Part 37 (2/2)

The doubt was painful, but I was forced to own that there might be more truth in it than in a blind fealty to their remembered magnificence.

Very likely circuses have grown not only in size, but in the richness and variety of their entertainments, and I was spoiled for the simple joys of this. But I could see no reflection of my dissatisfaction on the young faces around me, and I must confess that there was at least so much of the circus that I left when it was half over. I meant to go into the side-shows and see the fat woman and the living skeleton, and take the giant by the hand and the armless man by his friendly foot, if I might be so honored. But I did none of these things, and I am willing to believe the fault was in me, if I was disappointed in the circus. It was I who had shrunk and dwindled, and not it. To real boys it was still the size of the firmament, and was a world of wonders and delights. At least I can recognize this fact now, and can rejoice in the peaceful progress all over the country of the simple circuses which the towns never see, but which help to render the summer fairer and brighter to the unspoiled eyes and hearts they appeal to. I hope it will be long before they cease to find profit in the pleasure they give.

A SHE HAMLET

The other night as I sat before the curtain of the Garden Theatre and waited for it to rise upon the Hamlet of Mme. Bernhardt, a thrill of the rich expectation which cannot fail to precede the rise of any curtain upon any Hamlet pa.s.sed through my eager frame. There is, indeed, no scene of drama which is of a finer horror (eighteenth-century horror) than that which opens the great tragedy. The sentry pacing up and down upon the platform at Elsinore under the winter night; the greeting between him and the comrade arriving to relieve him, with its hints of the bitter cold; the entrance of Horatio and Marcellus to these before they can part; the mention of the ghost, and, while the soldiers are in the act of protesting it a veridical phantom, the apparition of the ghost, taking the word from their lips and hus.h.i.+ng all into a pulseless awe: what could be more simply and sublimely real, more naturally supernatural? What promise of high mystical things to come there is in the mere syllabling of the n.o.ble verse, and how it enlarges us from ourselves, for that time at least, to a disembodied unity with the troubled soul whose martyry seems foreboded in the solemn accents!

As the many Hamlets on which the curtain had risen in my time pa.s.sed in long procession through my memory, I seemed to myself so much of their world, and so little of the world that arrogantly calls itself the actual one, that I should hardly have been surprised to find myself one of the less considered persons of the drama who were seen but not heard in its course.

I.

The trouble in judging anything is that if you have the materials for an intelligent criticism, the case is already prejudiced in your hands.

You do not bring a free mind to it, and all your efforts to free your mind are a species of gymnastics more or less admirable, but not really effective for the purpose. The best way is to own yourself unfair at the start, and then you can have some hope of doing yourself justice, if not your subject. In other words, if you went to see the Hamlet of Mme.

Bernhardt frankly expecting to be disappointed, you were less likely in the end to be disappointed in your expectations, and you could not blame her if you were. To be ideally fair to that representation, it would be better not to have known any other Hamlet, and, above all, the Hamlet of Shakespeare.

From the first it was evident that she had three things overwhelmingly against her--her s.e.x, her race, and her speech. You never ceased to feel for a moment that it was a woman who was doing that melancholy Dane, and that the woman was a Jewess, and the Jewess a French Jewess. These three removes put a gulf impa.s.sable between her utmost skill and the impa.s.sioned irresolution of that inscrutable Northern nature which is in nothing so masculine as its feminine reluctances and hesitations, or so little French as in those obscure emotions which the English poetry expressed with more than Gallic clearness, but which the French words always failed to convey. The battle was lost from the first, and all you could feel about it for the rest was that if it was magnificent it was not war.

While the battle went on I was the more anxious to be fair, because I had, as it were, pre-espoused the winning side; and I welcomed, in the interest of critical impartiality, another Hamlet which came to mind, through readily traceable a.s.sociations. This was a Hamlet also of French extraction in the skill and school of the actor, but as much more deeply derived than the Hamlet of Mme. Bernhardt as the large imagination of Charles Fechter transcended in its virile range the effect of her subtlest womanish intuition. His was the first blond Hamlet known to our stage, and hers was also blond, if a reddish-yellow wig may stand for a complexion; and it was of the quality of his Hamlet in masterly technique.

II.

The Hamlet of Fechter, which rose ghostlike out of the gulf of the past, and cloudily possessed the stage where the Hamlet of Mme. Bernhardt was figuring, was called a romantic Hamlet thirty years ago; and so it was in being a break from the cla.s.sic Hamlets of the Anglo-American theatre.

It was romantic as Shakespeare himself was romantic, in an elder sense of the word, and not romanticistic as Dumas was romanticistic. It was, therefore, the most realistic Hamlet ever yet seen, because the most naturally poetic. Mme. Bernhardt recalled it by the perfection of her school; for Fechter's poetic naturalness differed from the conventionality of the accepted Hamlets in nothing so much as the superiority of its self-instruction. In Mme. Bernhardt's Hamlet, as in his, nothing was trusted to chance, or ”inspiration.” Good or bad, what one saw was what was meant to be seen. When Fechter played Edmond Dantes or Claude Melnotte, he put reality into those preposterous inventions, and in Hamlet even his alien accent helped him vitalize the part; it might be held to be nearer the Elizabethan accent than ours; and after all, you said Hamlet was a foreigner, and in your high content with what he gave you did not mind its being in a broken vessel. When he challenged the ghost with ”I call thee keeng, father, rawl-Dane,” you Would hardly have had the erring utterance bettered. It sufficed as it was; and when he said to Rosencrantz, ”Will you pleh upon this pyip?”

it was with such a princely authority and comradely entreaty that you made no note of the slips in the vowels except to have pleasure of their quaintness afterwards. For the most part you were not aware of these betrayals of his speech; and in certain high things it was soul interpreted to soul through the poetry of Shakespeare so finely, so directly, that there was scarcely a sense of the histrionic means.

He put such divine despair into the words, ”Except my life, except my life, except my life!” following the mockery with which he had a.s.sured Polonius there was nothing he would more willingly part withal than his leave, that the heart-break of them had lingered with me for thirty years, and I had been alert for them with every Hamlet since. But before I knew, Mme. Bernhardt had uttered them with no effect whatever. Her Hamlet, indeed, cut many of the things that we have learned to think the points of Hamlet, and it so transformed others by its interpretation of the translator's interpretation of Shakespeare that they pa.s.sed unrecognized. Soliloquies are the weak invention of the enemy, for the most part, but as such things go that soliloquy of Hamlet's, ”To be or not to be,” is at least very n.o.ble poetry; and yet Mme. Bernhardt was so unimpressive in it that you scarcely noticed the act of its delivery.

Perhaps this happened because the sumptuous and sombre melancholy of Shakespeare's thought was transmitted in phrases that refused it its proper mystery. But there was always a hardness, not always from the translation, upon this feminine Hamlet. It was like a thick sh.e.l.l with no crevice in it through which the tenderness of Shakespeare's Hamlet could show, except for the one moment at Ophelia's grave, where he reproaches Laertes with those pathetic words

”What is the reason that you use me thus?

I loved you ever; but it is no matter.”

Here Mme. Bernhardt betrayed a real grief, but as a woman would, and not a man. At the close of the Gonzago play, when Hamlet triumphs in a mad whirl, her Hamlet hopped up and down like a mischievous crow, a mischievous she-crow.

There was no repose in her Hamlet, though there were moments of leaden lapse which suggested physical exhaustion; and there was no range in her elocution expressive of the large vibration of that tormented spirit.

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