Lord Arthur Savile’s Crime and Other Stories - Oscar Wilde (electronic book reader TXT) 📗

the insincerity and treachery that somehow seem inseparable from the artistic nature, as in his love of praise that desire for immediate recognition that characterises all actors. And yet, more fortunate in this than other actors, Willie Hughes was to know something of immortality. Inseparably connected with Shakespeare’s plays, he was to live in them.

Your name from hence immortal life shall have,
Though I, once gone, to all the world must die:
The earth can yield me but a common grave,
When you entombed in men’s eyes shall lie.
Your monument shall be my gentle verse,
Which eyes not yet created shall o’er-read,
And tongues to be your being shall rehearse,
When all the breathers of this world are dead.

There were endless allusions, also, to Willie Hughes’s power over his audience⁠—the “gazers,” as Shakespeare calls them; but perhaps the most perfect description of his wonderful mastery over dramatic art was in A Lover’s Complaint, where Shakespeare says of him:⁠—

In him a plenitude of subtle matter,
Applied to cautels, all strange forms receives,
Of burning blushes, or of weeping water,
Or swooning paleness; and he takes and leaves,
In either’s aptness, as it best deceives,
To blush at speeches rank, to weep at woes,
Or to turn white and swoon at tragic shows.
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So on the tip of his subduing tongue,
All kind of arguments and questions deep,
All replication prompt and reason strong,
For his advantage still did wake and sleep,
To make the weeper laugh, the laugher weep.
He had the dialect and the different skill,
Catching all passions in his craft of will.

Once I thought that I had really found Willie Hughes in Elizabethan literature. In a wonderfully graphic account of the last days of the great Earl of Essex, his chaplain, Thomas Knell, tells us that the night before the Earl died, “he called William Hewes, which was his musician, to play upon the virginals and to sing. ‘Play,’ said he, ‘my song, Will Hewes, and I will sing it to myself.’ So he did it most joyfully, not as the howling swan, which, still looking down, waileth her end, but as a sweet lark, lifting up his hands and casting up his eyes to his God, with this mounted the crystal skies, and reached with his unwearied tongue the top of highest heavens.” Surely the boy who played on the virginals to the dying father of Sidney’s Stella was none other but the Will Hews to whom Shakespeare dedicated the Sonnets, and who he tells us was himself sweet “music to hear.” Yet Lord Essex died in 1576, when Shakespeare himself was but twelve years of age. It was impossible that his musician could have been the Mr. W. H. of the Sonnets. Perhaps Shakespeare’s young friend was the son of the player upon the virginals? It was at least something to have discovered that Will Hews was an Elizabethan name. Indeed the name Hews seemed to have been closely connected with music and the stage. The first English actress was the lovely Margaret Hews, whom Prince Rupert so madly loved. What more probable than that between her and Lord Essex’s musician had come the boy-actor of Shakespeare’s plays? But the proofs, the links⁠—where were they? Alas: I could not find them. It seemed to me that I was always on the brink of absolute verification, but that I could never really attain to it.

From Willie Hughes’s life I soon passed to thoughts of his death. I used to wonder what had been his end.

Perhaps he had been one of those English actors who in 1604 went across sea to Germany and played before the great Duke Henry Julius of Brunswick, himself a dramatist of no mean order, and at the Court of that strange Elector of Brandenburg, who was so enamoured of beauty that he was said to have bought for his weight in amber the young son of a travelling Greek merchant, and to have given pageants in honour of his slave all through that dreadful famine year of 1606⁠–⁠7, when the people died of hunger in the very streets of the town, and for the space of seven months there was no rain. We know at any rate that Romeo and Juliet was brought out at Dresden in 1613, along with Hamlet and King Lear, and it was surely to none other than Willie Hughes that in 1615 the death-mask of Shakespeare was brought by the hand of one of the suite of the English ambassador, pale token of the passing away of the great poet who had so dearly loved him. Indeed there would have been something peculiarly fitting in the idea that the boy-actor, whose beauty had been so vital an element in the realism and romance of Shakespeare’s art, should have been the first to have brought to Germany the seed of the new culture, and was in his way the precursor of that Aufklärung or Illumination of the eighteenth century, that splendid movement which, though begun by Lessing and Herder, and brought to its full and perfect issue by Goethe, was in no small part helped on by another actor⁠—Friedrich Schroeder⁠—who awoke the popular consciousness, and by means of the feigned passions and mimetic methods of the stage showed the intimate, the vital, connection between life and literature. If this was so⁠—and there was certainly no evidence against it⁠—it was not improbable that Willie Hughes was one of those English comedians (mimae quidam ex Britannia, as the old chronicle calls them), who were slain at Nuremberg in a sudden uprising of the people, and were secretly buried in a little vineyard outside the city by some young men “who had found pleasure in their performances, and of whom some had sought to be instructed in the mysteries of the new art.” Certainly no more fitting place could there be for him to whom Shakespeare said, “thou art all my art,” than this little vineyard outside the city walls. For was it not from the sorrows