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No. 42. Wednesday, April 18, 1711. Addison.
Garganum inugire putes nemus aut mare Thuscum,
Tanto cum strepitu ludi spectantur; et artes,
Divitiæque peregrina, quibus oblitus actor
Cum stetit in Scena, concurrit dextera lævæ.
Dixit adhuc aliquid? Nil sane. Quid placet ergo?
Lana Tarentino violas imitata veneno.
Hor.
Aristotle [1] has observed, That ordinary Writers in Tragedy endeavour
to raise Terror and Pity in their Audience, not by proper Sentiments and
Expressions, but by the Dresses and Decorations of the Stage. There is
something of this kind very ridiculous in the _English_ Theatre. When
the Author has a mind to terrify us, it thunders; When he would make us
melancholy, the Stage is darkened. But among all our Tragick Artifices,
I am the most offended at those which are made use of to inspire us with
magnificent Ideas of the Persons that speak. The ordinary Method of
making an Hero, is to clap a huge Plume of Feathers upon his Head, which
rises so very high, that there is often a greater Length from his Chin
to the Top of his Head, than to the sole of his Foot. One would believe,
that we thought a great Man and a tall Man the same thing. This very
much embarrasses the Actor, who is forced to hold his Neck extremely
stiff and steady all the while he speaks; and notwithstanding any
Anxieties which he pretends for his Mistress, his Country, or his
Friends, one may see by his Action, that his greatest Care and Concern
is to keep the Plume of Feathers from falling off his Head. For my own
part, when I see a Man uttering his Complaints under such a Mountain of
Feathers, I am apt to look upon him rather as an unfortunate Lunatick,
than a distressed Hero. As these superfluous Ornaments upon the Head
make a great Man, a Princess generally receives her Grandeur from those
additional Incumbrances that fall into her Tail: I mean the broad
sweeping Train that follows her in all her Motions, and finds constant
Employment for a Boy who stands behind her to open and spread it to
Advantage. I do not know how others are affected at this Sight, but, I
must confess, my Eyes are wholly taken up with the Page's Part; and as
for the Queen, I am not so attentive to any thing she speaks, as to the
right adjusting of her Train, lest it should chance to trip up her
Heels, or incommode her, as she walks to and fro upon the Stage. It is,
in my Opinion, a very odd Spectacle, to see a Queen venting her Passion
in a disordered Motion, and a little Boy taking care all the while that
they do not ruffle the Tail of her Gown. The Parts that the two Persons
act on the Stage at the same Time, are very different: The Princess is
afraid lest she should incur the Displeasure of the King her Father, or
lose the Hero her Lover, whilst her Attendant is only concerned lest she
should entangle her Feet in her Petticoat.
We are told, That an ancient Tragick Poet, to move the Pity of his
Audience for his exiled Kings and distressed Heroes, used to make the
Actors represent them in Dresses and Cloaths that were thread-bare and
decayed. This Artifice for moving Pity, seems as ill-contrived, as that
we have been speaking of to inspire us with a great Idea of the Persons
introduced upon the Stage. In short, I would have our Conceptions raised
by the Dignity of Thought and Sublimity of Expression, rather than by a
Train of Robes or a Plume of Feathers.
Another mechanical Method of making great Men, and adding Dignity to
Kings and Queens, is to accompany them with Halberts and Battle-axes.
Two or three Shifters of Scenes, with the two Candle-snuffers, make up a
compleat Body of Guards upon the _English_ Stage; and by the Addition of
a few Porters dressed in Red Coats, can represent above a Dozen Legions.
I have sometimes seen a Couple of Armies drawn up together upon the
Stage, when the Poet has been disposed to do Honour to his Generals. It
is impossible for the Reader's Imagination to multiply twenty Men into
such prodigious Multitudes, or to fancy that two or three hundred
thousand Soldiers are fighting in a Room of forty or fifty Yards in
Compass. Incidents of such a Nature should be told, not represented.
'Non tamen intus
Digna geri promes in scenam: multaque tolles
Ex oculis, qua mox narret facundia proesens.'
Hor.
'Yet there are things improper for a Scene,
Which Men of Judgment only will relate.'
(L. Roscom.)
I should therefore, in this Particular, recommend to my Countrymen the
Example of the _French_ Stage, where the Kings and Queens always appear
unattended, and leave their Guards behind the Scenes. I should likewise
be glad if we imitated the _French_ in banishing from our Stage the
Noise of Drums, Trumpets, and Huzzas; which is sometimes so very great,
that when there is a Battle in the _Hay-Market_ Theatre, one may hear it
as far as _Charing-Cross_.
I have here only touched upon those Particulars which are made use of to
raise and aggrandize Persons in Tragedy; and shall shew in another Paper
the several Expedients which are practised by Authors of a vulgar Genius
to move Terror, Pity, or Admiration, in their Hearers.
The Tailor and the Painter often contribute to the Success of a Tragedy
more than the Poet. Scenes affect ordinary Minds as much as Speeches;
and our Actors are very sensible, that a well-dressed Play his sometimes
brought them as full Audiences, as a well-written one. The _Italians_
have a very good Phrase to express this Art of imposing upon the
Spectators by Appearances: They call it the _Fourberia della Scena, The
Knavery or trickish Part of the Drama_. But however the Show and Outside
of the Tragedy may work upon the Vulgar, the more understanding Part of
the Audience immediately see through it and despise it.
A good Poet will give the Reader a more lively Idea of an Army or a
Battle in a Description, than if he actually saw them drawn up in
Squadrons and Battalions, or engaged in the Confusion of a Fight. Our
Minds should be opened to great Conceptions and inflamed with glorious
Sentiments by what the Actor speaks, more than by what he appears. Can
all the Trappings or Equipage of a King or Hero give _Brutus_ half that
Pomp and Majesty which he receives from a few Lines in _Shakespear_?