The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1883-02-07

Leaves from Lady Helen Faucit mar
tin's Letters on Shakespeare.
rniaelxnnd,a MagasInc.

Inbicenia In Aulis; but lmogen has al
WAYS occupied the largest place In my
heart. and while she taxed my powers on
| the stare 10 the uttermost, she has always
repaid nc for the effort tenfold by the dc
| light OF being the means Of placing o being
m every way 40 noble before the eyes and
hearts of my audiences, and OF making
them feel perhaps and think OF her,
and of him TO whose genius we owe
her. with something OF my own reye-
renee and love. All. how much finer o
medium than oil the pen can do for bring
| ing home to the hearts Of people what was
| In Shakspeare's mind when he drew his
men and women Is the well-trod stage"
with that living commentary which actor
or actress capable in their art can give |!
How much has be left to be filed up by ac-
cent. by MAY OF feature, by bearing, by ac-
| ton. by subtle shades OF expression, In
spired by the heart and striking home TO
the heart, by all those little movements and
! infections OF tone which como intuitiyely
! To the sympaihetc artist, and which play
so large part In producing the impression
left ,ipon us by living Interpretation OF
the master -poeti To one accustomed IKE
myself 20 such resources as these for bring
ing out the results OF my studies OF Shak-
speare,s st seems hopeless to endea-
yor TO convey the same impressions by
mere words. The more a character has
wound itself round the heart the moro is
this felt.
"THE LADY or LYONS"
with little cost this play, which was to
prove so wondrously successful, came forth
TO the world uDaSslsted by ouy extraneous
adjuncts. depending solely upon its own
merits and the actors Interpretation OF il.
Il must have been written with rare know
ledge Of what the stage requires, for not
one word was cut out nor one scene re-
arranged OF altered after the first repre-
seniation. The author was no doubt
lucky in his interpreters. Mr.. Ma
cready, though in appearance far too
old for Claude Melnotte, yet had n
slight, elastic figure and so much buoy
ancy OF manner that the IMPRESSION OF age
quickly wore of. The secret Of bis sue
cess was that no lifted the character and
gave il the dignity and strength which it
required to make Claude respected under
circumstances so equivocal. This was
especially conspicuous in critical point
early in the play (act lily, where Claude
passes himself OFF as a prince. MIR. Ma
Crea&g's manner became his dress. The
slight confusion, when addressed by Colo
mel Damas in Italian, was so instantly
turned TO his own advantage by the playful
way IN which he laid the blame on the Gen.
erals bad Italian, while his whole bearing
was so dignlfied and courteous that it
did not seem strange he should charm the
giIEish fancy Of one accustomed to be
c0urted, yet whose heart was hitherto IN
touched. He made the hero, indeed, one
OF nsture's exceptional gentlemen, and in
this way prepossessed his audience, despite
the unworthy device to which Claude lends
himself in the first frenzy OF wounded van
ity. Truth to say, unless dealt with pOeti-
cally and dramatically, both Claude and
Pauline drop down into very commonplace
have been surprised to
see how commonplace.
WHAT'S IN A MAZE?
The success OF "The Lady of Lyons
had during the rehearsals been considered
very doubtful. Its defects III literary
point of view seemed obvious TO those who
were capable of Judging, and its merits as
q piece Of skilful dramatic construction
could not then I've fully seen. The master
and friend OF my youth, Of whom spoke
n my letter on Juliet, thought my part of
Pauline very difficult and somewhat disa-
greeable. l remember well his saying to
me: "You have hitherto, in your Shak- |
spcariau studies, had to lift yourself up
TO the level of your heroines; now
you must, by tone and manner and dignity |
Of expression, lift this one up to your !
SELF" During the rehearsals no one knew |
who was the author. The play had not |
name given 10 it until very near the time it |
was brought ont. There was great specu- |
ation at the rehearsals as to what it was to |
be called. Glove and Duty" Love and |
Pride" were suggested, but discarded as |
too like the titles OF a novel. "The Gar |
dener's Son." said one. No; that sug-
gestcd nothing. "The Merchant OF Lyons" !
said another. No; surely not; was there |
not "Aicrchaat OF Ycnice?" Upon !
which MIR. Barley. who was the stage |
and also the first and the best |
Colonel Damas, turned to me, and, taking |
of bis hat and bowling in the soldier-llke |
manner OF the colonel in the play, said /: |
. think 'my young cousin should give |
the play name. Shall it not be called |
8 The Lady Of Lyons?'" Whether this |
name bad been decided on before cannot |
tell, but shortly after the play was an
nounced by that title.
sHAKSPEARiAN SPECTACLE.
"Cymbeline" would be the despair of |
those getters-up OF plays whose scenery is |
30 elaborate that they can give but one
scene 10 every act. But. oh how refresh !
ing 10 have your thoughts centred upon
such human beings rs Shakespeare drew,
with all their joys, their woes, their affec-
lions, suilerings, passions, developing be-
fore you each phase Of their characters,
instead OF the immovable upholstery
and painted simulations Of reality in
which the modern fashion takes de-
Ightl The eye is pleased, but what
becomes OF the heart and the imagi-
nations People tell us that Shakespeare
would, If he could, have ayailed himself Of
Ill the material resources Of the costumer,
and stage-manager, OF which
lse is now so freely made. l venture to
hIysk not. He knew TOO well that IL the
we be distracted by excess either Of num-
,ers or OF movement, or by multiplicity
II beautiful or picturesque objects, the
lct0r must work at q disadvantage. He can
neither gain nor keep that grasp Of the
minds aud sympathies of the audience
which is essential for bringing home to
hem the purpose OF the poet.
THE DEMANDS ON AN ACTRESS.
These opening scenes in which Imogen
Ippears are proof among many others
,ow much Shakespeare expected from the
'ersonatos of his heroines. In them the
Ictrcss must contrive to produce the im-
preston OF character Of which all that is
afterwards seen Of Imogen is the natural
development. In iook, in bearing. in
oneand accent, we must see the princess, I
trong IN the possession Of fine and cul- {
iysted intelligence, and equal, through i
III hef womanly tenderness and by c