Part 8 (1/2)

In Reason, Nature, Truth he dares to trust: Ye fops be silent, and ye wits be just!

Of prologues generally, Johnson p.r.o.nounced that Dryden's were superior to any that David Garrick had written, but that Garrick had written more good prologues than Dryden. ”It is wonderful that he has been able to write such a variety of them.” Garrick's prologues and epilogues are, indeed, quite innumerable, and are, almost invariably, sparkling, witty, and vivacious. They could scarcely fail to win the favour of an audience; and then oftentimes they had the additional advantage of being delivered by himself.

Prologues seem to have been a recognised vehicle of literary courtesy.

Authors favoured each other with these addresses as a kind of advertis.e.m.e.nt of the good understanding that prevailed between them--an evidence of respect, friendliness, and encouragement. Thus Addison's tragedy of ”Cato” was provided with a prologue by Pope--the original line, ”Britons, arise! be worth like this approved,” being ”liquidated” to ”Britons attend!”--for the timid dramatist was alarmed lest he should be judged a promoter of insurrection. Addison in his turn furnished the prologue to Steele's ”Tender Husband,” while Steele favoured Vanbrugh with a prologue to his comedy of ”The Mistake.”

Johnson, as we have seen, now and then provided his friends with prologues. The prologue to Goldsmith's ”She Stoops to Conquer” was written by Garrick, to be spoken by Woodward, the actor, ”dressed in black, and holding a handkerchief to his eyes;” the prologue to ”The School for Scandal” was also the work of Garrick. Sheridan, it may be noted, supplied a prologue to Savage's tragedy of ”Sir Thomas Overbury,” on the occasion of its revival at Covent Garden, thirty-four years after the death of its author. Among the last of the prologues was one written by Mr. Charles d.i.c.kens to Dr. Westland Marston's poetic drama, ”The Patrician's Daughter.”

Prologues have now vanished, however, and are not likely to be reintroduced. It must be added that they showed symptoms of decline in worth long before they departed. Originally apologies for players and dramatists--at a time when the histrionic profession was very lightly esteemed--they were retained by the conservatism of the stage as matters of form, long after they had forfeited all genuine excuse for their existence. The name is still retained, however, and applied to the introductory, or, to use Mr. Boucicault's word, ”proloquial” acts of certain long and complicated plays, which seem to require for their due comprehension the exhibition to the audience of events antecedent to the real subject of the drama. But these ”proloquial acts” are things quite apart from the old-fas.h.i.+oned prologue.

CHAPTER XIII.

THE ART OF ”MAKING-UP.”

When, to heighten the effect of their theatrical exhibitions, Thespis and his playfellows first daubed their faces with the lees of wine, they may be said to have initiated that art of ”making-up” which has been of such important service to the stage. Paint is to the actor's face what costume is to his body--a means of decoration or disguise, as the case may require; an aid to his a.s.suming this or that character, and concealing the while his own personal ident.i.ty from the spectator. The mask of the cla.s.sical theatre is only to be a.s.sociated with a ”make-up,” in that it subst.i.tuted a fict.i.tious facial expression for the actor's own. Roscius is said to have always played in a vizard, on account of a disfiguring obliquity of vision with which he was afflicted. It was an especial tribute to his histrionic merits that the Romans, disregarding this defect, required him to relinquish his mask, that they might the better appreciate his exquisite oratory and delight in the music of his voice. In much later years, however, ”obliquity of vision” has been found to be no obstacle to success upon the stage. Talma squinted, and a dramatic critic, writing in 1825, noted it as a strange fact that ”our three light comedians, Elliston, Jones, and Browne,” each suffered from ”what is called a cast in the eye.”

To young and inexperienced players a make-up is precious, in that it has a fortifying effect upon their courage, and relieves them in some degree of consciousness of their own personality. They are the better enabled to forget themselves, seeing their ident.i.ty can hardly be present to the minds of others. Garrick made his first histrionic essay as Aboan, in the play of ”Oroonoko,” ”a part in which his features could not easily be discerned: under the disguise of a black countenance he hoped to escape being known, should it be his misfortune not to please.” When Bottom the Weaver is allotted the part of Pyramus, intense anxiety touching his make-up is an early sentiment with him. ”What beard were I best to play it in?” he inquires. ”I will discharge it in either your straw-coloured beard, your orange-tawny beard, your purple-in-grain beard, or your French-crown-colour beard, your perfect yellow.” Clearly the beard was an important part of the make-up at this time. Farther on, Bottom counsels his brother clowns: ”Get your apparel together, good strings to your beards, new ribbons to your pumps;” and there are especial injunctions to the effect that Thisbe shall be provided with clean linen, that the lion shall pare his nails, and that there shall be abstinence from onions and garlic on the part of the company generally.

