The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-10-28

friends called hia stindsr- heart delighted
them. They addressed him 90 Cher ct
cAdrmdat," credited him with enormous
savings and believed Hampton Court to be
his private residence.
Long afterward all his French acquAtnt-
Rnces remembered him n begged MIN
to come again. 1t II pleasant wrote
Gibbon to him from Paris as late a. lI1I,
to find oneself mentioned with friendship
by those whom posterity will mention with
admiration. Foreign nations are q KIM
Of posterity. and among them you already
reap the full harvest Of your fame. l can
assure you that In every polite circle there
is not any name so frequently repeated
as the name Of Garrick." 1t should be mem
toned that the homage received by Oarrick
In Paris was paid to him as a private gentle
man, not as an actor shining In the AFTER
glow OF last nights footlights. He was
sometimes 30 amiable as to lean over a CHAR
after upper and delight his listeners with
the dagger soliloquy In Macbeth, but tins
would only happen occasionally. 1t 10
noteworthy that Marmontel in the En-
c~yclopedie," under the heading ~Declama-
ton" protested, IN a letter to Roecius while
in Paris, to have embodied in principles
what hc had learned OF elocution from
Garrick'S practice. Our author Justly says
tina It seems curious nowadays that a
Frenchman should have thought OF looking
to an EngliAh model to find precepts and
examples OF the actors art IN erceLsis.
Besides Diderot, Grimm, d'Alembert, Hoi-
bach and Helvetius, he knew Beaumar-
chais, to whom ten years later in England
he gave hints for the Barber and he
was on a friendly footing with Marivaux
and Nine. Necker. Notwithstanding all
the lionizing md petting that he got In
Paris, Gsrrick. like Sterne, formed the
ordinary John Bull estimate Of the French.
Their politesse," hi wrote, when safe back
across the Straits OF Dover, has reduced
their character to such a sameneGs and their
humors and passions are SO curbed by habit,
that when you have seen half a dozen
French men and women you have seen
the WHOLE
With four at least of the ornaments OF
the Coincide FRANCHISE the English actor
set up intimate and lasting relations. He
and Clarion were on good comrade' terms
and rave alternate selections in a favored
drawing ROOM. Garrick professed to adore
the French Siddons, but with a reservation
Of Judgment said OF her, when speaking
~responsibly, that she was destitute OF i'm
pulse--EHe est trop Gctrice.' There is no
doubt that Clarion acted from ditgent
study and art, not from temperament.
mile. Clarion Is so conscious and so certain
OF what abe can do that she never, l believe.
had the feeling Of the instant come upon
her Unexpectedly" The occasional un-
conscious inspiration OF the hRbitually
assiduous artist was not hers, IL we are to
accont the verdict of Garrick.
He. moreover, maintained az a principle
that ~there must be comedy in the perfect
actor OF tragedy" and, II tried by this
standard, Clarion would again be found
wanting, for she had no comedy. Even
after she relinquished, in Difference to
Marmontel's entreaties, the absolutely
m~onotonous, conventional defamation Of
her first manner, she still retained ce chant
emphdtoue, which, as Bernhardt's -Phedre"
demonstrates, French a~lexandrines all but
inevitably necessitate. Clarion, by the
way, never would whiten her face, because,
she said the layer OF powder paralyzed
the facial muscles and me Idisse rien pdsser
de rdme de rdcteur.- 1t may have been
partly for a similar reason. though doubt
less the small size Of the actor had some
thing to do with it. that Garrick's OtheLLO
was comparatively a failure; the amazing
power Of muscular contraction which Gar
rick's face. when not ebonized. possessed
was the key Of his unparalleled reputation.
Touching the question as to whether Gar
rick himself was better in tragedy or in
| comedy. our author recalls a story told by
| Charles Bannister. who sang and acted. IN
and on, under Garrick at Drury Lane. and
growing tired Of tragic parts begged to be
-I.-.oI 90 rlav nnUnadV sNn No y aaid
KinR David, you may humbug the town
some time longer as tragediAn. but comedy
is a serious thing Mrs. Parsons CONSTITUTES
the paradox to signify that comedy makes
greater demands on personal means 1t
certainly has to abide the test OF being
compared with everyday n DR..
johnson, speaking to Mrs. Siddons, said:
-Garrick, madam, was the only actor l
ever saw who might be called a master
both in tragedy and comedy, though 1
liked him best in comedy. A true con-
ception OF character and the natural ex-
preston OF it were his distinguishing ex-
cellencies." Garrick's farce was as free
from grin and what Lamb calls by intima-
tons as his tragedy was devoid OF strut and
mouthings.
IN.
The vital difference between the English
stage OF to-day and that OF the middle
OF the eighteenth century is that in the
latter case people went to see not scenery
or historically accurate costumes. but
acting. 1t Is very doubtful whether at the
present time IN actor. making his debut
in New York in a third rate theatre, CORE
spending to Goodman's Fields, could even
by the most superhuman display OF his
trionic genius make himself the talk OF the
town. The population OF what had come
Ino-wn oolIacfivolv "a London .ho.,.