent; and from obscurity and want to be the idol of the obtain, perhaps, something more than justice town; courted, caressed, and applauded by the for the negative virtues. Far be it from us to multitude, praised by men of genius, with rank, undervalue these, or to sympathize with any beauty, and wit, proud to be enlisted in his who would represent the ordinary guards and train, he grew giddy and fell, and was hooted fences of morality as things of little value; from the stage with brutal indignities. but justice is due to all; and justice, we cannot knew his faults; but how few were capable of help thinking, is scarcely done to those whose understanding his virtues-his princely spirit, irregularities and whose virtues grow together his warm and cordial friendship, his proneness on that verge of ruin and despair on which to forget his own interests in those of others, they stand in the times of their giddiest eleva- his magnanimity and his kindness! The tion. A cold observance of the decencies of" respectable" part of the community do not life excites no man's envy and wounds no man's self-love; and, therefore, it is allowed without grudging; while the dazzling errors and redeeming nobleness of the light-hearted and the generous are more easily abused than copied. To detect "the soul of goodness in things evil," is not to confound evil with good, or to weaken the laws of honour and conscience, but to give to them a finer precision and a more penetrating vigour. It is not by distinguishing, but by confounding, that pernicious sentimentalists pervert the understanding and corrupt the affections. They lend to vice the names and attributes of virtue; tack together qualities which could never be united in nature; and thus, in order to produce a new and startling effect, deprave the moral sensibility, and relax the tone of manly feeling. But it is another thing to hold the balance fairly between the excellencies and the frailties of imperfect men; to trace the hints and indications of high emotion amidst the weaknesses of our nature; to consider temptations as well

All

engross all its goodness, although they turn it
to the best account for their own benefit. Un-
der the shield of this character, they sometimes
do things which the vagabonds they sneer at
would not, and could not achieve; and such is
the submission of mankind to custom, that they
retain their name even when they are detected.
An attorney, in large practice, convicted of a
fraud, retains the addition "respectable" till he
receives judgment; the announcement of the
failure of a country bank, by which hundreds
are ruined, styles the swindlers "the respecta-
ble firm ;" and a most respectable member of
the religious world speculates in hops, or in
stock, without reproach, and, when he has failed
for thousands, fraudulently gambled away,
continues to hold shilling whist in pious abo-
mination. We have been led to this train of
reflection by seeing in a newspaper the speech
of a most respectable Home Missionary, named
Smith, at the Mansion-house, in which he
exults in the horrible catastrophe as
"the
triumph of piety in London!" and this person,

no doubt, regards the accidental mention of the name of the Supreme Being on the stage as blasphemy. It is difficult to express one's indignation at such a spirit and such language without wounding the feelings of those whose opinions of the guilt of theatrical enjoyments have not rendered them insensible to the feelings of others.

It must be admitted that there is something in the sudden death of actors which shocks us peculiarly at the moment, because the contrast between life and death seems more violent in their case than in that of others. We connect them, by the law of association, with our own gayest moments, and fancy that they who live to please must lead a life of pleasure. Alas! the truth is often far otherwise. The comedian droops behind the scenes, quite chapfallen; the tragic hero retires from his stately griefs to brood over homely and familiar sorrows, which no poetry softens; the triumphant actress, arrayed in purple and in pall, may know the pangs of despised love, or anticipate the coming on of the time when she shall be prematurely old, and as certainly neglected. The stage is a grave business to those who study it even successfully, though its rewards are intoxicating enough to turn the most sober brain. The professors in misfortune-especially such a misfortune as this-have the most urgent claims on our sympathy. Should we allow those to be miserable who have so often made us and thousands happy? Should we shut our

