Lombardi" was even more successful--partly owing to the revolutionary
feeling which in no small degree was to help him to his future high
position. Indeed, his name was a useful acrostic to the revolutionary
party, who shouted "Viva Verdi," when they meant "Viva Vittorio
Emanuele Re D' Italia." "Ernani," produced at Venice in 1844, also
scored a success, owing to the republican sentiment in the libretto,
which was adapted from Victor Hugo's "Hernani." Many works followed in
quick succession, each arousing the enthusiasm of the audiences,
chiefly when an opportunity was afforded them of expressing their
feelings against the Austrian rule. Only with his sixteenth opera did
Verdi win the supremacy when there were no longer any living
competitors; and "Rigoletto" (1851), "Il Trovatore," and "La
Traviata" (1853) must be called the best, as they are the last of the
Italian opera school. "I Vespri Siciliani" (1855) and "Simon
Boccanegra" (1857) were not so successful as "Un Ballo in Maschera"
(1859); and none of them, any more than "La Forza del Destino" (1862)
or "Don Carlos" (1867), added anything to the fame of the composer of
"Il Trovatore."
Only now begins the interest which the student of musical history
finds in Verdi's life. Hitherto he had proved a good man, struggling
with adversity and poverty, a successful composer ambitious to succeed
to the vacant throne of Italian opera. But the keen insight into
dramatic necessity which had gradually developed and had given such
force to otherwise unimportant scenes in earlier operas, also showed
him the insufficiency of the means hitherto at the disposal of Italian
composers, and from time to time he had tried to learn the lessons
taught in the French Grand Opera School, but with poor success. Now a
longer interval seemed to promise a more careful, a more ambitious
work, and when "Aida" was produced at Cairo (1871), it was at once
acknowledged that a revolution had taken place in Verdi's mind and
method, which might produce still greater results. The influence of
Wagner and the music-drama is distinctly to be felt.
But Verdi was apparently not yet satisfied. For sixteen years the
successful composer maintained absolute silence in opera, when
whispers of a great music-drama roused the expectation of musical
Europe to an extraordinary pitch; nor were the highest expectations
disappointed when "Otello" was produced at Milan in 1887. The
surrender of Italian opera was complete, and Verdi took his right
place at the head of the vigorous new school which has arisen in
Italy, and which promises to regain for the "Land of Song" some of her
ancient preeminence in music. A comic opera by Verdi, "Falstaff," was
announced in 1892: it has well sustained his previous reputation.
DRAMATIC AND LYRIC ARTISTS
DAVID GARRICK
By SAMUEL ARCHER
(1716-1779)
This celebrated actor was the son of Peter Garrick, who had a
captain's commission in the army, but who generally resided at
Lichfield. He was born at Hereford, when his father was on a
recruiting party there, and was baptized in the Church of All-Saints,
in that city, on February 20, 1716. Young Garrick received part of
his education at the grammar school there, but he did not apply
himself to his books with much assiduity. He had conceived a very
early passion for theatrical representation, from which nothing could
turn him aside. When he was a little more than eleven years of age, he
formed the project of getting a play acted by young gentlemen and
ladies. After he had made some trial of his own and his companions'
abilities, and prevailed upon the parents to give their consent, he
pitched upon the "Recruiting Officer," for the play. He assembled his
little company in a large room, the destined place of representation.
There we may suppose our young boy distributed the several characters
according to the merits of the performer. He prevailed on one of his
sisters to play the part of the chambermaid. Sergeant Kite, a
character of busy intrigue and bold humor, he chose for himself.
[Illustration: Garrick.]
The play was acted in a manner so far above the expectation of the
audience, that it gave general satisfaction, and was much applauded.
The ease, vivacity, and humor of Kite are still remembered with
pleasure at Lichfield. The first stage attempt of our English Roscius
was in 1727.
Not long after, he was invited to Lisbon by an uncle, who was a
considerable wine merchant in that city, but his stay there was very
short, for he returned to Lichfield the year following. It is imagined
that the gay disposition of the young gentleman was not very suitable
to the old man's temper, which was, perhaps, too grave and austere to
relish the vivacities of his nephew.
