The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1883-10-31
HENRY IRVING.
What the Critics Say of HIM, and What
He Says of Himself.

In speaking of Henry Irvings perform
ance, the Tribune says: "a taste for the act
ing of Mr.. Irving is, to some extent. like the
taste for olives-it has to be acquired, but
when once it has been acquired, it gives its
possessor great delight? Mr.. Irving is very
peculiar actor His personality and his
methods of art are characterized by special
and perplexing singularties. His oddities
help to make him unique, and these oddities
are not to all persons agreeable Some OF
them, indeed, are defects, and will remain
defects until the end of the chapter Mr.
lrving's stage walk, for example, is some
times stilted and angular This popularity
although really natural for him. is one Of
the results of nervous excitement. When
ever it chances to be inharmonious with the
character that he personifes, it has the effect
of an affectation, and his stage talk, further
more, particularly under the strain of great
agitation, is sometimes inartculate and in
distinct. He INDUCES freely in what
Shakespeare has designated flaws and starts
He uses at times the rapid tripping enun-
citation and song-like cadence, which are pc
culiar to the English speech of foreigners
particularly the French.
His machinery includes strange girgia-
tons, and dark, lowering glances portentous
and vague His voice, twithStanding that
he is a man of muscular physical constitu-
ton. is wiry and nervous, and sustained by
untlinching endurance and patient reSOlute
will is neither copious nor resonant, not at
all the organ of a Forest or a Salvini and
therefore, although his tones are often ten
der or piercing or vibrant, he is apt to disap-
listener
vocal resources are desired as a relief by the
overweight emotions of his audience. His
facial expressions include wide variety and
completely OF meaning but these are mostly
weird, eccentric, determined, mystical, and
hence his face is less eloquent with the ee-
mental feelings of human nature than with
its wildness, strangeness, and somber and
aSonizng pathos, the poetry of storm or des-
olation, under the ravages of tragic magma
ton, intellectual strain and miserable expe-
rience. His smile, indeed is one of singular
sweetness, and sometimes it touches his sad
scholastic high-bred, noble features with
the perfect sunshine OF beauty Butequally
by temperament, physique, taste and train
ing, Mr.. Irving is man of mysterious
quality and exceptional characteristics
Such man is not readily comprehended,
but when he is comprehended he inspires a
profound sympathy and admiration"
The Times says: "Mr. Irving has not taken
the presence of trained actor, to whom the
common points of stage behavior and stage
effect are as familiar as his garter There is
no more doing for some time than before, but
we lose the sense that Things are dragging.
An intelligent and trained actor is on the
stage, and being the only one of his kind, he
holds it. His action is little forced, a little
exaggerated; his eloquence little affected;
but as he goes on we see an actor of un-
usual gifts, physical gifts as we'll as of
training, unusual on the English-speaking
stage, and matter of course on the conti-
mental stages"
The Sun says "No matter what may be
thought of the singularity of the actors stage
personality, of his idoSyncracieS of ut terauce,
of gesture and of movement the impression
of his mastery of his art, of his picturesque
ness and of the refinement and finish OF his
performance remains unclouded and undis-
puted.
After the strained attention bestowed on
the last great act, loud and continued call
was made for Mr.. Irving, who appeared, bow
ed and retired. The shouting and clapping
were kept up until he came forward a second
time, and standing in the center of the stage
before the curtain said:
Ladies' and Gentlemen-I believe il is a custom
with You to allow an actor TO thank yOu for the
pleasure You have given to him, and will avail
myself of that custom now to say that thank
you with all my heart and soul 1t seems to me
that the greatness of your welcome typtes the
greatness OF your nation | thank you, and,
beggar that am, am even poor in thanks. Let
me say that my comrades are also deeply sensi-
BILE of your Kindness and let me add that hope
you will give ii warmer welcome if such were
possible, than have received TO my associate
and friend, Miss Ellen Terry who will have the
honor of appearing before you tomorrow uight;
and finally, If 1t be not a liberty, will you allow
me to express the hope that "Our loves may in
crease, even as our days do grow"
A Herald reporter met the tragedian as he
turned to 60 to his dressing-room, and was
courteouSly invited to follow him. Amid
boxes of powder, paint brushes, trunks and
all the hurly-burly trappinss OF an actors
sanctum, the tragedian sank into seat. At
first he seemed shy of crticising the au-
dience, he had just addressed but when
pressed for an honest opinion he said:
when first stepped into view of the au-
dience and saw and heard the great reception
it gave / was filled with emotion. ! felt that
it was great epoch in my life. The moment
that / looked over the footights at the peo-
pie knew that we were friends; | knew that
they wanted to like me and that they ex-
pected something great, and would go away,
if I disappointed them, saying: Well we
wanted to like him, but we can't Who could
stand before such an audience on such
an occasion and not be deeply moved?
All that | can say is that it was a glorious |
reception and typical OF your people. l
never played before a more responsive or |
sympathetic audience. 1t did not miss a |
point. L COull belA all CilTOuEl lne DliN lndC |
every motion l made was being closely |
watched; thar every look, gesture and tone |
was appreciated. 1t is stimulating to an
actor to feel that he has won his audience
Then the silence of the people-the greatest
compliment that could be paid me in such
play-was always succeeded by such hearty
praise at the end of the act"
Did you get such reception when you
appeared as Matthias first before London
audence?"
"Oh, no. Don't you see l was compare
lively little known then"
Did your audience show as much judg-
ment then?''
well; | must confess it was not so quick"
Big EiSh SLnrY.