New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-01-18
HENRY IRVING.

Mr. Talcot Williams has been supposed to be an
acute and 1udicous observer yet, writing, in THE
Atlantic Of the late Henry Irving. Dir. Williams
says. of that great actor, that he had no physical
advantage. personal charm, outer aspect which
bespoke success" That statement is simply amaz-
Ing to any really acquainted with the subject.
Henry Irving possessed. actor physical ad-
vantages Of the most uncommon kind. His figure
tall, slender individual, and distinguished His
movements were marked by exquisite grace. In
repose. IN certain parts OF Wolsey Beckett,
for example, his attitudes those of incarnate
dignity. He sometimes moved with celebrity that
was electricians in one moment Of Robert Ma
caire, and at certain points In Matthias and Nephis
topheles. He had a superb head and face His
face was specially advantageous one for actor,
being large and exceedingly expressive. The mouth
was large Though not large he himself
wished it he considered Ellen Terry's advan-
tage. IN that respect OF great value) The was
finely formed and significant of power; the chin was
delicate. clear cut and expressive of great sensi-
bity In the last years of HIS life his indomtable
struggle with hardship and the eucroaChments Of
WEAKNESS sickness and advancing age had caused
his lips-from their continual compression, because
of unfinching resolution,-to become straight and
narrow and his face had assumed settled look
OF almost logged determination. a look which, in
repose, softened by sadness and grief His
eyes were maguhcent-dark brown and OF exceed
ing brilliancy. His eyebrows were OF great thick
ness and OF a peculiar shape, somewhat triangular
in form "a trait that became pronounced in his
age), and they were extraordinarily mobile and
pressve His luxurant iron-gray hair contributed to
make his appearance remarkably picturesque. His
hands were very delicate in FORM and, his of
them, they became indicative and significant to a
wonderful degree. No other actor who has been
seen on our stage in the last fifty years ever ap-
preached him in this particular except Joseph JEFF
ferson, and Jefferson did not equal him. (Next to
Jefferson, in this respect, came Ellen Terry) The
voice of Irving was loud penetrating, flexible;
under stress of excitement it sometimes became
slightly nasal-as did that of Edwin Booth. Irving
had, in his youth, made a careful study of eocu-
ton and. whenever he chose to do so, he could
speak blank in perfectly nlelodous manner,
and with delicious effect. This he occasionally did,
to please a friend. and sometimes TO please him
self; as for example. in the delivery Of Wolsey's
Farewell or in the scene in Beckett, with John OF
Salisbury, Just before the murder. AS matter OF
artistic principle, however. he aimed iB1persona-
tion and he often disregarded clocuton; sometimes
indeed he spoke of it with playful indifference.
His recital Of Hoods Eugene Aram'' was per-
feet work of Evolutionary art and his recital
actor that he had physical advantages. AS to
his personal charm it great that all per-
sons who came near to him were more or less fas-
cinated by him. There is hardly actor on the
English stage. within the last twenty-five years,
who has not initiated him. and much OF this imita-
ton was quite unconscious At the outset OF
IryIng's career the London stage he attracted
the enthusiastic admiration of one of the most
CAPABLE hard-headed, downright judges of acting
that ever lived, namely, II. l. C'Chain Light
ming" as we used to call hin) Batemau- There has
not been in the whole history of the stage another
actor who by the use of marvellous natural facuI-
ties rose to greatness in such an extensive round
Of contrasted parts. nor fl man,-nor woman,
ether-who exerted the charm of loveler spirit.
w.