Old John Downes, who was prompter at the theatre in Lincoln's Inn Fields from 1662 to 1706, and whose ”Roscius Anglica.n.u.s” is a most valuable history of the stage of the Restoration, describes an actor named Johnson as being especially ”skilful in the art of painting, which is a great adjument very promovent to the art of elocution.” Mr.

Waldron, who, in 1789, produced a new edition of the ”Roscius Anglica.n.u.s,” with notes by Tom Davies, the biographer of Garrick, decides that Downes's mention of the ”art of painting” has reference to the art of ”painting the face and marking it with dark lines to imitate the wrinkles of old age.” This, Waldron continues, ”was formerly carried to excess on the stage, though now a good deal disused. I have seen actors, who were really older than the characters they were to represent, mark their faces with black lines of Indian ink to such a degree that they appeared as if looking through a mask of wire.” And Mr. Waldron finds occasion to add that ”Mr. Garrick's skill in the necessary preparation of his face for the aged and venerable Lear, and for Lusignan, was as remarkable as his performance of those characters was admirable.”

In 1741 was published ”An Historical and Critical Account of the Theatres in Europe,” a translation of a work by ”the famous Lewis Riccoboni, of the Italian Theatre at Paris.” The author had visited England in 1727, apparently, when he had conversed with the great Mr.

Congreve, finding in him ”taste joined with great learning,” and studied with some particularity the condition of the English stage.

”As to the actors,” he writes, ”if, after forty-five years' experience I may be ent.i.tled to give my opinion, I dare advance that the best actors in Italy and France come far short of those in England.” And he devotes some s.p.a.ce to a description of a performance he witnessed at the theatre in Lincoln's Inn Fields, dwelling especially upon the skill of an actor who personated an old man. ”He who acted the old man executed it to the nicest perfection which one could expect in no player who had not forty years' experience.... I made no manner of doubt of his being an old comedian, who, instructed by long experience, and, at the same time, a.s.sisted by the weight of years, had performed it so naturally. But how great was my surprise when I learned that he was a young man of about twenty-six! I could not believe it; but I owned that it might be possible had he only used a trembling and broken voice, and had only an extreme weakness possessed his body, because I conceived it possible for a young actor, by the help of art, to imitate that debility of nature to such a pitch of exactness; but the wrinkles of his face, his sunken eyes, and his loose and yellow cheeks, the most certain marks of a great old age, were incontestable proofs against what they said to me.

Notwithstanding all this I was forced to submit to truth, because I know for certain that the actor, to fit himself for the part of the old man, spent an hour in dressing himself, and that, with the a.s.sistance of several pencils, he disguised his face so nicely and painted so artificially a part of his eyebrows and eyelids, that, at the distance of six paces, it was impossible not to be deceived. I was desirous to be a witness of this myself, but pride hindered me; so, knowing I must be ashamed, I was satisfied with a confirmation of it from other actors. Mademoiselle Salle, among others, who then shone upon that stage, confessed to me that the first time she saw him perform she durst not go into a pa.s.sage where he was, fearing lest she should throw him down should she happen to touch him in pa.s.sing by.”

a.s.suredly a more successful make-up than this could not be desired. In conclusion, Signor Riccoboni flatters himself that his reference to this matter may not be thought altogether useless; ”it may let us know to what an exactness the English comedians carry the imitation of nature, and may serve for a proof of all that I have advanced of the actors of the English theatre.”

Dogget, the old comedian of Queen Anne's time--to whom we owe an annual boat-race upon the Thames for a ”coat and badge,” and, inferentially, the popular burletta of ”The Waterman”--was remarkably skilful, according to Colley Cibber, ”in dressing a character to the greatest exactness ... the least article of whatever habit he wore seemed to speak and mark the different humour he represented; a necessary care in a comedian, in which many have been too remiss or ignorant.” This is confirmed by another critic, who states that Dogget ”could with the greatest exactness paint his face so as to represent the ages of seventy, eighty, and ninety, distinctly, which occasioned Sir G.o.dfrey Kneller to tell him one day at b.u.t.ton's Coffee House, that 'he excelled him in painting, for that he could only paint from the originals before him, but that he (Dogget) could vary them at pleasure, and yet keep a close likeness.'” In the character of Moneytrap, the miser, in Vanbrugh's comedy of ”The Confederacy,”

Dogget is described as wearing ”an old threadbare black coat, to which he had put new cuffs, pocket-lids, and b.u.t.tons, on purpose to make its rusticness more conspicuous. The neck was stuffed so as to make him appear round-shouldered, and give his head the greater prominency; his square-toed shoes were large enough to buckle over those he wore in common, which made his legs appear much smaller than usual.”