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hearts against those who have touched them so truly; who have helped to lighten the weight of existence; and have made us feel our kindred with a world of sorrow and of tears? Their art has the most sacred right to the protection of humanity, for it touches it most nearly. It makes no appeal to posterity; it does not aim at the immortal, in contempt of our perishable aims and regards; but it is contented to live in our enjoyments, and to die with them. Its triumphs are not diffused by the press, nor recorded in marble, but registered on the redleaved tablets of the heart, satisfied to date its fame with the personal existence of its witnesses. It forms a part of ourselves; beats in the quickest pulses of our youth, and supplies the choicest topics of our garrulous age. It partakes of our fragility, nay even dies before us, and leaves its monument in our memories. Surely, then, it becomes us "to see the players well bestowed," when their gayeties are suddenly and prematurely eclipsed, and their short flutterings of vanity stayed before their time; or to provide for those who depended on their exertions. Of all people, they do most for relations; they hence most depend on them; and, therefore, their case both deserves and requires our most active sympathy. The call has been, in this instance, powerfully made, and will, we hope, be answered practically by all who revere the genius, and love the profession, and partake the humanity of Shakspeare.

FIRST APPEARANCE OF MISS FANNY KEMBLE.

[NEW MONTHLY MAGAZINE.]

WHEN We predicted, last month, that if Covent Garden theatre should be opened at all, it would derive attraction even from the extreme depression into which it had sunk, we had no idea of the manner in which this hope would be realized. We little dreamed that the circumstances which had threatened to render this house desolate, would inspire female genius to spring from the family whose honours were interwoven with its destiny, like an infant Minerva, almost perfect at birth, to revive its fortunes and renew its glories. In the announcement that, on the opening night, Miss Fanny Kemble, known to be a young lady of high literary endowments, though educated without the slightest view to the stage as a profession, would present herself as Julietthat her mother, who, in her retirement, had been followed by the grateful recollections of all lovers of the drama, would reappear, in the part of Lady Capulet, to introduce and support her; and that her father would imbody, for the first time, that delightful creation of Shakspeare's happiest mood, Mercutio-there was abundant interest to ensure a full, respectable, and excited audience; but no general expecta

tion had gone forth of the splendid event which was to follow. Even in our youngest days, we never shared in so anxious a throb of expectation as that which awaited the several appearances of these personages on the stage. The interest was almost too complicated and intense to be borne with pleasure; and when Kemble bounded on the scene, gayly pointed at Romeo, as if he had cast all his cares and twenty of his years behind him, there was a grateful relief from the first suspense, that expressed itself in the heartiest enthusiasm we ever witnessed. Similar testimonies of feeling greeted the entrance of Mrs. Kemble; but our hearts did not breathe freely till the fair debutant herself had entered, pale, trembling but resolved, and had found encouragement and shelter in her mother's arms. But another and a happier source of interest was soon opened; for the first act did not close till all fears for Miss Kemble's success had been dispelled; the looks of every spectator conveyed that he was electrified by the influence of newtried genius, and was collecting emotions, in silence, as he watched its development, to swell its triumph with fresh acclamations. For

our own part, the illusion that she was Shakspeare's own Juliet came so speedily upon us, as to suspend the power of specific criticismso delicious was the fascination, that we disliked even the remarks of by-standers that disturbed that illusive spell; and though, half an hour before, we had blessed the applauding bursts of the audience, like omens of propitious thunder, we were now half-impatient of their frequency and duration, because they intruded on a still higher pleasure, and because we needed no assurance that Miss Kemble's success was sealed.

Feeling that the occasion formed an era in our recollections of the theatre, we compared her, in our imagination, with all the great actresses we had; and it is singular, though we can allege nothing like personal likeness, that Mrs. Jordan was the one whom she brought back, in the first instance, to our memory. We might have set down this idea as purely fanciful, if we had not learned that it has crossed the minds of other observers. As form and features seem to have nothing to do with this reminiscence, we attribute it to the exquisite naturalness of Miss Kemble's manner, and we cannot help connecting it with an anticipation that she will one day be as pre-eminently the comic as the tragic muse of our stage.

