Records of a Girlhood Part 28

f.a.n.n.y KEMBLE.

GREAT RUSSELL STREET.

DEAR MRS. JAMESON,

Thank you for the book you were so good as to send me. I have read that which concerns the Cenci in it, and think Leigh Hunt's reflections on the story and tragedy very good. I am glad you were at the play last night, because I thought I acted well--at least, I tried to do so. I stayed the first act of the new after-piece, and was rather amused by it. I do not know how the ladies'

"inexpressibles" might affect the fortunes of the second act, but I liked all their gay petticoats in the first, extremely. The weather is not very propitious for us; we start to-morrow at nine. I send you the only copy of Sophocles I can lay my hand on this morning.

Yours ever truly,

F. A. KEMBLE.

A little piece called "The Invincibles," in which a smart corps of young Amazons in uniform were officered by Madame Vestris in the prettiest regimentals ever well worn by woman, was the novelty I alluded to. The effect of the female troop was very pretty, and the piece was very successful.

I had only lately read Sh.e.l.ley's great tragedy, and Mrs. Jameson had been so good as to lend me various notices and criticisms upon it. The hideous subject itself is its weak point, and his selection of it one cause for doubting Sh.e.l.ley's power as a dramatic writer. Everything else in the terrible play suggests the probable loss his death may have been to the dramatic literature of England. At the same time, the tenor of all his poems denotes a mind too unfamiliar with human life and human nature in their ordinary normal aspects and conditions for a good writer of plays. His metaphysical was almost too much for his poetical imagination, and perhaps nothing between the morbid horror of that Cenci story and the ideal grandeur of the Greek Prometheus would have excited him to the dramatic handling of any subject.

His translation from Calderon's "El Magico Prodigioso," and his bit of the Brocken scene from "Faust," are fine samples of his power of dramatic style; he alone could worthily have translated the whole of "Faust;" but I suppose he really was too deficient in the vigorous flesh-and-blood vitality of the highest and healthiest poetical genius to have been a dramatist. He could not deal with common folk nor handle common things; humor, that great _tragic_ element, was not in him; the heavens and all their clouds and colors were his, and he floated and hovered and soared in the ethereal element like one native to it. Upon the firm earth his foot wants firmness, and men and women as they are, are at once too coa.r.s.e and complex, too robust and too infinitely various for his delicate, fine, but in some sense feeble handling.

Browning is the very reverse of Sh.e.l.ley in this respect; both have written one fine play and several fine dramatic compositions; but throughout Sh.e.l.ley's poetry the dramatic spirit is deficient, while in Browning's it reveals itself so powerfully that one wonders how he has escaped writing many good plays besides the "Blot on the Scutcheon" and that fine fragmentary succession of scenes, "Pippa Pa.s.ses."

GREAT RUSSELL STREET.

DEAR MRS. JAMESON,

I fear I am going to disappoint you, and 'tis with real regret that I do so, but I have been acting every night almost for the last month, and when to-day I mentioned my project of spending this my holiday evening with you, both my aunt and my father seemed to think that in discharging my debt to you I was defrauding nearer and older creditors; and suggested that my mother, who really sees but little of me now, might think my going out to-night unkind. I cannot, therefore, carry out my plan of visiting you, and beg that you will forgive my not keeping my promise this evening. I am moreover so far from well that my company would hardly give you much pleasure, nor could I stay long if I came, for early as it is my head is aching for its pillow already.

As soon as a week occurs in which I have _two_ holidays I will try to give you one of them. I send you back Crabbe, which I have kept for ever; for a great poet, which he is, he is curiously unpoetical, I think. Yours ever truly,

F.A. KEMBLE.

GREAT RUSSELL STREET.

DEAR MRS. JAMESON,

My mother bids me say that you certainly will suppose she is mad, or else _Mother Hubbard's dog_; for when you called she was literally ill in bed, and this evening she cannot have the pleasure of receiving you, because she is engaged out, here in our own neighborhood, to a very quiet tea. She bids me thank you very much for the kindness of your proposed visit, and express her regret at not being able to avail herself of it. If you can come on Thursday, between one and two o'clock, I shall be most happy to see you.

Thank you very much for Lamb's "Dramatic Specimens;" I read the scene you had copied from "Philaster" directly; how fine it is! how I should like to act it! Mr. Harness has sent me the first volume of the family edition of the "Old Plays." I think sweeping those fine dramas clean is a good work that cannot be enough commended.

