Table-Talk - William Hazlitt (tohfa e dulha read online TXT) 📗

the prologue. It is always, by prescription, some walking shadow, some poor player, who cannot even spoil a part of any consequence. Is there not Mr. Claremont always at hand for this purpose, whom the late king pronounced three times to be “a bad actor”?81 What is there in common between that accustomed wave of the hand and the cocked hat under the arm, and any passion or person that can be brought forward on the stage? It is not that we can be said to acquire a prejudice against so harmless an actor as Mr. Claremont: we are born with a prejudice against a speaker of prologues. It is an innate idea: a natural instinct: there is a particular organ in the brain provided for it. Do we not all hate a manager? It is not because he is insolent or impertinent, or fond of making ridiculous speeches, or a notorious puffer, or ignorant, or mean, or vain, but it is because we see him in a coat, waistcoat, and breeches. The stage is the world of fantasy: it is Queen Mab that has invited us to her revels there, and all that have to do with it should wear motley!

Lastly, there are some actors by profession whose faces we like to see in the boxes or anywhere else; but it is because they are no actors, but rather gentlemen and scholars, and in their proper places in the boxes, or wherever they are. Does not an actor himself, I would ask, feel conscious and awkward in the boxes if he thinks that he is known? And does he not sit there in spite of this uneasy feeling, and run the gauntlet of impertinent looks and whispers, only to get a little by-admiration, as he thinks? It is hardly to be supposed that he comes to see the play⁠—the show. He must have enough of plays and finery. But he wants to see a favourite (perhaps a rival) actor in a striking part. Then the place for him to do this is the pit. Painters, I know, always get as close up to a picture they want to copy as they can; and I should imagine actors would want to do the same, in order to look into the texture and mechanism of their art. Even theatrical critics can make nothing of a part that they see from the boxes. If you sit in the stage-box, your attention is drawn off by the company and other circumstances. If you get to a distance (so as to be out of the reach of notice) you can neither hear nor see well. For myself, I would as soon take a seat on the top of the Monument to give an account of a first appearance, as go into the second or third tier of boxes to do it. I went, but the other day, with a box-ticket to see Miss Fanny Brunton come out in Juliet, and Mr. Macready make a first appearance in Romeo; and though I was told (by a tolerable judge) that the new Juliet was the most elegant figure on the stage, and that Mr. Macready’s Romeo was quite beautiful, I vow to God I knew nothing of it. So little could I tell of the matter that at one time I mistook Mr. Horrebow for Mr. Abbott. I have seen Mr. Kean play Sir Giles Overreach one night from the front of the pit, and a few nights after from the front boxes facing the stage. It was another thing altogether. That which had been so lately nothing but flesh and blood, a living fibre, “instinct with fire” and spirit, was no better than a little fantoccini figure, darting backwards and forwards on the stage, starting, screaming, and playing a number of fantastic tricks before the audience. I could account, in the latter instance, for the little approbation of the performance manifested around me, and also for the general scepticism with respect to Mr. Kean’s acting, which has been said to prevail among those who cannot condescend to go into the pit, and have not interest in the orchestra⁠—to see him act. They may, then, stay away altogether. His face is the running comment on his acting, which reconciles the audience to it. Without that index to his mind, you are not prepared for the vehemence and suddenness of his gestures; his pauses are long, abrupt, and unaccountable, if not filled up by the expression; it is in the working of his face that you see the writhing and coiling up of the passions before they make their serpent-spring; the lightning of his eye precedes the hoarse burst of thunder from his voice.

One may go into the boxes, indeed, and criticise acting and actors with Sterne’s stopwatch, but not otherwise⁠—“ ‘And between the nominative case and the verb (which, as your lordship knows, should agree together in number, person, etc.) there was a full pause of a second and two-thirds.’⁠—‘But was the eye silent⁠—did the look say nothing?’ ‘I looked only at the stopwatch, my lord.’⁠—‘Excellent critic!’ ”⁠—If any other actor, indeed, goes to see Mr. Kean act, with a view to avoid imitation, this may be the place, or rather it is the way to run into it, for you see only his extravagances and defects, which are the most easily carried away. Mr. Mathews may translate him into an at home even from the slips!⁠—Distinguished actors, then, ought, I conceive, to set the example of going into the pit, were it only for their own sakes. I remember a trifling circumstance, which I worked up at the time into a confirmation of this theory of mine, engrafted on old prejudice and tradition.82 I had got into the middle of the pit, at considerable risk of broken bones, to see Mr. Kean in one of his early parts, when I perceived two young men seated a little behind me, with a certain space left round them. They were dressed in the height