Her traits of family resemblance struck us most powerfully in the deeper and more earnest parts of her tragic performance. On one occasion, when her face only was revealed by her drapery, its intense expression brought Mrs. Siddons most vividly back to us. Miss Kemble's personal qualifications for her profession are, indeed, such as we might expect from one so parented and related. Her head is nobly formed and admirably placed on her shoulders-her brow is expansive and shaded by very dark hair-her eyes are full of a gifted soul, and her features are significant of intellect to a very extraordinary degree. Though scarcely reaching the middle height, she is finely proportioned, and she moves with such dignity and decision that it is only on recollection we discover she is not tall. In boldness and dignity of action she unquestionably approaches more nearly to Mrs. Siddons than any actress of our time excepting Pasta. Her voice, whilst it is perfectly feminine in its tones, is of great compass, and though, perhaps, not yet entirely within her command, gives proof of being able to express the sweetest emotions without monotony, and the sternest passions without harshness. She seems to know the stage by intuition, "as native there and to the manner born," and she understands even now, by what magic we cannot divine, the precise effect she will produce on the most distant spectators. She treads the stage as if she had been matured by the study and practice of years. We dreamed for a while of being able to analyze her acting, and to fix in our memory the finest moments of its power and grace; but her attitudes glide into each other so harmoniously that we at last gave up enumerating how often she seemed a study to the painter's eye and a vision to the poet's heart.

At the first sight, Miss Kemble's countenance conveys an impression of extraordinary

intellect, and the manifestation of that faculty is a pervading charm of her acting. It gives her courage, it gives her promptitude-the power of seeing what is to be done, and of doing it without faltering or hesitation. She always aims at the highest effect, and almost always succeeds in realizing her finest conceptions.

The Juliet of Shakspeare is young and beautiful; but no mistake can be greater than the idea that her character can be impersonated with probability by a merely beautiful young woman. Juliet is a being of rich imagination; her eloquence breathes an ethereal spirit; and her heroic devotedness is as different from common-place romance, as superficial gilding is unlike the solid ore. By many an observer, the beautiful surface of her character is alone appreciated, and not that force and grandeur in it which is capable of sustaining itself in harmony, not only with the luxuriant commencement of the piece, but with the funeral terrors of its tragic close. Hence the expectation has been so often excited, that a lovely girl, who can look the character very innocently, and speak the garden-scene very prettily, is quite sufficient to be a representative of the heroine throughout; and hence the same expectation has been so often disappointed. The debutante may be often carried, without apparent failure, through a scene or two, by her beauty and pretty manner of love-making; but when the tragedy commences in earnest, her intellectual expression sinks under its terrors, and she appears no more than a poor young lady, driven mad with the vexation of love.

Far remote from this description is the Juliet of Miss Kemble. It never was our fortune to see Mrs. Siddons in the part, but Miss Kemble gives it a depth of tragic tone which none of her predecessors whom we have seen ever gave to it. Miss O'Neil, loth as we are to forget her fascinations, used to lighten the earlier scenes of the piece with some girlish graces that were accused of being infantine. Be that as it may, there were certainly a hundred little prettinesses enacted by hundreds of novices in the character, which attracted habitual applauses, but which Miss Kemble at once repudiated with the wise audacity of genius; at the same time, though she blends not a particle of affected girlishness with the part of Juliet, her youth and her truth still leave in it a Shakspearian naiveté. As the tragedy deepens, her powers are developed in unison with the strengthened decision of purpose which the poet gives to the character. What a noble effect she produced in that scene where the Nurse, who had hitherto been the partner of all her counsels, recommends her to marry Paris, and to her astonished exclamation,

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Speak'st thou from thy heart?" answers, "And from my soul too, or else beshrew them both." At that momentous passage Miss Kemble erected her head, and extended her arm, with an expressive air which we never saw surpassed in acting, and with a power like magic pronounced "Amen!" In that attitude, and look, and word, she made us feel that Juliet, so late a nurseling, was now left alone in the

world that the child was gone, and that the heroic woman had begun her part. By her change of tone and manner she showed that her heart was wound up to fulfil its destiny, and she bids the Nurse "Go in," in a tone of dignified command. That there was such a change in Juliet we have always felt, but to mark its precise moment was reserved for this accomplished actress in a single tone.