What treasures we possess and make no use of, while we go on acting "Gamesters" and "Grecian Daughters," and such poor stuff! But I have no time for ecstasies or exclamations. Yours ever most truly,

F.A. KEMBLE.

I have said that hardly any new part was ever a.s.signed to me that I did not receive with a rueful sense of inability to what I called "do anything with it." Julia in "The Hunchback," and Camiola in "The Maid of Honor," were among the few exceptions to this preparatory attack of despondency; but those I in some sort choose myself, and all my other characters were appointed me by the management, in obedience to whose dictates, and with the hope of serving the interests of the theater, I suppose I should have acted Harlequin if I had been ordered to do so.

Lady Teazle and Mrs. Oakley were certainly no exceptions to this experience of a cold fit of absolute incapacity with which I received every new part appointed me, and my studying of them might have been called lugubrious, whatever my subsequent performance of them may have been. My mother was of invaluable a.s.sistance to me in the process, and I owe to her whatever effect I produced in either part. She had great comic as well as pathetic power, and the incisive point of her delivery gave every shade of meaning of the dialogue with admirable truth and pungency; her own performance of Mrs. Oakley had been excellent; I acted it, even with the advantage of her teaching, very tamely. Jealousy, in any shape, was not a pa.s.sion that I sympathized with; the tragic misery of Bianca's pa.s.sion was, however, a thing I could imagine sufficiently well to represent it; but not so Mrs. Oakley's fantastical frenzies. But the truth is that it was not until many years later and in my readings of Shakespeare that I developed any real comic faculty at all; and I have been amused in the later part of my public career to find comedy often considered my especial gift, rather than the tragic and pathetic one I was supposed at the beginning of it to possess.

The fact is that except in broad farce, where the princ.i.p.al ingredient being humor, animal spirits and a grotesque imagination, which are of no particular age, come strongly into play, comedy appears to me decidedly a more mature and complete result of dramatic training than tragedy. The effect of the latter may, as I myself exemplified, be tolerably achieved by force of natural gifts, aided but little by study; but a fine comedian _must_ be a fine artist; his work is intellectual, and not emotional, and his effects address themselves to the critical judgment and not the pa.s.sionate sympathy of an audience. Tact, discretion, fine taste, are quite indispensable elements of his performance; he must be really a more complete actor than a great tragedian need be. The expression of pa.s.sion and emotion appears to be an interpretation of nature, and may be forcibly rendered sometimes with but little beyond the excitement of its imaginary experience on the actor's own sensibility; while a highly educated perfection is requisite for the actor who, in a brilliant and polished representation of the follies of society, produces by fine and delicate and powerful delineations the picture of the vices and ridicules of a highly artificial civilization.

Good company itself is not unapt to be very good acting of high comedy, while tragedy, which underlies all life, if by chance it rises to the smooth surface of polite, social intercourse, agitates and disturbs it and produces even in that uncongenial sphere the rarely heard discord of a natural condition and natural expression of natural feeling.

Of my performance of Mrs. Oakley I have but one recollection, which is that of having once, while acting it with my father, disconcerted him to such a degree as to compel him to turn up the stage in an uncontrollable fit of laughter. I remember the same thing happening once when I was playing Beatrice to his Benedict. I have not the least notion what I did that struck my father with such irrepressible merriment, but I suppose there must have been something in itself irresistibly ludicrous to him, toward whom my manner was habitually respectfully deferential (for our intercourse with our parents, though affectionate, was not familiar, and we seldom addressed them otherwise than as "sir" and "ma'am"), to be pelted by me with the saucy sallies of Beatrice's mischievous wit, or pummeled with the grotesque outbursts of poor Mrs. Oakley's jealous fury.

Our personal relation, which thus rendered our performance of comedy together especially comical to my father, added infinitely to my distress in all tragedies in which we acted together; the sense of his displeasure or the sight of his anguish invariably bringing him, my father, and not the part he was acting, before me; and, as in the play of "The Stranger" and the pathetic little piece of "The Deserter,"

affecting me with almost uncontrollable emotion.

GREAT RUSSELL STREET, April 10, 1831.

