Chapter 5

In these days of champagne and shoddy, of display of teacups and rotten foundations--especially, too, now that the 'nexus' of 'cash payment,' which was to bind man to man in the bonds of a common pecuniary interest, is hopelessly broken--it becomes plain that the real wants of the age are not analyses of religious belief, nor discussions as to whether 'Person' or 'Stream of Tendency' are the apter words to describe God by; but a steady supply of honest, plain-sailing men who can be safely trusted with small sums, and to do what in them lies to maintain the honour of the various professions, and to restore the credit of English workmanship. We want Lambs, not Coleridges. The verdict to be striven for is not 'Well guessed,' but 'Well done.'

All our remarks are confined to the realm of opinion. Faith may be well left alone, for she is, to give her her due, our largest manufacturer of good works, and whenever her furnaces are blown out, morality suffers.

But speculation has nothing to do with faith. The region of speculation is the region of opinion, and a hazy, lazy, delightful region it is; good to talk in, good to smoke in, peopled with pleasant fancies and charming ideas, strange analogies and killing jests. How quickly the time passes there! how well it seems spent! The Philistines are all outside; everyone is reasonable and tolerant, and good-tempered; you think and scheme and talk, and look at everything in a hundred ways and from all possible points of view; and it is not till the company breaks up and the lights are blown out, and you are left alone with silence, that the doubt occurs to you, What is the good of it all?

Where is the actuary who can appraise the value of a man's opinions? 'When we speak of a man's opinions,' says Dr. Newman, 'what do we mean but the collection of notions he happens to have?' Happens to have! How did he come by them? It is the knowledge we all possess of the sorts of ways in which men get their opinions that makes us so little affected in our own minds by those of men for whose characters and intellects we may have great admiration. A sturdy Nonconformist minister, who thinks Mr. Gladstone the ablest and most honest man, as well as the ripest scholar within the three kingdoms, is no whit shaken in his Nonconformity by knowing that his idol has written in defence of the Apostolical Succession, and believes in special sacramental graces. Mr. Gladstone may have been a great student of Church history, whilst Nonconformist reading under that head usually begins with Luther's Theses--but what of that? Is it not all explained by the fact that Mr. Gladstone was at Oxford in 1831? So at least the Nonconformist minister will think.

The admission frankly made, that these remarks are confined to the realms of opinion, prevents me from urging on everyone my prescription, but, with the two exceptions to be immediately named, I believe it would be found generally useful. It may be made up thus: 'As much reticence as is consistent with good-breeding upon, and a wisely tempered indifference to, the various speculative questions now agitated in our midst.'

This prescription would be found to liberate the mind from all kinds of cloudy vapours which obscure the mental vision and conceal from men their real position, and would also set free a great deal of time which might be profitably spent in quite other directions.

The first of the two exceptions I have alluded to is of those who possess--whether honestly come by or not we cannot stop to inquire--strong convictions upon these very questions. These convictions they must be allowed to iterate and reiterate, and to proclaim that in them is to be found the secret of all this (otherwise) unintelligible world.

The second exception is of those who pursue Truth as by a divine compulsion, and who can be likened only to the nympholepts of old; those unfortunates who, whilst carelessly strolling amidst sylvan shades, caught a hasty glimpse of the flowing robes or even of the gracious countenance of some spiritual inmate of the woods, in whose pursuit their whole lives were ever afterwards fruitlessly spent.

The nympholepts of Truth are profoundly interesting figures in the world's history, but their lives are melancholy reading, and seldom fail to raise a crop of gloomy thoughts. Their finely touched spirits are not indeed liable to succumb to the ordinary temptations of life, and they thus escape the evils which usually follow in the wake of speculation; but what is their labour's reward?

Readers of Dr. Newman will remember, and will thank me for recalling it to mind, an exquisite passage, too long to be quoted, in which, speaking as a Catholic to his late Anglican associates, he reminds them how he once participated in their pleasures and shared their hopes, and thus concludes:

'When, too, shall I not feel the soothing recollection of those dear years which I spent in retirement, in preparation for my deliverance from Egypt, asking for light, and by degrees getting it, with less of temptation in my heart and sin on my conscience than ever before?'

But the passage is sad as well as exquisite, showing to us, as it does, one who from his earliest days has rejoiced in a faith in God, intense, unwavering, constant; harassed by distressing doubts, he carries them all, in the devotion of his faith, the warmth of his heart, and the purity of his life, to the throne where Truth sits in state; living, he tells us, in retirement, and spending great portions of every day on his knees; and yet--we ask the question with all reverence--what did Dr. Newman get in exchange for his prayers?

