Blackwood's Edinburgh Magazine, Volume 71, No. 437, March 1852Various
General
Blackwood's Edinburgh Magazine, Volume 71, No. 437, March 1852
Various
England -- Periodicals; Scotland -- Periodicals
I saw nothing of Catsbach for a whole week, but continued my
study of Hamlet, in perfect reliance that the so long wished-for
opportunity was at hand. Miss Claribel also was very constant at
our rehearsals. My mother's delight and admiration of us both knew
no bounds; but though she still wept at Ophelia, it was evident
that the philosophic Dane was her favourite. In gratitude for my
exertions to revenge my father's death, she forgave any little
demonstration of rudeness I made towards the Queen; and indeed
was always greatly rejoiced when I shook the cushion out of the
arm-chair in the energy of my expostulation with that ancient piece
of furniture, which generally did duty for the wicked Gertrude. In
fact, nothing could go off better than the whole play; and boxes,
pit, and gallery, all represented by one enraptured spectator,
were unanimous in their applause. There was one of the performers,
however, who did not seem to share in the enthusiasm. Miss Claribel
appeared discontented with the effects of her finest points, and
began to hint her doubts as to our ultimate success. "The words are
perfect in both of us," she said, "the actions appropriate, and all
Hamlet's own instructions to the players scrupulously obeyed"--
"Well," I interrupted, "what is there to fear? You see how our
audience here is affected."
"It is that very thing that gives me uneasiness. Nature on the
stage is quite different from nature off it. Whether it ought to
be so or not, I don't know; but it is so, and that is enough. We
give the passion of these characters as they affect ourselves, but
a real actor must give them as they affect others. We ought to
study the perspective of grief or rage, and give it so as to be
seen in the true light, not where Mrs de Bohun is sitting on that
sofa, but where crowds are seated at the farther end of a theatre;
and therefore the great and almost insurmountable difficulty of a
tragedian is to keep such a proportion in his performance as not to
appear absurdly exaggerated to people close at hand, or ridiculously
tame to the more distant spectators."
"You would, then, act by an inspiration from without, and not from
the divine fire within?" I answered, with a tone of indignation.
Public-domain text, read in full here on John Shaqi.
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