Download File
Download File Download File
A DRAMATIC CRITIC blush, as if an amateur of painting were to say, "You will be delighted with M. Blank's pictures. He has some unpleasant mannerisms, to be sure, — his coloring is poor and his drawing incorrect; but in spite of these, you are sure to like his work." Or as if an acquaintance were to recommend for confidential clerk a young man who was a little weak on the score of honesty and accuracy, but, aside from these trifling mannerisms, had every desirable qualification. The view which a majority of Mr. Irving's American auditors naturally take, at first, of his inost conspicuous faults is highly unfavorable. It is, indeed, the view which the more critical portion of his English audiences took when they were beginning to make his acquaintance. And the difference in the attitudes of the French and the English nations towards the art of acting cannot be better indicated than in this: that Mr. Irving, in spite of his faults, is to-day accepted and recognized as the [ 196 ]
HENRY IRVING greatest actor of his land; while, if he had been a Frenchman, he and his " manner- isms " would not have been tolerated on the Parisian stage for a month, and prob- abl}' not for a single performance. In Mr. William Archer's exceedingly brilliant " study " of Mr. Irving, which was printed in London a few years ago, it was said that the English critics, " obeying an inevitable tendency of dramatic criti- cism," have " made Mr. Irving a law unto himself." In this country, the dangers attendant upon close familiarity with the actor do not beset us; and I plead an American's " innocence of eye " — to use Mr. Ruskin's happy phrase — in extenu- ation of my somewhat premature attempt to determine Mr. Irving's rank as an artist. The disadvantages of slight acquaintance with the actor, on the part of the general audience or the particular critic, are of course plain. But it is most interesting and suggestive to see how swiftly and how [ 197 ]
- Page 173 and 174: TOMMASO SALVINI of rare delicacy be
- Page 175 and 176: TOMMASO SALVINI interpretation of K
- Page 177 and 178: TOMMASO SALVINI Every phase of the
- Page 179 and 180: TOMMASO SALVINI and sobbing; strong
- Page 181 and 182: TOMMASO SALVINI fresh and unconvent
- Page 183 and 184: XVII Adelaide Neilson NO player in
- Page 187 and 188: ADELAIDE NEILSON failing health, sh
- Page 189 and 190: ADELAIDE NEILSON to be much remembe
- Page 191 and 192: ADELAIDE NEILSON ing interview with
- Page 193 and 194: ADELAIDE NEILSON " False to his bed
- Page 195 and 196: ADELAIDE NEILSON remember the beaut
- Page 197 and 198: ADELAIDE NEILSON belongs, and at th
- Page 199 and 200: XVIII Memorable Experiences of Sing
- Page 201 and 202: MEMORABLE EXPERIENCES carded, and t
- Page 203 and 204: MEMORABLE EXPERIENCES mon touch as
- Page 205 and 206: MEMORABLE EXPERIENCES worked less s
- Page 207 and 208: MEMORABLE EXPERIENCES under the nam
- Page 209 and 210: MEMORABLE EXPERIENCES George P. Lat
- Page 211 and 212: XIX An American Theatre Privately E
- Page 213 and 214: AN ENDOWED THEATRE and let the expe
- Page 215 and 216: AN ENDOWED THEATRE for histrionic s
- Page 217 and 218: AN ENDOWED THEATRE direction. I saw
- Page 219 and 220: AN ENDOWED THEATRE will not always
- Page 223: HENRY IRVING against any lively dis
- Page 227 and 228: HENRY IRVING at least to reflect an
- Page 229 and 230: HENRY IRVING have said that he hope
- Page 231 and 232: HENRY IRVING ficial and unessential
- Page 233 and 234: HENRY IRVING the subject of wonder
- Page 235 and 236: HENRY IRVING face is found to be si
- Page 237 and 238: HENRY IRVING grip which he at once
- Page 239 and 240: HENRY IRVING on the stage to the la
- Page 241 and 242: HENRY IRVING superstition, which it
- Page 243 and 244: HENRY IRVING movement of the hands
- Page 245 and 246: HENRY IRVING faculty which is like
- Page 247 and 248: HENRY IRVING that madness with whic
- Page 249 and 250: HENRY IRVING and method to which I
- Page 251 and 252: HENRY IRVING it is the source of th
- Page 253 and 254: HENRY IRVING with beautiful softnes
- Page 255 and 256: HENRY IRVING regal action in mounti
- Page 257 and 258: HENRY IRVING boon to the stage of E
- Page 259 and 260: HENRY IRVING tual with the spectato
- Page 261 and 262: HENRY IRVING courage. Nearly all th
- Page 263 and 264: HENRY IRVING own powers is the chie
- Page 265: INDEX
- Page 268 and 269: Enchanted Beauty, The, 9. Enchanted
- Page 270: ElectrotyPed and printed by H. O. H
HENRY IRVING<br />
greatest actor of his land; while, if he had<br />
been a Frenchman, he and his " manner-<br />
isms " would not have been tolerated on<br />
the Parisian stage for a month, and prob-<br />
abl}' not for a single performance.<br />
In Mr. William Archer's exceedingly<br />
brilliant " study " of Mr. Irving, which was<br />
printed in London a few years ago, it was<br />
said that the English critics, " obeying<br />
an inevitable tendency of dramatic criti-<br />
cism," have " made Mr. Irving a law unto<br />
himself." In this country, the dangers<br />
attendant upon close familiarity with the<br />
actor do not beset us; and I plead an<br />
American's " innocence of eye " — to use<br />
Mr. Ruskin's happy phrase — in extenu-<br />
ation of my somewhat premature attempt<br />
to determine Mr. Irving's rank as an artist.<br />
The disadvantages of slight acquaintance<br />
with the actor, on the part of the general<br />
audience or the particular critic, are of<br />
course plain. But it is most interesting and<br />
suggestive to see how swiftly and how<br />
[ 197 ]
Change language