'I think it impossible to withstand the evidence which is brought for the liquefaction of the blood of St. Januarius at Naples, or for the motion of the eyes of the pictures of the Madonna in the Roman States. I see no reason to doubt the material of the Lombard Cross at Monza, and I do not see why the Holy Coat at Trèves may not have been what it professes to be. I firmly believe that portions of the True Cross are at Rome and elsewhere, that the Crib of Bethlehem is at Rome, and the bodies of St. Peter and St. Paul; also I firmly believe that the relics of the Saints are doing innumerable miracles and graces daily. I firmly believe that before now Saints have raised the dead to life, crossed the seas without vessels, multiplied grain and bread, cured incurable diseases, and stopped the operations of the laws of the universe in a multitude of ways.'

So writes Dr. Newman, with that candour, that love of putting the case most strongly against himself, which is only one of the lovely characteristics of the man whose long life has been a miracle of beauty and grace, and who has contrived to instil into his very controversies more of the spirit of Christ than most men can find room for in their prayers. But the dilemma is an awkward one. Does the Madonna wink, or is Heaven deaf?

Oh, Spirit of Truth, where wert thou, when the remorseless deep of superstition closed over the head of John Henry Newman, who surely deserved to be thy best-loved son?

But this is a digression. With the nympholepts of Truth we have nought to do. They must be allowed to pursue their lonely and devious paths, and though the records of their wanderings, their conflicting conclusions, and their widely-parted resting-places may fill us with despair, still they are witnesses whose testimony we could ill afford to lose.

But there are not many nympholepts. The symptoms of the great majority of our modern Truth-hunters are very different, as they will, with their frank candour, be the first to admit. They are free 'to drop their swords and daggers' whenever so commanded, and it is high time they did.

With these two exceptions I think my prescription will be found of general utility, and likely to promote a healthy flow of good works.

I had intended to say something as to the effect of speculative habits upon the intellect, but cannot now do so. The following shrewd remark of Mr. Latham's in his interesting book on the 'Action of Examinations' may, however, be quoted; its bearing will be at once seen, and its truth recognised by many:

'A man who has been thus provided with views and acute observations may have destroyed in himself the germs of that power which he simulates. He might have had a thought or two now and then if he had been let alone, but if he is made first to aim at a standard of thought above his years, and then finds he can get the sort of thoughts he wants without thinking, he is in a fair way to be spoiled.'

ACTORS.

Most people, I suppose, at one time or another in their lives, have felt the charm of an actor's life, as they were free to fancy it, well-nigh irresistible.

What is it to be a great actor? I say a great actor, because (I am sure) no amateur ever fancied himself a small one. Is it not always to have the best parts in the best plays; to be the central figure of every group; to feel that attention is arrested the moment you come on the stage; and (more exquisite satisfaction still) to be aware that it is relaxed when you go off; to have silence secured for your smallest utterances; to know that the highest dramatic talent has been exercised to invent situations for the very purpose of giving effect to _your_ words and dignity to _your_ actions; to quell all opposition by the majesty of your bearing or the brilliancy of your wit; and finally, either to triumph over disaster, or if you be cast in tragedy, happier still, to die upon the stage, supremely pitied and honestly mourned for at least a minute? And then, from first to last, applause loud and long--not postponed, not even delayed, but following immediately after. For a piece of diseased egotism--that is, for a man--what a lot is this!

How pointed, how poignant the contrast between a hero on the boards and a hero in the streets! In the world's theatre the man who is really playing the leading part--did we but know it--is too often, in the general estimate, accounted but one of the supernumeraries, a figure in dingy attire, who might well be spared, and who may consider himself well paid with a pound a week. _His_ utterances procure no silence. He has to pronounce them as best he may, whilst the gallery sucks its orange, the pit pares its nails, the boxes babble, and the stalls yawn. Amidst, these pleasant distractions he is lucky if he is heard at all; and perhaps the best thing that can befall him is for somebody to think him worth the trouble of a hiss. As for applause, it may chance with such men, if they live long enough, as it has to the great ones who have preceded them, in their old age,

'When they are frozen up within, and quite The phantom of themselves, To hear the world applaud the hollow ghost Which blamed the living man.'

The great actor may sink to sleep, soothed by the memory of the tears or laughter he has evoked, and wake to find the day far advanced, whose close is to witness the repetition of his triumph; but the great man will lie tossing and turning as he reflects on the seemingly unequal war he is waging with stupidity and prejudice, and be tempted to exclaim, as Milton tells us he was, with the sad prophet Jeremy: 'Woe is me, my mother, that thou hast borne me, a man of strife and contention!'

The upshot of all this is, that it is a pleasanter thing to represent greatness than to be great.

But the actor's calling is not only pleasant in itself--it gives pleasure to others. In this respect, how favourably it contrasts with the three learned professions!