However, during his short stay at Lisbon, young Garrick made himself
agreeable to all who knew him, particularly to the English merchants
who resided there, with whom he often dined. After dinner they usually
diverted themselves by placing him upon the table, and calling upon
him to repeat verses and speeches from plays, which he did with great
readiness, and much to the satisfaction of the hearers. Some
Portuguese young gentlemen of the highest rank, who were of his own
age, were also much delighted with his conversation.
He afterward returned to Lichfield, and in 1737 came up to town in
company with Samuel Johnson, who was to make so conspicuous a figure
in the literary world, and of whose life we have already given an
account.
Soon after his arrival in London, Garrick entered himself at Lincoln's
Inn, and he also put himself under the tuition of Mr. Colson, an
eminent mathematician at Rochester. But as he applied himself little
to the study of the law, his proficiency in mathematics and philosophy
was not extensive. His mind was theatrically led, and nothing could
divert his thoughts from the study of that to which his genius so
powerfully prompted him. He had L1,000 left him by his uncle at
Lisbon, and he engaged for a short time in the wine trade, in
partnership with his brother, Mr. Peter Garrick; they hired vaults in
Durham Yard, for the purpose of carrying on the business. The union
between the brothers was of no long date. Peter was calm, sedate, and
methodical; David was gay, volatile, impetuous, and perhaps not so
confined to regularity as his partner could have wished. To prevent
the continuance of fruitless and daily altercation, by the
interposition of friends the partnership was amicably dissolved. And
now Garrick prepared himself in earnest for that employment which he
so ardently loved, and in which nature designed he should eminently
excel.
He was frequently in the company of the most eminent actors; he got
himself introduced to the managers of the theatres, and tried his
talent in the recitation of some particular and favorite portions of
plays. Now and then he indulged himself in the practice of mimicry, a
talent which, however inferior, is never willingly resigned by him who
excels in it. Sometimes he wrote criticisms upon the action and
elocution of the players, and published them in the prints. These
sudden effusions of his mind generally comprehended judicious
observations and shrewd remarks, unmixed with that illiberality which
often disgraces the instructions of stage critics.
Garrick's diffidence withheld him from trying his strength at first
upon a London theatre. He thought the hazard was too great, and
embraced the advantage of commencing his noviciate in acting with a
company of players then ready to set out for Ipswich, under the
direction of Mr. William Gifford and Mr. Dunstall, in the summer of
1741.
The first effort of his theatrical talents was exerted as Aboan, in
the play of "Oroonoko," a part in which his features could not be
easily discerned. Under the disguise of a black countenance, he hoped
to escape being known, should it be his misfortune not to please.
Though Aboan is not a first-rate character, yet the scenes of pathetic
persuasion and affecting distress in which that character is involved,
will always command the attention of the audience when represented by
a judicious actor. Our young player's applause was equal to his most
sanguine desires. Under the assumed name of Lyddal, he not only acted
a variety of characters in plays, particularly Chamont, in the
"Orphan;" Captain Brazen, in the "Recruiting Officer;" and Sir Harry
Wildair; but he likewise gave such delight to the audience, that they
gratified him with constant and loud proofs of their approbation. The
town of Ipswich will long boast of having first seen and encouraged so
great a genius as Garrick.
His first appearance as an actor in London, was on October 19, 1741,
when he performed the part of Richard III., at the playhouse in
Goodman's Fields. His easy and familiar, yet forcible, style in
speaking and acting, at first threw the critics into some hesitation
concerning the novelty, as well as propriety, of his manner. They had
been long accustomed to an elevation of the voice, with a sudden
mechanical depression of its tones, calculated to excite admiration,
and to intrap applause. To the just modulation of the words, and
concurring expression of the features from the genuine works of
nature, they had been strangers, at least for some time. But after he
had gone through a variety of scenes, in which he gave evident proofs
of consummate art and perfect knowledge of character, their doubts
were turned into surprise and astonishment, from which they relieved
themselves by loud and reiterated applause. They were more especially
charmed when the actor, after having thrown aside the hypocrite and
politician, assumed the warrior and the hero. When news was brought to
Richard that the Duke of Buckingham was taken, Garrick's look and
action, when he pronounced the words
"----Off with his head!
