ON THE ARTIFICIAL COMEDY OF THE LAST CENTURY
Iconfessformyselfthat(withnogreatdelinquenciestoanswerfor)Iamgladforaseasontotakeanairingbeyondthedioceseofthestrictconscience,——nottolivealwaysintheprecinctsofthelaw-courts,——butnowandthen,foradream-whimorso,toimagineaworldwithnomeddlingrestriction——togetintorecesses,whitherthehuntercannotfollowme——
Secretshades
OfwoodyIdasinmostgrove,
WhileyettherewasnofearofJove——
Iebacktomycageandmyrestraintthefresherandmorehealthyforit.Iwearmyshacklesmorecontentedlyforhavingrespiredthebreathofanimaginaryfreedom.Idonotknowhowitiswithothers,butIfeelthebetteralwaysfortheperusalofoneofCongreves——nay,whyshouldInotaddevenofWycherleys——edies.Iamthegayeratleastforit;andIcouldneverconnectthosesportsofawittyfancyinanyshapewithanyresulttobedrawnfromthemtoimitationinreallife.Theyareaworldofthemselvesalmostasmuchasfairy-land.Takeoneoftheircharacters,maleorfemale(withfewexceptionstheyarealike),andplaceitinamodernplay,andmyvirtuousindignationshallriseagainsttheprofligatewretchaswarmlyastheCatosofthepitcoulddesire;becauseinamodernplayIamtojudgeoftherightandthewrong.Thestandardofpoliceisthemeasureofpoliticaljustice.Theatmospherewillblightit,itcannotlivehere.Ithasgotintoamoralworld,whereithasnobusiness,fromwhichitmustneedsfallheadlong;asdizzy,andincapableofmakingastand,asaSwedenborgianbadspiritthathaswanderedunawaresintothesphereofoneofhisGoodMen,orAngels.Butinitsownworlddowefeelthecreatureissoverybad?——TheFainallsandtheMirabels,theDorimantsandtheLadyTouchwoods,intheirownsphere,donotoffendmymoralsense;infacttheydonotappealtoitatall.Theyseemengagedin,theirproperelement.Theybreakthroughnolaws,orconscientiousrestraints.Theyknowofnone.TheyhavegotoutofChristendomintotheland——whatshallIcallit?——ofcuckoldry——theUtopiaofgallantry,wherepleasureisduty,andthemannersperfectfreedom.Itisaltogetheraspeculativesceneofthings,whichhasnoreferencewhatevertotheworldthatis.Nogoodpersoncanbejustlyoffendedasaspectator,becausenogoodpersonsuffersonthestage.Judgedmorally,everycharacterintheseplays——thefewexceptionsonlyaremistakes——isalikeessentiallyvainandworthless.ThegreatartofCongreveisespeciallyshowninthis,thathehasentirelyexcludedfromhisscenes,——somelittlegenerositiesinthepartofAngelicaperhapsexcepted,——notonlyanythinglikeafaultlesscharacter,butanypretensionstogoodnessorgoodfeelingswhatsoever.Whetherhedidthisdesignedly,orinstinctively,theeffectisashappy,asthedesign(ifdesign)wasbold.IusedtowonderatthestrangepowerwhichhisWayoftheWorldinparticularpossessesofinterestingyouallalonginthepursuitsofcharacters,forwhomyouabsolutelycarenothing——foryouneitherhatenorlovehispersonages——andIthinkitisowingtothisveryindifferenceforany,thatyouendurethewhole.Hehasspreadaprivationofmorallight,Iwillcallit,ratherthanbytheuglynameofpalpabledarkness,overhiscreations;andhisshadowsflitbeforeyouwithoutdistinctionorpreference.Hadheintroducedagoodcharacter,asinglegushofmoralfeeling,arevulsionofthejudgmenttoactuallifeandactualduties,theimpertinentGoshenwouldhaveonlylightedtothediscoveryofdeformities,whichnowarenone,becausewethinkthemnone.
