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tone of the actor, and the words actress does not seem to serve as of the poet. Instead of courting conductor to English performers." all the aid of melody to grace his Another restraint from which endeavours, Cooke had only one English performers cannot free tone, and one mien-the slowly- themselves is their being too much drawn tone of a hypocrite, and the governed by the public, if I may mien of dissimulation; both con so express myself. It must be trary to the spirit of the part. But allowed that Kemble and Cooke how, it may be asked, could so also here possess great merits ; great a performer thus glaringly but it is at times observable that violate the truth of acting? This they dare not wholly follow the can only be explained in the fol- bent of their own genius, and that lowing manner :-Cooke has ex- for moments they abjure truth panded his astonishingly happy and nature, in order to produce talent of representing the savage an effect which the prevailing and ferocious sides of human taste of the public expects. Enga nature with a kind of partiality 'lish actors of the second and third which makes hiin appear unnatu- class evidently study the characral where he is obliged to become ter of their part merely with a a more gentle human being. view to theatrical effect; on which

This want of harmony renders account very few of them do jus. it difficult for an actor to represent tice to the poet. It must, how a character with purity; the diffi- ever, be admitted, that they evince culty, however, decreases in pro a more pure and free enthusiasta portion as the character is drawn in tragedy than in coinedy: ia feebly. But if a great poet has the latter they sink much be bestowed on a character the indi- neath the standard prescribed by viduality of animated nature, the the poet ; but in tragedy the team actor can only be enabled to form verse is the case.

The stranger a just conception of the character who first sees a comedy acted on by forgetting his own. An actor the English stage cannot but will easily succeed in the solution conceive a very mean opinion of of this problem, which is of all the histrionic accoinplishments of others the most difficult, if his own English actors; and he will there. genius be versatile and harmoni- fore feel an extraordinary surprise ous. But if any particular quality on the representation of one of has gained an ascendant in his Shakspeare's plays. In comedy fancy this will involuntarily divert the English actors frequently take him from nature; and he proba- the liberty to parody the charac bly will fail altogether. Even the ters ; but in tragedy they show Inost eminent of English perform- more respect for the author. ers are frequently betrayed into Hence, perhaps, it arises that these errors. Garrick strained English actors less seldon fail every effort to counteract this kind in sustaining a tragic

than a of partiality in his pupils ; and his coinic character. To sustain great example, perhaps, contribut- character requires chiefly steady, ed the most." in tragedy Mrs. uninterrupted, and poetical inSiddons inight succeed him, but spiration, on the part of the acthe elevated genius of this great tor; if this becomes exhausted, his

If we

acting must lose the colour of out his acting than Cooke; and truth. But it is at the same time he sucereds in expressing aumenecessary that the actor should rous tender traits in characters know how to govern hiinself, and with a delicacy and grace which that he tune himself to the fun- Cooke can never attam, I an damental tone of the character. ready to allow that in making He must likewise, if I may so these and previous observations express myself, enter into the on these two distinguished pertemperature of the character ; but formers, it ought to be consió this requires a thorough study of dered that both have superior the part, and refined observation. merit: but who can refrain from In this eminent actors shine with wishing that what is truly excelthe greatest advantage : for per- lent might attain perfectios? formers of mediocrity inay surpass

compare the London expectation in delineating single theatres with the German and scenes and particular features; French the following will be the but to sustain a character through-result: With respect to perfection out with harmonious uniformity in the art, a much greater dispro. can only be done by an actor who portion exists between tragedy and combines genius with study. comedy on the English than on • The liberties which the Ėnglish the German and French stages, performers take in comedy, with The French maintain the first the sanction of the public, com- rank in comedy; they are followe pletely destroy all harmony of re- ed, although at some distance, by presentation. Some comic cha- the Germans; and the English racters, however, are delineated, are still farther behind. But in with great truth and nature hy tragedy the English, even at this Suett and Fawcett; and in tra- period, when their stage is on the gedy Kemble and Cooke distin- decline, maintain a proud pre yuish theinselves highly in this entinence. Mrs. Siddons stands respect. The colouring of indi- on a summit that cannot be reachvidual life which the poet breathes ed ; and no French tragie perinto a character does not appear former can be coinpared to Kem80 strong in the representations of ble and Cooke. Ainong the Geru Kemble, although he understands mans Issland alone may pretend better how to produce picturesque to equal rank ; and, indeed, he beauties than Cooke. It has also surpasses them in versatility of appeared to me that Cooke dis- powers. Owing to the combined plays in his acting a higher degree excellence of Mrs. Siddons and of poetical steadiness than Kem- her brother Kemble, Macbeth, ble, who, perhaps, at times fails and some other tragedies are perin sustaining the character ; Kem- formed in a style no German or ble, as has been previously re- French theatre can aspire to rival. marked, sometimes yields to the In tragedy the English display natural impediments of his feeble greater regularity and dignity organs, and fails in the funda- than the Germans, and they are mental tone of the character; much more unrestrained by corbut he, on the other hand, dis- ventional forms than the French. plays, coinparatively, a much su- But the Germans and French disperior degree of delicacy through. play a much more cordial and