Few pleasures are greater than to witness some favourite character, which hitherto has been but vaguely bodied forth by our sluggish imaginations, invested with all the graces of living man or woman. A distinguished man of letters, who years ago was wisely selfish enough to rob the stage of a jewel and set it in his own crown, has addressed to his wife some radiant lines which are often on my lips:

'Beloved, whose life is with mine own entwined, In whom, whilst yet thou wert my dream, I viewed, Warm with the life of breathing womanhood, What Shakespeare's visionary eye divined-- Pure Imogen; high-hearted Rosalind, Kindling with sunshine the dusk greenwood; Or changing with the poet's changing mood, Juliet, or Constance of the queenly mind.'

But a truce to these compliments.

'I come to bury Caesar, not to praise him.'

It is idle to shirk disagreeable questions, and the one I have to ask is this, 'Has the world been wrong in regarding with disfavour and lack of esteem the great profession of the stage?'

That the world, ancient and modern, has despised the actor's profession cannot be denied. An affecting story I read many years ago--in that elegant and entertaining work, Lemprière's 'Classical Dictionary'--well illustrates the feeling of the Roman world. Julius Decimus Laberius was a Roman knight and dramatic author, famous for his mimes, who had the misfortune to irritate a greater Julius, the author of the 'Commentaries,' when the latter was at the height of his power. Caesar, casting about how best he might humble his adversary, could think of nothing better than to condemn him to take a leading part in one of his own plays. Laberius entreated in vain. Caesar was obdurate, and had his way. Laberius played his part--how, Lemprière sayeth not; but he also took his revenge, after the most effectual of all fashions, the literary. He composed and delivered a prologue of considerable power, in which he records the act of spiteful tyranny, and which, oddly enough, is the only specimen of his dramatic art that has come down to us. It contains lines which, though they do not seem to have made Caesar, who sat smirking in the stalls, blush for himself, make us, 1,900 years afterwards, blush for Caesar. The only lines, however, now relevant are, being interpreted, as follow:

'After having lived sixty years with honour, I left my home this morning a Roman knight, but I shall return to it this evening an infamous stage-player. Alas! I have lived a day too long.'

Turning to the modern world, and to England, we find it here the popular belief that actors are by statute rogues, vagabonds, and sturdy beggars. This, it is true, is founded on a misapprehension of the effect of 39 Eliz. chap. 4, which only provides that common players wandering abroad without authority to play, shall be taken to be 'rogues and vagabonds;' a distinction which one would have thought was capable of being perceived even by the blunted faculties of the lay mind.[*]

[* Footnote: See note at end of Essay.]

But the fact that the popular belief rests upon a misreading of an Act of Parliament three hundred years old does not affect the belief, but only makes it exquisitely English, and as a consequence entirely irrational.

Is there anything to be said in support of this once popular prejudice?

It may, I think, be supported by two kinds of argument. One derived from the nature of the case, the other from the testimony of actors themselves.

A serious objection to an actor's calling is that from its nature it admits of no other test of failure or success than the contemporary opinion of the town. This in itself must go far to rob life of dignity. A Milton may remain majestically indifferent to the 'barbarous noise' of 'owls and cuckoos, asses, apes, and dogs,' but the actor can steel himself to no such fortitude. He can lodge no appeal to posterity. The owls must hoot, the cuckoos cry, the apes yell, and the dogs bark on his side, or he is undone. This is of course inevitable, but it is an unfortunate condition of an artist's life.

Again, no record of his art survives to tell his tale or account for his fame. When old gentlemen wax garrulous over actors dead and gone, young gentlemen grow somnolent. Chippendale the cabinet-maker is more potent than Garrick the actor. The vivacity of the latter no longer charms (save in Boswell); the chairs of the former still render rest impossible in a hundred homes.

This, perhaps, is why no man of lofty genius or character has ever condescended to remain an actor. His lot pressed heavily even on so mercurial a trifler as David Garrick, who has given utterance to the feeling in lines as good perhaps as any ever written by a successful player:

'The painter's dead, yet still he charms the eye, While England lives his fame shall never die; But he who struts his hour upon the stage Can scarce protract his fame thro' half an age; Nor pen nor pencil can the actor save-- Both art and artist have one common grave.'

But the case must be carried farther than this, for the mere fact that a particular pursuit does not hold out any peculiar attractions for soaring spirits will not justify us in calling that pursuit bad names. I therefore proceed to say that the very act of acting, _i. e._, the art of mimicry, or the representation of feigned emotions called up by sham situations, is, in itself, an occupation an educated man should be slow to adopt as the profession of a life.

I believe--for we should give the world as well as the devil its due--that it is to a feeling, a settled persuasion of this sort, lying deeper than the surface brutalities and snobbishnesses visible to all, that we must attribute the contempt, seemingly so cruel and so ungrateful, the world has visited upon actors.

