The Letters of Charles Dickens Volume I Part 14

My unfortunate other half (lying in bed) is very anxious that I should let you know that she means to break her heart if she should be prevented from coming as one of the audience, and that she has been devising means all day of being brought down in the brougham with her foot upon a T.

Ever faithfully yours.

[Sidenote: The same.]

OFFICE OF "HOUSEHOLD WORDS," _Wednesday Evening, November 13th, 1850._

MY DEAR BULWER LYTTON,

On the principle of postponing nothing connected with the great scheme, I have been to Ollivier's, where I found our friend the ch.o.r.emusicon in a very shattered state--his mouth wide open--the greater part of his teeth out--his bowels disclosed to the public eye--and his whole system frightfully disordered. In this condition he is speechless. I cannot, therefore, report touching his eloquence, but I find he is a piano as well as a ch.o.r.emusicon--that he requires to pa.s.s through no intermediate stage between ch.o.r.emusicon and piano, and therefore that he can easily and certainly accompany songs.

Now, will you have it? I am inclined to believe that on the whole, it is the best thing.

I have not heard of anything else having happened to anybody.

If I should not find you gone to Australia or elsewhere, and should not have occasion to advertise in the third column of _The Times_, I shall hope not to add to your misfortunes--I dare not say to afford you consolation--by shaking hands with you to-morrow night, and afterwards keeping every man connected with the theatrical department to his duty.

Ever faithfully yours.

1851.

[Sidenote: The same.]

DEVONSHIRE TERRACE, _Sunday Night, January 5th, 1851._

MY DEAR BULWER,

I am so sorry to have missed you! I had gone down to Forster, comedy in hand.

I think it _most admirable_.[44] Full of character, strong in interest, rich in capital situations, and _certain to go n.o.bly_. You know how highly I thought of "Money," but I sincerely think these three acts finer. I did not think of the slight suggestions you make, but I said, _en pa.s.sant_, that perhaps the drunken scene might do better on the stage a little concentrated. I don't believe it would require even that, with the leading-up which you propose. I cannot say too much of the comedy to express what I think and feel concerning it; and I look at it, too, remember, with the yellow eye of an actor! I should have taken to it (need I say so!) _con amore_ in any case, but I should have been jealous of your reputation, exactly as I appreciate your generosity. If I had a misgiving of ten lines I should have scrupulously mentioned it.

Stone will take the Duke capitally; and I will answer for his being got into doing it _very well_. Looking down the perspective of a few winter evenings here, I am confident about him. Forster will be thoroughly sound and real. Lemon is so surprisingly sensible and trustworthy on the stage, that I don't think any actor could touch his part as he will; and I hope you will have opportunities of testing the accuracy of this prediction. Egg ought to do the Author to absolute perfection. As to Jerrold--there he stands in the play! I would propose Leech (well made up) for Easy. He is a good name, and I see nothing else for him.

This brings me to my own part. If we had anyone, or could get anyone, for Wilmot, I could do (I think) something so near your meaning in Sir Gilbert, that I let him go with a pang. a.s.sumption has charms for me--I hardly know for how many wild reasons--so delightful, that I feel a loss of, oh! I can't say what exquisite foolery, when I lose a chance of being someone in voice, etc., not at all like myself. But--I speak quite freely, knowing you will not mistake me--I know from experience that we could find n.o.body to hold the play together in Wilmot if I didn't do it.

I think I could touch the gallant, generous, careless pretence, with the real man at the bottom of it, so as to take the audience with him from the first scene. I am quite sure I understand your meaning; and I am absolutely certain that as Jerrold, Forster, and Stone came in, I could, as a mere little bit of mechanics, present them better by doing that part, and paying as much attention to their points as my own, than another amateur actor could. Therefore I throw up my cap for Wilmot, and hereby devote myself to him, heart and head!

I ought to tell you that in a play we once rehea.r.s.ed and never played (but rehea.r.s.ed several times, and very carefully), I saw Lemon do a piece of reality with a rugged pathos in it, which I felt, as I stood on the stage with him to be extraordinarily good. In the serious part of Sir Gilbert he will surprise you. And he has an intuitive discrimination in such things which will just keep the suspicious part from being too droll at the outset--which will just show a glimpse of something in the depths of it.