Altogether, Mr. Dogget's make-up appears to have been of a very thorough and artistic kind.

Garrick's skill ”in preparing his face” has been already referred to, upon the authority of Mr. Waldron. From the numerous pictures of the great actor, and the accounts of his histrionic method furnished by his contemporaries, it would seem, however, as though he relied less upon the application of paint than upon his extraordinary command of facial expression. At a moment's notice he completely varied his aspect, ”conveying into his face every possible kind of pa.s.sion, blending one into another, and as it were shadowing them with an infinite number of gradations.... In short,” says Dibdin, ”his face was what he obliged you to fancy it: age, youth, plenty, poverty, everything it a.s.sumed.” Certainly an engraved portrait of Garrick as Lear, published in 1761, does not suggest his deriving much help from the arts of making-up or of costume. He wears a short robe of velvet, trimmed with ermine, his white wig is disordered and his s.h.i.+rt-front is much crumpled; but otherwise his white silk hose, lace ruffles, high-heeled shoes and diamond buckles, are more appropriate to Sir Peter Teazle than to King Lear. And as much may be said of his closely-shaven face, the smooth surface of which is not disturbed by the least vestige of a beard. Yet the King Lears of later times have been all beard, or very nearly so. With regard to Garrick's appearance in the part of Lusignan, Davies relates how, two days before his death, the suffering actor, very wan and sallow of countenance, slow and solemn of movement, was seen to wear a rich night-gown, like that which he always wore in Lusignan, the venerable old king of Jerusalem; he presented himself to the imagination of his friend as if he was just ready to act that character.

Charles Mathews, the elder, no doubt possessed much of Garrick's power of changing at will his facial aspect. At the theatre of course he resorted to the usual methods of making-up for the part he played; but the sudden transformations of which his ”At Homes” largely consisted were accomplished too rapidly to be much a.s.sisted by pencilling the face, as were indeed the feats he sometimes accomplished in private circles, for the entertainment of his friends. In the biography of her husband, Mrs. Mathews relates how his advice was once sought by G.o.dwin the novelist, just before the publication of his story of ”Cloudesly,”

on a matter--the art of making-up--the actor was held to have made peculiarly his own. G.o.dwin wrote to him: ”My dear Sir,--I am at this moment engaged in writing a work of fiction, a part of the incidents of which will consist in escapes in disguises. It has forcibly struck me that if I could be indulged in the pleasure of half-an-hour's conversation with you on the subject, it would furnish me with some hints, which, beaten on the anvil of my brain, would be of eminent service to me on the occasion,” &c. A meeting was appointed, and, at an early date the author dined at the actor's cottage. G.o.dwin, anxious not to outrage probability in his story, sought information as to ”the power of destroying personal ident.i.ty.” Mathews a.s.sumed several disguises, and fully satisfied his visitor upon the point in question.

”Soon after,” writes Mrs. Mathews, ”a gentleman, an eccentric neighbour of ours, broke in upon us as Mr. G.o.dwin was expressing his wonder at the variety of expression, character, and voice of which Mr.

Mathews was capable. We were embarra.s.sed, and Mr. G.o.dwin evidently vexed at the intruder. However, there was no help for it; the servant had admitted him, and he was introduced in form to Mr. G.o.dwin. The moment Mr. Jenkins (for such was his name) discovered the distinguished person he had so luckily for him dropped in upon, he was enthusiastically pleased at the event, talked to Mr. G.o.dwin about all his works, inquired about the forthcoming book--in fact, bored him through and through. At last the author turned to my husband for refuge against this a.s.sault of admiration, and discovered that his host had left the room. He therefore rose from his seat and approached the window leading to the lawn, Mr. Jenkins officiously following, and insisting upon opening it for him; and while he was urging a provokingly obstinate lock, the object of his devoted attention waited behind him for release. The cas.e.m.e.nt at length flew open, and Mr.

G.o.dwin pa.s.sing the gentleman with a courteous look of thanks, found to his astonishment that Mr. Jenkins had disappeared, and that Mr.

Mathews stood in his place!” Students of ”Cloudesly” may discover therein the result of G.o.dwin's interview with Mathews, and their discussion concerning the art of making-up and disguise.