Translatedintoreallife,thecharactersofhis,andhisfriendWycherleysdramas,areprofligatesandstrumpets,——thebusinessoftheirbriefexistence,theundividedpursuitoflawlessgallantry.Nootherspringofaction,orpossiblemotiveofconduct,isrecognised;principleswhich,universallyactedupon,mustreducethisframeofthingstoachaos.Butwedothemwronginsotranslatingthem.Nosucheffectsareproducedintheirworld.Whenweareamongthem,weareamongstachaoticpeople.Wearenottojudgethembyourusages.Noreverendinstitutionsareinsultedbytheirproceedings,——fortheyhavenoneamongthem.Nopeaceoffamiliesisviolated——fornofamilytiesexistamongthem.Nopurityofthemarriagebedisstained,——fornoneissupposedtohaveabeing.Nodeepaffectionsaredisquieted,——noholywedlockbandsaresnappedasunder,——foraffectionsdepthandweddedfaitharenotofthegrowthofthatsoil.Thereisneitherrightnorwrong,——gratitudeoritsopposite,——claimorduty,——paternityorsonship.Ofwhatconsequenceisittovirtue,orhowissheatallconcernedaboutit,whetherSirSimon,orDapperwit,stealawayMissMartha;orwhoisthefatherofLordFroths,orSirPaulPliantschildren.
Thewholeisapassingpageant,whereweshouldsitasunconcernedattheissues,forlifeordeath,asatabattleofthefrogsandmice.But,likeDonQuixote,wetakepartagainstthepuppets,andquiteasimpertinently.WedarenotcontemplateanAtlantis,ascheme,outofwhichourcoxbicalmoralsenseisforalittletransitoryeaseexcluded.Wehavenotthecouragetoimagineastateofthingsforwhichthereisneitherrewardnorpunishment.Weclingtothepainfulnecessitiesofshameandblame.Wewouldindictourverydreams.
Amidstthemortifyingcircumstancesattendantupongrowingold,itissomethingtohaveseentheSchoolforScandalinitsglory.ThisedygrewoutofCongreveandWycherley,butgatheredsomeallaysofthesentimentaledywhichfollowedtheirs.Itisimpossiblethatitshouldbenowacted,thoughitcontinues,atlongintervals,tobeannouncedinthebills.Itshero,whenPalmerplayeditatleast,wasJosephSurface.WhenIrememberthegayboldness,thegracefulsolemnplausibility,themeasuredstep,theinsinuatingvoice——toexpressitinaword——thedownrightactedvillanyofthepart,sodifferentfromthepressureofconsciousactualwickedness,——thehypocriticalassumptionofhypocrisy,——whichmadeJacksodeservedlyafavouriteinthatcharacter,Imustneedsconcludethepresentgenerationofplay-goersmorevirtuousthanmyself,ormoredense.Ifreelyconfessthathedividedthepalmwithmewithhisbetterbrother;that,infact,Ilikedhimquiteaswell.Notbuttherearepassages,likethat,forinstance,whereJosephismadetorefuseapittancetoapoorrelation,incongruitieswhichSheridanwasforceduponbytheattempttojointheartificialwiththesentimentaledy,eitherofwhichmustdestroytheother——butovertheseobstructionsJacksmannerfloatedhim,solightly,thatarefusalfromhimnomoreshockedyou,thantheeasyplianceofCharlesgaveyouinrealityanypleasure;yougotoverthepaltryquestionasquicklyasyoucould,togetbackintotheregionsofpureedy,wherenocoldmoralreigns.ThehighlyartificialmannerofPalmerinthischaractercounteractedeverydisagreeableimpressionwhichyoumighthavereceivedfromthecontrast,supposingthemreal,betweenthetwobrothers.YoudidnotbelieveinJosephwiththesamefaithwithwhichyoubelievedinCharles.Thelatterwasapleasantreality,theformeranolesspleasantpoeticalfoiltoit.Theedy,Ihavesaid,isincongruous;amixtureofCongrevewithsentimentalinpatibilities:thegaietyuponthewholeisbuoyant;butitrequiredtheconsummateartofPalmertoreconcilethediscordantelements.