The moment I come back to town (within a fortnight, please G.o.d!) I will ascertain from Forster where you are. Then I will propose to you that we call our company together, agree upon one general plan of action, and that you and I immediately begin to see and book our Vice-Presidents, etc. Further, I think we ought to see about the Queen. I would suggest our playing first about three weeks before the opening of the Exhibition, in order that it may be the town talk before the country people and foreigners come. Macready thinks with me that a very large sum of money may be got in London.

I propose (for cheapness and many other considerations) to make a theatre expressly for the purpose, which we can put up and take down--say in the Hanover Square Rooms--and move into the country. As Watson wanted something of a theatre made for his forthcoming Little Go, I have made it a sort of model of what I mean, and shall be able to test its working powers before I see you. Many things that, for portability, were to be avoided in Mr. Hewitt's theatre, I have replaced with less expensive and weighty contrivances.

Now, my dear Bulwer, I have come to the small hours, and am writing alone here, as if _I_ were writing something to do what your comedy will. At such a time the temptation is strong upon me to say a great deal more, but I will only say this--in mercy to you--that I do devoutly believe that this plan carried, will entirely change the status of the literary man in England, and make a revolution in his position, which no Government, no power on earth but his own, could ever effect. I have implicit confidence in the scheme--so splendidly begun--if we carry it out with a steadfast energy. I have a strong conviction that we hold in our hands the peace and honour of men of letters for centuries to come, and that you are destined to be their best and most enduring benefactor.

Oh! what a procession of New Years might walk out of all this, after we are very dusty!

Ever yours faithfully.

P.S.--I have forgotten something. I suggest this t.i.tle: "Knowing the World; or, Not So Bad As We Seem."

[Sidenote: The same.]

DEVONSHIRE TERRACE, _Tuesday Night, March 4th, 1851._

MY DEAR BULWER,

I know you will be glad to hear what I have to tell you.

I wrote to the Duke of Devonshire this morning, enclosing him the rough proof of the scheme, and plainly telling him what we wanted, _i.e._, to play for the first time at his house, to the Queen and Court. Within a couple of hours he wrote me as follows:

"DEAR SIR,

"I have read with very great interest the prospectus of the new endowment which you have confided to my perusal.

"Your manner of doing so is a proof that I am honoured by your goodwill and approbation.

"I'm truly happy to offer you my earnest and sincere co-operation. My services, my house, and my subscription will be at your orders. And I beg you to let me see you before long, not merely to converse upon this subject, but because I have long had the greatest wish to improve our acquaintance, which has, as yet, been only one of crowded rooms."

This is quite princely, I think, and will push us along as brilliantly as heart could desire. Don't you think so too?

Yesterday Lemon and I saw the Secretary of the National Provident Inst.i.tution (the best Office for the purpose, I am inclined to think) and stated all our requirements. We appointed to meet the chairman and directors next Tuesday; so on the day of our reading and dining I hope we shall have that matter in good time.

The theatre is also under consultation; and directly after the reading we shall go briskly to work in all departments.

I hear nothing but praises of your Macready speech--of its eloquence, delicacy, and perfect taste, all of which it is good to hear, though I know it all beforehand as well as most men can tell it me.

Ever cordially.

[Sidenote: The same.]

DEVONSHIRE TERRACE, _Tuesday Morning, 25th March, 1851._

MY DEAR BULWER,

Coming home at midnight last night after our first rehearsal, I find your letter. I write to entreat you, if you make any change in the first three acts, to let it be only of the slightest kind. Because we are now fairly under way, everybody is already drilled into his place, and in two or three rehearsals those acts will be in a tolerably presentable state.

It is of vital importance that we should get the last two acts _soon_.

The Queen and Prince are coming--Phipps wrote me yesterday the most earnest letter possible--the time is fearfully short, and we _must_ have the comedy in such a state as that it will go like a machine. Whatever you do, for heaven's sake don't be persuaded to endanger that!

Even at the risk of your falling into the pit with despair at beholding anything of the comedy in its present state, if you can by any possibility come down to Covent Garden Theatre to-night, do. I hope you will see in Lemon the germ of a very fine presentation of Sir Geoffrey.

I think Topham, too, will do Easy admirably.