Some fifty years ago Mr. Leman Thomas Rede published ”The Road to the Stage, a Player's Vade-Mec.u.m.” setting forth, among other matters, various details of the dressing-rooms behind the curtain. Complaint was made at the time that the work destroyed ”the romance of the profession,” and laid bare the mysteries of the actor's life, such as the world in general had small concern with. But Mr. Rede's revelations do not tell very much; at any rate, the secrets he deals with have come to be things of common knowledge. Nor are his instructions upon the art of making-up to be accounted highly in these times. ”Light-comedy calves,” he tells us, ”are made of ragged silken hose;” and what may be called ”Oth.e.l.lo's blacking,” is to be composed of ”burnt cork, pulverised and mixed with porter.” Legs coming before the foot-lights must of course be improved by mechanical means, when nature has been unkind, or time has destroyed symmetry; but art has probably discovered a better method of concealing deficiencies than consists in the employment of ”ragged silken hose.” The veteran light comedian, Lewis, who at a very advanced age appeared in juvenile characters, to the complete satisfaction of his audience, was famed for his skill in costume and making-up. But one night, a roguish actress, while posted near him in the side-wings, employed herself in converting one of his calves into a pincus.h.i.+on. As soon as he discovered the trick, he affected to feel great pain, and drew up his leg as though in an agony; but he had remained too long unconscious of the proceeding to persuade lookers-on of the genuineness of his limb's symmetry. With regard to Oth.e.l.lo's complexion, there is what the Cookery Books call ”another way.” Chetwood, in his ”History of the Stage,” 1749, writes: ”The composition for blackening the face are (_sic_) ivory-black and pomatum; which is with some pains cleaned with fresh b.u.t.ter.” The information is given in reference to a performance of Oth.e.l.lo by the great actor Barton Booth. It was hot weather, and his complexion in the later scenes of the play had been so disturbed, that he had a.s.sumed ”the appearance of a chimney-sweeper.” The audience, however, were so impressed by the art of his acting, that they disregarded this mischance, or applauded him the more on account of it. On the repet.i.tion of the play he wore a c.r.a.pe mask, ”with an opening proper for the mouth, and shaped in form for the nose.” But in the first scene one part of the mask slipped so that he looked ”like a magpie.” Thereupon he was compelled to resort again to lamp-black. The early Oth.e.l.los, it may be noted, were of a jet-black hue, such as we now find on the faces of Christy Minstrels; the Moors of later times have been content to paint themselves a dark olive or light mahogany colour. But a liability to soil all they touch has always been the misfortune of Oth.e.l.los. There was great laughter in the theatre one night when Stephen Kemble, playing Oth.e.l.lo for the first time with Miss Satch.e.l.l as Desdemona, kissed her before smothering her, and left an ugly patch of soot upon her cheek. However, as Miss Satch.e.l.l subsequently became Mrs. Stephen Kemble, it was held that sufficient amends had been made to her for the soiling she had undergone.

Another misadventure, in regard to the complexion of Shakespeare's Moor, has been related of an esteemed actor, for many years past attached to the Haymarket Theatre. While but a tyro in his profession, he had undertaken to appear as Oth.e.l.lo, for one night only, at the Gravesend Theatre. But, not being acquainted with the accustomed method of blackening his skin, and being too nervous and timid to make inquiry on the subject, he applied to his face a burnt cork, simply.

At the conclusion of the performance, on seeking to resume his natural hue, by the ordinary process of was.h.i.+ng in soap and water, he found, to his great dismay, that the skin of his face was peeling off rather than the colour disappearing! The cork had been too hot by a great deal, and had injured his cuticle considerably. With the utmost haste, although announced to play Hamlet on the following evening, the actor--who then styled himself Mr. Hulsingham, a name he forthwith abandoned--hired a post-chaise and eloped from Gravesend.

Making-up is in requisition when the performer desires to look either younger or older than he or she really is. It is, of course, with the first-named portion of the art that actresses are chiefly concerned, although the beautiful Mrs. Woffington, accepting the character of Veturia in Thomson's ”Coriola.n.u.s,” did not hesitate to a.s.sume the aspect of age, and to paint lines and wrinkles upon her fair face. But she was a great artist, and her loveliness was a thing so beyond all question that she could afford to disguise it or to seem to slight it for a few nights; possibly it shone the brighter afterwards for its brief eclipse. Otherwise, making-up pertains to an actor's ”line of business,” and is not separable from it. Once young or once old he so remains, as a rule, until the close of his professional career. There is indeed a story told of a veteran actor who still flourished in juvenile characters, while his son, as a matter of choice, or of necessity, invariably impersonated the old gentlemen of the stage. But when the two players met in a representation of ”The Rivals,” and Sir Anthony the son, had to address Captain Absolute the father, in the words of the dramatist: ”I'll disown you; I'll unget you; I'll never call you Jack again!” the humour of the situation appealed too strongly to the audience, and more laughter than Sheridan had ever contemplated was stirred by the scene.