The Sun.
London, England, 1825-10-11 00:00:00

RECOLLECTIONS OF GARRICK.

The last Number of Blackwood's Magazine
contains, amongst other interesting articles, one
under the above title, which will he read with
much avidity. We extract the following passage,
as particularly interesting :

" The playbill in which I first saw his name announced as
an actor, was for the tragedy of Zara, the part of Lusignan by
Mr. Garrick. Though probably there were not many, who,
like myself, had never seen Mr. Garrick, yet the general im-
patience for the third act seemed equal to my own ; there was
a good deal of noise in the house, and a few appeared to be very
attentive. At length a general buzz proclaimed his approach,
and all was hushed when he entered--a pin might hase been
heard to fall. The power with which he rivetted the auditors,
of whom, while the scene lasted, every eye was fixed on him
alone, was, you may be sure, particularly felt by me,a native of
another conntry,and one who, until a few days before, had never
flattered himself with a hope of seeing Mr. Garrick. In truth,
many minutes had net elapsed after he began to speak, before
I became aware, not only that I had seen nothing like him, but
that I had for►med an erroneous judgment of what acting ought
to be ; that, in short,the general usage of the theatre had framed
a plan for itself, and that Nature, as exhibited by this her favou-
rite disciple, had laid down another. Every word, look, gesture
and movement, in none of which was the smallest show of the
artificial, were so exactly suited to the character, that the idea
of a part acted was out of the question—it was not Garrick

acting Lusignan, it was Lusignan himself—by a kind of Magic
like that of Belnoborbo, the old king was conjured from his
grave, and exhibited to the spectators in proprid person& as
.64 liberated from the long confitlement of his dungeon .first
unable to distinguish objects in the light; after such a length of
gloomy incarceration, and afterwards gradually recovering the
power of vision. Garrick -was completely excluded from my
mind, and 'my feelings were wholly engrossed by the affecting
situation and pathetic language of the old and venerable object
before me. Another striking peculiarity, applicable also to
every part he played, and which belonged but very partially to
any other actor I ever saw, was that equisite art of elocution
which compelled•yoU to believe that what he spoke was not a
conned lesson, but suggested by the exigency of-the moment,
and the immediate dictate of his own 'mind. You could not
prevail upon 'yourself to think that it was an actor repeating
words he had got by heart, and endeavouring to suit the action
to the speech which is the usual idea of dratnatic deception, and
under which, while you applaud the performance, the idea end
name of the actor are always present to your mind,—no, in the
inimitable Roscius you forgot the representation, and thought
Only of the thing represented. It was not Garrick, but Isusignan,
Richard,and Lear, that were before your eyes, nor was it until
the exhibition was at an end that you had leisure to reflect.
upon the magic Minion by which he was enabled to represent 1
them so faithfully to your View. In comedy he shone with at
leas equal lustre, and it is one of the most inconceivable things
in the world, how one man should have been able to exhibit
such an amazing contrast and variety of power; as fell within
the range of: his performances, in most of which he -had no-
thing like a rival, and in none of which wee he surpassed. The
same set of features which, in the animating or pathetic- scenes
of a tragic part, could thrill the very soul, exalt it into ad-
miration; or sink it in irresistible distress, were with equal art
employed in the most delightful display of
_comic gaiety,
in laughable The strictest adhetenee to 0.
priety was always obierved,'the droll never descending into
buffr.emerv, nor the lively into extravagance.' In no single
it stance,'l believe, was he ever known to transgress the rules so
admirably delivered by his Hamlet, or to butstep the modesty
of nature; a temptation, which, ever 'since his' time, and tinder
the force of his example,- few have been able'wholly to tesist.
Wonderful, indeed, it is to think that the action, festotees, and •
demestneir which con'vuls'ed the spectator with- laughter in
the Lying Valet, in Scrub, or in Abel 'Dreigger, should be
capablegreat a Metambrphosia as Wax exhibited in the
h'cart- or terdf 'io
ingdistress Of Lear, the tyrannic vivacity of Richard,.
or the terrifying remorse- -of Macbeth. Wienderftil- is it to
think that :something of the-t;igic cast of countenance should-
not oceasienally appear-in the low comedian, or something
of the droll be exhibited in the hero. But alike true to nature .
in ull the -enthantment that riretted the • temporary attention
'of . the -spectator he never suffered it to wander. into a
thought of anything beyond the-object presented to his view.
Mr. (farrick's person was below the middle size, but exquisitely
well.forined, and manly. The power of his eyes, on the varied'
expression of which so much depended, has been noticed by
eevaskirylc wcontilceerivolerd't-tibleal6itagdeeceluihbeittee!*'rahhs
eyi wdaeLi,aifindtlernetaly, pobesmignorie_
tticirirstn, t,exacneeloat.cictzlnlzoon
spzeltchs,su,rcohrdesasesetainud prediolaprriiielyty
ioi
efcaecmtsiaorny,
to indieitelni meaning. ',lt appeareerto-nit, that their fctee was
often unpleasantly Celt, by the other actin's,' who seetneel M be
embarrassed and overpowered by the' scrutinizing kienntre of
:f.is glanete. Aneieer conrequenee aids aetingiwas, that the
sinenalti case of his iiiann 2r made otl;er performers ahritrit tin.
variably aie.ar *aft acid • •