So much for Buckingham!"
were so magnificent and important, from his visible enjoyment of the
incident, that several loud shouts of approbation proclaimed the
triumph of the actor and satisfaction of the audience. Richard's dream
before the battle, and his death, were accompanied with the loudest
gratulations of applause.
Such was the universal approbation which followed our young actor,
that the more established theatres of Drury Lane and Covent Garden
were deserted. Garrick drew after him the inhabitants of the most
polite parts of the town: Goodman's Fields were full of the splendor
of St. James' and Grosvenor Square; the coaches of the nobility filled
up the space from Temple Bar to Whitechapel. He had so perfectly
convinced the public of his superior accomplishments in acting, that
not to admire him would not only have argued an absence of taste, but
the grossest stupidity. Those who had seen and been delighted with the
most admired of the old actors, confessed that he had excelled the
ablest of them in the variety of the exhibitions, and equalled them
all in their must applauded characters.
Alexander Pope was persuaded by Lord Orrery to see him in the first
dawn of his fame. That great man, who had often seen and admired
Betterton, was struck with the propriety and beauty of Mr. Garrick's
action; and as a convincing proof that he had a good opinion of his
merit, he told Lord Orrery that he was afraid the young man would be
spoiled, for he would have no competitor.
Mr. Garrick shone forth like a theatrical Newton; he threw new light
on elocution and action; he banished ranting, bombast, and grimace;
and restored nature, ease, simplicity, and genuine humor.
In 1742 he entered into stated agreements with Fleetwood, patentee of
Drury Lane, for the annual income of L500. His fame continued to
increase at the royal theatre, and soon became so extended that a
deputation was sent from Ireland, to invite him to act in Dublin
during the months of June, July, and August, upon very profitable
conditions. These he embraced, and crossed the seas to the metropolis
of Ireland in June, 1742, accompanied by Mrs. Woffington.
[Illustration: Garrick as Richard III.]
His success at Dublin exceeded all imagination, though much was
expected from him; he was caressed by all ranks of people as a prodigy
of theatrical accomplishment. During the hottest days in the year the
play-house was crowded with persons of fashion and rank, who were
never tired with seeing and applauding the various essays of his
skill.
The excessive heat became prejudicial to the frequenters of the
theatre; and the epidemical distemper, which seized and carried off
great numbers, was nicknamed the _Garrick fever_. Satisfied with the
emoluments arising from the summer campaign, and delighted with the
generous encouragement and kind countenance which the nobility and
gentry of Ireland had given him, and of which he always spoke in the
strongest terms of acknowledgment and gratitude, he set out for
London, to renew his labors and to receive the applause of the most
critical, as well as most candid, audience in Europe.
Such an actor as Garrick, whose name when announced in the play-bill
operated like a charm and drew multitudes to the theatre, of
consequence considerably augmented the profits of the patentee. But at
the time when all without doors was apparently gay and splendid, and
the theatre of Drury Lane seemed to be in the most flourishing
condition, by the strange and absurd conduct of the manager the whole
fabric was absolutely running into certain destruction.
His behavior brought on a revolt of the principal actors, with Mr.
Garrick and Mr. Macklin at their head, and for some time they seceded
from the theatre. They endeavored to procure a patent for a new
theatre, but without success; and Garrick at length accommodated his
dispute with the manager, Mr. Fleetwood, by engaging to play again for
a salary of six or seven hundred pounds.
In 1744, Garrick made a second voyage to Dublin, and became
joint-manager of the theatre there with Mr. Sheridan. They met with
great success; and Garrick returned again to London, in May, 1746,
having considerably added to his stock of money. In 1747 he became
joint-patentee of Drury Lane Theatre with Mr. Lacy. Mr. Garrick and
Mr. Lacy divided the business of the theatre in such a manner as not
to encroach upon each other's province. Mr. Lacy took upon himself the
care of the wardrobe, the scenes, and the economy of the household;
while Garrick regulated the more important business of treating with
authors, hiring actors, distributing parts in plays, superintending of
rehearsals, etc. Besides the profits accruing from his half-share, he
was allowed an income of L500 for his acting, and some particular
emoluments for altering plays, farces, etc.