I am no great admirer of beards, be they never so luxurious or glossy, yet I own I cannot regard off the stage the closely shaven face of an actor without a feeling of pity, not akin to love. Here, so I cannot help saying to myself, is a man who has adopted a profession whose very first demand upon him is that he should destroy his own identity. It is not what you are, or what by study you may become, but how few obstacles you present to the getting of yourself up as somebody else, that settles the question of your fitness for the stage. Smoothness of face, mobility of feature, compass of voice--these things, but the toys of other trades, are the tools of this one.

Boswellites will remember the name of Tom Davies as one of frequent occurrence in the great biography. Tom was an actor of some repute, and (so it was said) read 'Paradise Lost' better than any man in England. One evening, when Johnson was lounging behind the scenes at Drury (it was, I hope, before his pious resolution to go there no more), Davies made his appearance on his way to the stage in all the majesty and millinery of his part. The situation is picturesque. The great and dingy Reality of the eighteenth century, the Immortal, and the bedizened little player. 'Well, Tom,' said the great man (and this is the whole story), 'well, Tom, and what art thou to-night?' 'What art thou to-night?' It may sound rather like a tract, but it will, I think, be found difficult to find an answer to the question consistent with any true view of human dignity.

Our last argument derived from the nature of the case is, that deliberately to set yourself as the occupation of your life to amuse the adult and to astonish, or even to terrify, the infant population of your native land, is to degrade yourself.

Three-fourths of the acted drama is, and always must be, comedy, farce, and burlesque. We are bored to death by the huge inanities of life. We observe with horror that our interest in our dinner becomes languid. We consult our doctor, who simulates an interest in our stale symptoms, and after a little talk about Dr. Diet, Dr. Quiet, and Dr. Merriman, prescribes Toole. If we are very innocent we may inquire what night we are to go, but if we do we are at once told that it doesn't in the least matter when we go, for it is always equally funny. Poor Toole! to be made up every night as a safe prescription for the blues! To make people laugh is not necessarily a crime, but to adopt as your trade the making people laugh by delivering for a hundred nights together another man's jokes, in a costume the author of the jokes would blush to be seen in, seems to me a somewhat unworthy proceeding on the part of a man of character and talent.

To amuse the British public is a task of herculean difficulty and danger, for the blatant monster is, at times, as whimsical and coy as a maiden, and if it once makes up its mind not to be amused, nothing will shake it. The labour is enormous, the sacrifice beyond what is demanded of saints. And if you succeed, what is your reward? Read the lives of comedians, and closing them, you will see what good reason an actor has for exclaiming with the old-world poet:

'Odi profanum vulgus!'

We now turn to the testimony of actors themselves.

Shakespeare is, of course, my first witness. There is surely significance in this. 'Others abide our question,' begins Arnold's fine sonnet on Shakespeare--'others abide our question; thou art free.' The little we know about our greatest poet has become a commonplace. It is a striking tribute to the endless loquacity of man, and a proof how that great creature is not to be deprived of his talk, that he has managed to write quite as much about there being nothing to write about as he could have written about Shakespeare, if the author of _Hamlet_ had been as great an egoist as Rousseau. The fact, however, remains that he who has told us most about ourselves, whose genius has made the whole civilized world kin, has told us nothing about himself, except that he hated and despised the stage. To say that he has told us this is not, I think, any exaggeration. I have, of course, in mind the often quoted lines to be found in that sweet treasury of melodious verse and deep feeling, the 'Sonnets of Shakespeare.' The 110th begins thus:

'Alas! 'tis true I have gone here and there, And made myself a motley to the view, Gor'd my own thoughts, sold cheap what is most dear, Made old offences of affections new.'

And the 111th:

'O for my sake do thou with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means, which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works on, like the dyer's hand. Pity me, then, and wish I were renewed.'

It is not much short of three centuries since those lines were written, but they seem still to bubble with a scorn which may indeed be called immortal.

'Sold cheap what is most dear.'

There, compressed in half a line, is the whole case against an actor's calling.

But it may be said Shakespeare was but a poor actor. He could write _Hamlet_ and _As You Like It_; but when it came to casting the parts, the Ghost in the one and old Adam in the other were the best he could aspire to. Verbose biographers of Shakespeare, in their dire extremity, and naturally desirous of writing a big book about a big man, have remarked at length that it was highly creditable to Shakespeare that he was not, or at all events that it does not appear that he was, jealous, after the true theatrical tradition, of his more successful brethren of the buskin.

It surely might have occured, even to a verbose biographer in his direst need, that to have had the wit to write and actually to have written the soliloquies in _Hamlet_, might console a man under heavier afflictions than the knowledge that in the popular estimate somebody else spouted those soliloquies better than he did himself. I can as easily fancy Milton jealous of Tom Davies as Shakespeare of Richard Burbage. But--good, bad, or indifferent--Shakespeare was an actor, and as such I tender his testimony.