warm enthusiasm in behalf of the of the world ; but this look, from art than the English. It cannot wbich an ardent faney emanates, be'denied that progress is disco- softens the point of the chin, and verable among the Germans, a the closeness of the mouth. His stagnation with the French, and voice is pleasing, but feeble ; of a decline with the English, which small compass, but extreme depth. seems to threaten the total de. This is, -as has been previously struction of the scenic art, unless observed, the greatest natural imthe present system of insipidity pediment with which he, to whom is superseded by more rational nature has been thus bountiful, amusements.

has still to contend. I shall conclude these general Cooke does not possess the ele. observations with a few remarks gant figure of Kemble ;- but his on Mr. Kemble and Mr. Cooke. countenance. beams with great

Kemble is the favourite, nay, expression. The most prominent the idol of the public at London ; features in the physiognomy of few, very few, . venture to pro- Cooke are a long and somewhat claim his partial inferiority to hooked nose, a pair of fiery and Cooke : such an assertion would expressive eyes, a lofty and somebe even hazardous in the company what broad front, and the lines of the Ladies, who, upon all oc- of his muscles which move the casions, espouse the cause of Kem- lips are pointedly marked. His ble with warmth. Kemble has a countenance is certainly not so very graceful manly figure, is dignitied as that of Kemble, but it perfeetly well made, and his discovers greater passion; and few naturally commanding stature actors are, perhaps, capable of appears extremely dignified in delineating in more glowing coevery picturesque position, which lours the storm of a violent passion he studies most assiduously. His than Cooke. His voice is powface is one of the noblest I ever erful, and of great compass, % saw on any stage, being a fine pre-eminence which he possesses oral, exhibiting a handsome Ro- over Kemble, of which he skil.

nose, a well-formed and fully avails himself. His exterior closed mouth : his fiery and some movements are by far inferior in what romantic eyes retreat, as it the picturesque to those of Kema were, 'and are shadowed by bushy ble. eyebrows : bis front is open and little vaulted; his chin prominent and rather pointed ; and his fea- FASHIONABLE WALKING AND tures so softly interwoven that no AFTERNOON DRESS. deeply-marked line is perceptible. His physiognomy, indeed, com- [With an Engraving, elegantly inands at first sight ; since it

coloured.) denotes, in the niost expressive manner, a man of refined senti 1. A short round dress, the body ment, enlightened mind, and made as a frock, with long sleeves; correct judgment. Without the the bottom worked or scolloped. romantic look in his eyes the An autumnal brown wrap-cloak, face of Kemble would be that of with sleeves made of rich twilled a well-bred, cold, and selfish man barcenet, without lining: a pilgrim Vol. XXXVIII.

4 A

man

hat of the same, edged with narrow more particularly röse - coloured white fur. Shoes or half-boots, and and white, blue and white, lazule gloves.

and white, and hazel and white. 2. A long train - dress of soft Feathers are still seen, and spotted India inuslin, the back straw-coloured hats with ribands made full, and tied with bows of are also worn : but green capotes, white riband: the front and sleeves and white cometes; or blue barrichly worked to correspond, and beau, and cometes of a light yeltrimmed with a very fine Vandyke low or deep gold colour, are most lace. The hair dressed in bands fashionable. round the head, and fastened with Many small cap-like bonnets are small gilt combs: a long crimson made: some of thein with ribands silk scarf · fringed at the ends. of two colours; and others with Kid shoes and gloves.

riband and lace, having either a wreath of roses in front, or two branches of Powers, one inclined

towards the front, and the other PARISIAN FASHIONS. falling or dropping behind.