In 1749, Mr. Garrick was married to Mademoiselle Violetti, a young
lady who (as Mr. Davies says), to great elegance of form and many
polite accomplishments, joined the more amiable virtues of the mind.
In 1763, 1764, and 1765, he made a journey to France and Italy,
accompanied by Mrs. Garrick, who, from the day of her marriage till
the death of her husband, was never separated from him for twenty-four
hours. During his stay abroad his company was desired by many
foreigners of high birth and great merit. He was sometimes invited to
give the company a taste of that art in which he was known so greatly
to excel. Such a request he very readily consented to, for indeed his
compliance cost him nothing. He could, without the least preparation,
transform himself into any character tragic or comic, and seize
instantaneously upon any passion of the human mind. He could make a
sudden transition from violent rage, and even madness, to the extremes
of levity and humor, and go through the whole circle of theatric
evolution with the most surprising velocity.
On the death of Mr. Lacy, joint patentee of Drury Lane with Mr.
Garrick, in 1773, the whole management of that theatre devolved on Mr.
Garrick. But in 1776, being about sixty years of age, he sold his
share of the patent, and formed a resolution of quitting the stage. He
was, however, determined, before he left the theatre, to give the
public proofs of his abilities to delight them as highly as he had
ever done in the flower and vigor of his life. To this end he
presented them with some of the most capital and trying characters of
Shakespeare; with Hamlet, Richard, and Lear, besides other parts which
were less fatiguing. Hamlet and Lear were repeated; Richard he acted
once only, and by the king's command. His Majesty was much surprised
to see him, at an age so advanced, run about the field of battle with
so much fire, force, and agility.
He finished his dramatic race with one of his favorite parts, with
Felix, in "The Wonder a Woman Keeps a Secret." When the play was
ended, Mr. Garrick advanced toward the audience, with much palpitation
of mind, and visible emotion in his countenance. No premeditation
whatever could prepare him for this affecting scene. He bowed--he
paused--the spectators were all attention. After a short struggle of
nature, he recovered from the shock he had felt, and addressed his
auditors in the following words:
"LADIES AND GENTLEMEN: It has been customary with persons under my
circumstances to address you in a farewell epilogue. I had the same
intention, and turned my thoughts that way; but indeed, I found myself
then as incapable of writing such an epilogue, as I should be now of
speaking it.
"The jingle of rhyme and the language of fiction would but ill suit my
present feelings. This is to me a very awful moment; it is no less
than parting forever with those from whom I have received the greatest
kindness and favors, and upon the spot where that kindness and those
favors were enjoyed." [Here he was unable to proceed till he was
relieved by a shower of tears.]
"Whatever may be the changes of my future life, the deepest impression
of your kindness will always remain here" (putting his hand on his
breast) "fixed and unalterable. I will very readily agree to my
successors having more skill and ability for their station than I
have; but I defy them all to take more sincere, and more uninterrupted
pains for your favor, or to be more truly sensible of it, than is your
humble servant."
After a profound obeisance, he retired, amid the tears and
acclamations of a most crowded and brilliant audience.
He died on Wednesday morning, January 20, 1779, at eight o'clock,
without a groan. The disease was pronounced to be a palsy in the
kidneys. On Monday, February 1st, the body of David Garrick was
conveyed from his own house in the Adelphi, and most magnificently
interred in Westminster Abbey, under the monument of his beloved
Shakespeare. He was attended to the grave by persons of the first
rank; by men illustrious for genius, and famous for science; by those
who loved him living, and lamented his death.
EDWIN FORREST[13]
[Footnote 13: Reprinted by permission of The Cassell
Publishing Company, from "Actors and Actresses of Great
Britain and the United States."]
By LAWRENCE BARRETT
(1806-1872)
[Illustration: Edwin Forrest.]