AplayerwithJackstalents,ifwehadonenow,wouldnotdaretodothepartinthesamemanner.Hewouldinstinctivelyavoideveryturnwhichmighttendtounrealise,andsotomakethecharacterfascinating.Hemusttakehiscuefromhisspectators,whowouldexpectabadmanandagoodmanasrigidlyopposedtoeachotherasthedeath-bedsofthosegeniusesarecontrastedintheprints,whichIamsorrytosayhavedisappearedfromthewindowsofmyoldfriendCarringtonBowles,ofSt.PaulsChurch-yardmemory——(anexhibitionasvenerableastheadjacentcathedral,andalmostcoeval)ofthebadandgoodmanatthehourofdeath;wheretheghastlyapprehensionsoftheformer,——andtrulythegrimphantomwithhisrealityofatoastingforkisnottobedespised,——sofinelycontrastwiththemeekplacentkissingoftherod,——takingitinlikehoneyandbutter,——withwhichthelattersubmitstothescytheofthegentlebleeder,Time,whowieldshislancetwiththeapprehensivefingerofapopularyoungladiessurgeon.Whatflesh,likelovinggrass,wouldnotcovettomeethalf-waythestrokeofsuchadelicatemower?——JohnPalmerwastwiceanactorinthisexquisitepart.HewasplayingtoyouallthewhilethathewasplayinguponSirPeterandhislady.Youhadthefirstintimationofasentimentbeforeitwasonhislips.Hisalteredvoicewasmeanttoyou,andyouweretosupposethathisfictitiousco-flutterersonthestageperceivednothingatallofit.Whatwasittoyouifthathalf-reality,thehusband,wasover-reachedbythepuppetry——orthethinthing(LadyTeazlesreputation)waspersuadeditwasdyingofaplethory?ThefortunesofOthelloandDesdemonawerenotconcernedinit.PoorJackhaspastfromthestageingoodtime,thathedidnotlivetothisourageofseriousness.ThepleasantoldTeazleKing,too,isgoneingoodtime.Hismannerwouldscarcehavepastcurrentinourday.Wemustloveorhate——acquitorcondemn——ensureorpity——exertourdetestablecoxbryofmoraljudgmentuponeverything.JosephSurface,togodownnow,mustbeadownrightrevoltingvillain——nopromise——hisfirstappearancemustshockandgivehorror——hisspeciousplausibilities,whichthepleasurablefacultiesofourfathersweledwithsuchheartygreetings,knowingthatnoharm(dramaticharmeven)coulde,orwasmeanttoeofthem,mustinspireacoldandkillingaversion.Charles(therealcantingpersonofthescene——forthehypocrisyofJosephhasitsulteriorlegitimateends,buthisbrothersprofessionsofagoodheartcentreindown-rightself-satisfaction)mustbeloved,andJosephhated.Tobalanceonedisagreeablerealitywithanother,SirPeterTeazlemustbenolongertheicideaofafretfuloldbachelorbride-groom,whoseteasings(whileKingactedit)wereevidentlyasmuchplayedoffatyou,astheyweremeanttoconcernanybodyonthestage,——hemustbearealperson,capableinlawofsustaininganinjury——apersontowardswhomdutiesaretobeacknowledged——thegenuinecrim-conantagonistofthevillanousseducerJoseph.Torealisehimmore,hissufferingsunderhisunfortunatematchmusthavethedownrightpungencyoflife——must(orshould)makeyounotmirthfulbutunfortable,justasthesamepredicamentwouldmoveyouinaneighbouroroldfriend.Thedelicioussceneswhichgivetheplayitsnameandzest,mustaffectyouinthesameseriousmannerasifyouheardthereputationofadearfemalefriendattackedinyourrealpresence.Crabtree,andSirBenjamin——thosepoorsnakesthatlivebutinthesunshineofyourmirth——mustberipenedbythishot-bedprocessofrealizationintoaspsoramphisbaenas;andMrs.Candour——O!frightful!beeahoodedserpent.OhwhothatremembersParsonsandDodd——thewaspandbutterflyoftheSchoolforScandal——inthosetwocharacters;andcharmingnaturalMissPope,theperfectgentlewomanasdistinguishedfromthefineladyofedy,inthislatterpart——wouldforegothetruescenicdelight——theescapefromlife——theoblivionofconsequences——theholidaybarringoutofthepedantReflection——thoseSaturnaliaoftwoorthreebriefhours,wellwonfromtheworld——tositinsteadatoneofourmodernplays——tohavehiscowardconscience(thatforsoothmustnotbeleftforamoment)stimulatedwithperpetualappeals——dulledrather,andblunted,asafacultywithoutreposemustbe——andhismoralvanitypamperedwithimagesofnotionaljustice,notionalbeneficence,livessavedwithoutthespectatorsrisk,andfortunesgivenawaythatcosttheauthornothing?
Nopiecewas,perhaps,eversopletelycastinallitspartsasthismanagersedy.MissFarrenhadsucceededtoMrs.AbingdoninLadyTeazle;andSmith,theoriginalCharles,hadretired,whenIfirstsawit.Therestofthecharacters,withveryslightexceptions,remained.IrememberitwasthenthefashiontocrydownJohnKemble,whotookthepartofCharlesafterSmith;but,Ithought,veryunjustly.Smith,Ifancy,wasmoreairy,andtooktheeyewithacertaingaietyofperson.Hebroughtwithhimnosombrerecollectionsoftragedy.Hehadnottoexpiatethefaultofhavingpleasedbeforehandinloftydeclamation.HehadnosinsofHamletorofRichardtoatonefor.Hisfailureinthesepartswasapassporttosuccessinoneofsooppositeatendency.But,asfarasIcouldjudge,theweightysenseofKemblemadeupformorepersonalincapacitythanhehadtoanswerfor.Hisharshesttonesinthispartcamesteepedanddulcifiedingoodhumour.Hemadehisdefectsagrace.Hisexactdeclamatorymanner,ashemanagedit,onlyservedtoconveythepointsofhisdialoguewithmoreprecision.Itseemedtoheadtheshaftstocarrythemdeeper.Notoneofhissparklingsentenceswaslost.Irememberminutelyhowhedeliveredeachinsuccession,andcannotbyanyeffortimaginehowanyofthemcouldbealteredforthebetter.Nomancoulddeliverbrilliantdialogue——thedialogueofCongreveorofWycherley——becausenoneunderstoodit——halfsowellasJohnKemble.HisValentine,inLoveforLove,was,tomyrecollection,faultless.Heflaggedsometimesintheintervalsoftragicpassion.Hewouldslumberoverthelevelpartsofanheroiccharacter.HisMacbethhasbeenknowntonod.Buthealwaysseemedtometobeparticularlyalivetopointedandwittydialogue.Therelaxinglevitiesoftragedyhavenotbeentouchedbyanysincehim——theplayfulcourt-bredspiritinwhichhecondescendedtotheplayersinHamlet——thesportivereliefwhichhethrewintothedarkershadesofRichard——disappearedwithhim.Hehadhissluggishmoods,historpors——buttheywerethehalting-stonesandresting-placesofhistragedy——politicsavings,andfetchesofthebreath——husbandryofthelungs,wherenaturepointedhimtobeaneconomist——rather,Ithink,thanerrorsofthejudgment.Theywere,atworst,lesspainfulthantheeternaltormentingunappeasablevigilance,the"lidlessdragoneyes,"ofpresentfashionabletragedy.