The caps for full-dress hare THE shawls which were worn two large feathers, or several small on the hand, or on the arms, are ones; but the most fashionable are now extended over the shoulders. those with two large feathers fall. Some small coloured fichus have ing down on the cheek. again made their appearance: they The hats are mostly tied under are in general blue with spots: linen the chin with a small ficher; or, dresses of an amaranthine ground rather, with a little barbe, which are again in vogue, but the spots forins a point, and is ornamented are sinaller.

with lace. Green is a colour much in re The ornamental roches of gauze quest. There are many capotes are made so as to be adapted to of plain green taffeta; and some different robes. likewise of white taffeta with a small green comete, sometimes accompanied with a torsade.

The new hats are of white straw, Not long since fashion proscribed trimmed with white ribands, and great-coats even in the morning; with white folettes for full dress; at present, when undress has obcoloured ribands and suitable fo- tained the ascendency, they are lettes, for half-dress, and Scotch worn even in the evening. It is ribands for undress.

true they are modern-fashioned Many ladies in full-dress wear a great coats, so singularly made veil, which they raise in front, and that they seem to combine every gutter to fall down equally on each kind of dress; and when thus side.

habited, a young man, in the eyes The ladies have had, till within of many an observer, may seemn a very short time, with the excep- only to wear a decent and ample tion of a few taffeta robes, chiefly habit like that of his father's: worn only white muslin. They while to his mistress he shall apnow begin to assume striped mus- pear to be in a most amiable and lin robes of different colours ; gallant undress.

and politeness which have ever To the EDITOR of the LADY'S characterised you as the conduce MAGAZINE

tor of the Lady's Magazine. I Sir,

do it because I am sorry to see AS the compositions inserted ingenuity perverted, and without in a magazine are chietly the first further preface, or taking each productions of youthful genius, piece in regular order, I shall we seldom look for unblemished proceed. excellence; but we, at least, ex Who, then, can with patience, pect something which shall not or even without strong disgust, fall too far beneath mediocrity. read such stuff as the following ?

The attentions, Sir, which I In Mr. J. M. L's night-walk have received from you have been for July, amongst other equally numerous and gratifying, I there- interesting matter, he informs us fore hope that you will not think that he remained gazing at the the following observations, be- black clouds till he was caught in cause severe, are ungrateful : for a heavy shower of rain (which by I assure you it is my sincere re the bye was a very silly trick, Mr. gard for the reputation of your J. M. L. indeed); he next informs long-established and respectable us that he got completely soaked magazine which induces me to through,' which was certainly very make them; and as I would scorn probable after he had been walkto condemn a man without giving ing in a heavy shower of rain; and him an opportunity of defending he concludes by saying that for himself, I beg you will insert fear of taking cold,' he drank" this communication in your next small glass of brandy,' and changnumber.

ed every article of his dress !!! The objects of my criticism, a very natural, and very wise prethough they scarcely deserve the caution upon my word; but what, trouble, are those motley and ridic in the name of common sense, has culous effusions intituled • Walks,' the public to do with this? Ori by Messrs. John Webb, J. M. L. how can they be interested by the S. Y. &c. But before I proceed relation of such a trite and everyI must observe that it is not out day occurrence? I shall not take of disrespect to these gentlemen up the time of your readers by that I assume the disagreeable any more extracts from this writer office, as I think their other com of walks, but shall conclude by positions do them credit; neither, advising him, as a friend, to ema Sir, can you be offended, as I do ploy the ingenuity, which he cerpot attach any blame to you for tainly possesses, in a manner more their insertion, for I am conscious likely to add to his reputation. it arises from the condescension In your number for August, by

some extraordinary means, a piece

has obtained insertion, called “The * Iinpartiality to our correspondents Stroller, by D. Y.' the nonsense has induced us to insert this letter, of which is only exceeded by its though the strictures contained in it

I would recertainly appear to be somewhat too extreme vulgarity. strict ; especially with respect to such commend this gentleman, if he ingenious writers as Mr. J. Webb, and intends to favour you with his fur2. M. L.,

ther communications, to leave out

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