Edwin Forrest was born in the city of Philadelphia, March 9, 1806, his
father, a Scotchman, having emigrated to America during the last year
of the preceding century. The boy, like many others of his profession,
was designed for the ministry, and before the age of eleven the future
Channing had attracted admiring listeners by the music of his voice
and the aptness of his mimicry. His memory was remarkable, and he
would recite whole passages of his preceptor's sermons. Perched upon a
chair or stool, and crowned with the proud approval of family and
friends, the young mimic filled the hearts of his listeners with
fervent hopes of his coming success in the fold of their beloved
church. These hopes were destined to be met with disappointment. The
bias of the future leader of the American stage was only faintly
outlined as yet; his hour of development was still to come.
He must have learned early the road to the theatre, permitted to go by
the family, or going, perhaps, without the knowledge or consent of his
seniors in the overworked household; for, before he had passed his
tenth year, our young sermonizer was a member of a Thespian club, and
before he was eleven he had made his appearance at one of the regular
theatres in a female character, but with most disastrous results. He
soon outgrew the ignominy of his first failure, however, and again and
again sought to overcome its disgrace by a fresh appearance. To his
appeals the irate manager lent a deaf ear. The sacred portal that
leads to the enchanted ground of the stage was closed against young
Forrest, the warden being instructed not to let the importunate boy
pass the door. At last, in desperation, he resolved to storm the
citadel, to beat down the faithful guard and to carry war into the
enemy's camp. One night he dashed past the astonished guardian of the
stage entrance just as the curtain fell upon one of the acts of a
play. He emerged before the footlights, eluding all pursuit, dressed
as a harlequin, and, before the audience had recovered from its
astonishment at this scene not set down in the bills, the baffled, but
not subdued, aspirant had delivered the lines of an epilogue in rhyme
with so much effect that, before he could be seized by the astounded
stage-manager and hurled from the theatre, he had attracted public
notice, successfully won his surprised audience, and not only secured
immunity from punishment for his temerity, but actually gained that
respect in the manager's estimation which he had so long and so vainly
striven to acquire.
At last Forrest was promised an appearance at the Walnut Street house,
then one of the leading theatres of the country. He selected Young
Norval in Home's tragedy of "Douglas," and on November 27, 1820, the
future master of the American stage, then fourteen years of age--a boy
in years, a man in character--announced as "A Young Gentleman of this
City," surrounded by a group of veteran actors who had for many years
shared the favor of the public, began a career which was as auspicious
at its opening as it was splendid in its maturity. At his entrance he
won the vast audience at once by the grace of his figure and the
modest bearing that was natural to him. Something of that magnetism
which he exercised so effectively in late years now attracted all who
heard him, and made friends even before he spoke.
He was allowed to reappear as Frederick in "Lovers' Vows," repeating
his first success; and on January 8, 1821, he benefited as Octavian in
the "Mountaineers," a play associated with the early glories of Edmund
Kean. In this year, also, he made his first and only venture as a
manager, boldly taking the Prune Street Theatre, Philadelphia, and
giving a successful performance of "Richard III.," which not only
pleased the audience, but brought him a few dollars of profit. He made
many attempts to secure a regular engagement in one of the Western
circuits, where experience could be gained; and at last, after many
denials, he was employed by Collins and Jones to play leading juvenile
parts in their theatres in Pittsburgh, Cincinnati, and Lexington.
Thus, at the age of sixteen or eighteen, Edwin Forrest enrolled
himself as a regular member of a theatrical company, and broke loose
from trade forever.
Of his professional progress here we have but poor accounts. He seems
to have been very popular, and to have had an experience larger than
he had heretofore enjoyed. He played with the elder Conway, and was
affected by the grandeur of that actor's Othello, a study which served
Forrest well when in late years he inherited the character.
Jane Placide, who inspired the first love of Edwin Forrest, was an
actress who combined talent, beauty, and goodness. Her character would
have softened the asperities of his, and led him by a calmer path to
those grand elevations toward which Providence had directed his
footsteps. Baffled in love, however, and believing Caldwell to be his
rival and enemy, he challenged him; but was rebuked by the silent
contempt of his manager, whom the impulsive and disappointed lover
"posted."