MY DEAREST H----,

I owe you something like an explanatory note after that ejaculatory one I sent you the other day. You must have thought me crazy; but indeed, since all these late alarming reports from Spain, until the news came of John's safety, I did not know how much fear and anxiety lay under the hope and courage I had endeavored to maintain about him.

From day to day I had read the reports and tried to reason with regard to their probability, and to persuade my mother that we had every cause for hoping the best; and it was really not until that hope was realized that it seemed as if all my mental nerves and muscles, braced to the resistance of calamity, had suddenly relaxed and given way under the relief from all further apprehension of it.

I have kept much of my forebodings to myself, but they have been constant and wretched enough, and my grat.i.tude for this termination of them is unspeakable.

I heard last night a report which I have not mentioned to my mother for fear it should prove groundless. Horace Twiss showed me a note in which a gentleman a.s.sured him that John had positively taken his pa.s.sage in a Government vessel, and was now on his way home; even if this is true, I am afraid to tell my mother, because if the vessel should be delayed a day or two by weather or any other cause, her anxiety will have another set of apprehensions to feed upon, and to prey upon her with. She desires her best love to you; she likes your pamphlet on "The Education of the People" very much, at the same time that it has not convinced her that instruction is wholesome for the lower orders; she thinks the dependence of helplessness and ignorance a better security (for them, or for those above them, I wonder?) than the power of reasoning rightly and a sense of duty, in which opinion, as you will believe, I do not agree.

Thank you for your account of your visit to Wroxton Abbey [the seat of the Earl of Guilford]; it interested me very much; trees are not to me, as they seem to be to you, the most striking and beautiful of all natural objects, though I remember feeling a good deal of pain at the cutting down of a particular tree that I was very fond of.

At the entrance of Weybridge was a deserted estate and dilapidated mansion, Portmore Park, once a royal domain, through which the river ran and where we used to go constantly to fish. There was a remarkably beautiful cedar tree whose black boughs spread far over the river, and whose powerful roots, knotted in every variety of twist, formed a cradle from which the water had gradually washed away the earth. Here I used to sit, or rather lie, reading, or writing sometimes, while the others pursued their sport, and enjoying the sound and sight of the sparkling water which ran undermining my bed and singing treacherous lullabies to me the while. For two years this tree was my favorite haunt; the third, on our return to Weybridge from London, on my running to the accustomed spot, I found the hitherto intercepted sun staring down upon the water and the bank, and a broad, smooth, white _tabula rasa_ level with the mossy turf, which was all that remained of my cedar canopy; and though it afforded an infinitely more commodious seat than the twisted roots, I never returned there again.

To-morrow we dine with the F----s, and there is to be a dance in the evening; on Wednesday I act Constance; Thursday there is a charade party at the M----s'; Friday I play Mrs. Beverley; and Monday and Wednesday next, Camiola. I hope by and by to act Camiola very well, but I am afraid the play itself can never become popular; the size of the theater and the public taste of the present day are both against such pieces; still, the attempt seemed to me worth making, and if it should prove successful we might revive one or two more of Ma.s.singer's plays; they are such sterling stuff compared with the Isabellas, the Jane Sh.o.r.es, the everything but Shakespeare. You saw in my journal what I think about Camiola.

I endeavor as much as I can to soften her, and if I can manage to do so I shall like her better than any part I have played, except my dear Portia, who does not need softening.

I am too busy just now to read "Destiny" [Miss Ferrier's admirable novel]; my new part and dresses and rehearsals will occupy me next week completely. I have taken a new start about "The Star of Seville" [the play I was writing], and am working away hard at it.

I begin to see my way through it. I wish I could make anything like an acting play of it; we want one or two new ones so very much.

My riding goes on famously, and Fozzard thinks so well of my progress that the other day he put me upon a man's horse--an Arab--which frightened me half to death with his high spirits and capers; but I sat him, and what is more, rode him. Tuesday we go to a very gay ball a little way out of town; Sat.u.r.day we go to a party at old Lady Cork's, who calls you Harriet and professes to have known you well and to remember you perfectly.