It is hardly needless to say, that Mr. Kemble's Mercutio was delightful, independent even of the gallant spirit with which he carried off the weight of his anxieties on the first evening. It was charmingly looked, acted, and spoken

with only one little touch of baser matter in the mimickry of the Nurse-and closed by a death true to nature, and exhibiting, in milder light, all the brilliant traits of the character. Warde showed his good feeling in accepting the part of Friar Laurence, and his good taste in speaking the poetry of which it is made up: Mrs. Davenport played the Nurse as excellently as she has played it for the last twenty years, and not better than she will play it for twenty years to come; and Mrs. Kemble went through the little she had to do in Lady Capulet with true motherly grace.

THE MELO-DRAMAS AGAINST GAMBLING.

[NEW MONTHLY MAGAZINE.]

years passed in the preparatory school of guilt, the hero verging on old age is represented as in the most squalid penury-an outcast from society, starving with a wife bent down by suffering, and a family of most miserable children crying for bread. His first exploit is to plunder a traveller, murder him, and hide his body in the sand; but this is little; the horror is only beginning. While his last murder is literally "sticking on his hands," his old tempter and companion, who had attempted to seduce his wife and had utterly blasted his fortunes, enters his hut, ragged and destitute, and by a few sentences rekindles the

THERE is at Paris, where all extremes meet, | appropriate fraud, heartlessness, and misery. a kind of sub-theatrical public, which makes But the last act crowns all, and completes the amends for the severity of the orthodox dra-"moral lesson." Here, after another fifteen matic code, by running wild after the most extravagant violations of all rules, and the strangest outrages on feeling and taste. Thus the members of this living paradox keep the balance even, and avenge the beautiful and the romantic. If they turn away with disgust from the Weird Sisters, and defy the magic in the web of Othello's handkerchief, they dote on Mr. Cooke in the Monster, and consecrate ribands to his fame. If they refuse to pardon the grave-diggers in Hamlet, they seek for materials of absorbing interest in the charnalhouse which no divine philosophy illumines. If they refuse to tragedy any larger bounds of time than their own classical poets could oc-old love of play, and engages him in schemes cupy with frigid declamations, they will select three days from distant parts of a wretched and criminal life, in order to exhibit in full and odious perfection, the horrors which two fifteen years of atrocity can accumulate and mature. Of all the examples of the daring side of their eternal antithesis, the melo-drama against gambling, produced within the last few months, is the most extraordinary and the most successful. Each act is crowded with incidents, in which the only relief from the basest fraud and the most sickening selfishness is to be found in deeds which would chill the blood if it had leisure to freeze. We do not only "sup full of horrors," but breakfast and dine on them also. A youth, who on the eve of his wedding-day sells the jewels of his bride to gamble with the price, and who deceives her by the most paltry equivocations; a friend, who supplies this youth with substituted diamonds which he has himself stolen; a broken-hearted father who dies cursing his son; and a seduction of the wife, filthily attempted while the husband is evading the officers of justice, are among the attractions which should enchain the attention, and gently arouse curiosity in the first act of this fascinating drama. The second act, exhibiting the same pair of fiends, after a lapse of fifteen years, is replete with

of fraudulent gaming. After this little scene of more subdued interest, the party leave the hut to inter the corpse of the assassinated traveller, and give opportunity for the entrance of the eldest son of the hero, and his recognition by his mother. In her brief absence, contrived for this special occasion, the friends resolve on murdering the youth, of whose name they are ignorant; the father watches while his familiar stabs the stranger on his couch; and just as the full horror is discovered, a thunderbolt sets fire to the dwelling of iniquity, and the father hurls his tempter into the flames and follows him! Such is the piece which has delighted the dainty critics of Paris, who revolt from Julius Cæsar as bloody, and characterize Hamlet as "the work of a drunken savage."

But the most offensive circumstance attendant on the production of this bloody trash is the pretence that it is calculated to advance the cause of morality by deterring from the passion of gambling. What a libel is this on poor human nature! Of what stuff must that nature be made, if it could receive benefit from such shocking pictures as representations affecting it nearly! No longer must we regard it as a thing of passion and weakness,-erring, frail, and misguided, yet full of noble impulses and gentle compassions and traits, indicating

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