Now, H----, as to what you say of fishing, if you are b.l.o.o.d.y-minded enough to desire to kill creatures for sport, in Heaven's name why don't you do it? The sin lies in the inclination (by the bye, I think that's _half_ a mistake). Never mind, your inclination to fish and my desire to be the tigress at the Zoological Gardens have nothing whatever in common. I admire and envy the wild beast's swiftness and strength, but if I had them I don't think I would tear human beings to bits unless I were _she_, which was not what I wished to be, only as strong and agile as she; do you see? I am in a great hurry, dear, and have written you an inordinately stupid letter; never mind, the next shall be inconceivably amusing. Just now my head is stuffed full of amber-colored cashmere and white satin. My mother begs to be kindly remembered to Mrs. Kemble.

Always affectionately yours,

F. A. K.

My determination to _soften_ the character of Camiola is another indication of my imperfect comprehension of my business as an actress, which was not to reform but to represent certain personages. Ma.s.singer's "Maid of Honor" is a stern woman, not without a very positive grain of coa.r.s.e hardness in her nature. My attempt to _soften_ her was an impertinent endeavor to alter his fine conception to something more in harmony with my own ideal of womanly perfection. I was a very indifferent actress and had not begun to understand my work, nor was Mr.

Macready far wrong when, many years after, he spoke to me as "not knowing the rudiments of my profession."

JOURNAL, 1831.

_Thursday, April 21st._--Walked in the square, and studied Lady Teazle. The trees are thickly clothed with leaves, and the new-mown gra.s.s, even in the midst of London, smelt fresh and sweet; I was quite alone in the square, and enjoyed something like a _country_ sensation. I went to Pickersgill, and Mrs. Jameson came while I was sitting to him; that Medora of his is a fine picture, full of poetry. We dined with the Harnesses; Milman and Croly were among the guests (it was a sort of _Quarterly Review_ in the flesh). I like Mr. Milman; not so the other critic.

_Friday, 22d._--Visiting with my mother; called on Lady Dacre, who gave me her pretty little piece of "Wednesday Morning," with a view to our doing it for my father's benefit. It is really very pretty, but I fear will look in our large theater as a lady's water-color sketch of a landscape would by way of a scene. I walked in the square in the afternoon, and studied Lady Teazle, which I do not like a bit, and shall act abominably. At the theatre to-night the house was not very full, and the audience were unpleasantly inclined to be political; they took one of the speeches, "The king, G.o.d bless him," and applied it with vehement applause to his worthy Majesty, William IV.

_Sat.u.r.day, 23d._--After my riding lesson, went and sat in the library to hear Sheridan Knowles's play of "The Hunchback." Mr.

Bartley and my father and mother were his only audience, and he read it himself to us. A real play, with real characters, individuals, human beings, it is a good deal after the fashion of our old playwrights, and does not disgrace its models. I was delighted with it; it is full of life and originality; a little long, but that's a trifle. There is a want of clearness and coherence in the plot, and the comic part has really no necessary connection with the rest of the piece; but none of that will signify much, or, I think, prevent it from succeeding. I like the woman's part exceedingly, but am afraid I shall find it very difficult to act.

After dinner there was a universal discussion as to the possibility and probability of Adorni's self-sacrifice in "The Maid of Honor,"

and as the female voices were unanimous in their verdict of its truth and likelihood, I hold it to be likely and true, for Dante says we have the "intellect of love," and Cherubino (a very different kind of authority) says the same thing; and I suppose we are better judges of such questions than men. The love of Adorni seems to me, indeed, more like a woman's than a man's, but that does not tell against its verisimilitude. Our love is characterized generally by self-devotion and self-denial, but the qualities which naturally belong to our affection were given to Adorni by his social and conventional position. He was by birth and fortune dependent on and inferior to Camiola, as women are by nature dependent on and inferior to men; and so I think his love for her has something of a feminine quality.

In the evening went with my mother to a party at old Lady Cork's.

We started for our a.s.sembly within a few minutes of Sunday morning.

Such rooms--such ovens! such boxes full of fine folks and foul air!

in which we stood and sat, and looked and listened, and talked nonsense and heard it talked, and perspired and smothered and suffocated. On our arrival, as I was going upstairs, I was nearly squeezed flat against the wall by her potent grace, the d.u.c.h.ess of St. Albans. We remained half an hour in the steaming atmosphere of the drawing-rooms, and another half-hour in the freezing hall before the carriage could be brought up; caught a dreadful cold and came home; did not get to bed till two o'clock, with an intolerable face-ache and tooth-ache, the well-earned reward of a well-spent evening.