Drama -- History and criticism; English essays -- 20th century; Literature -- History and criticism
“An adaptation from the French _Nos Intimes_—not over-moral, but fairly
transmogrified from the original, and cleverly acted in the chief part—a
woman whom, I doubt not, you, an _habituée_ of the drama, know very
well, but quite new to me. Now she is married, but she was a sister
of Robertson, the playwright. She had evidently studied in the French
school. The whole was good and the theatre was ventilated; so I did not
feel exhausted, and was rather amused, and shd. rather have enjoyed
myself had not the bad news thrown its dark shadow over one’s haunted
consciousness....”
Mrs. Kendal’s training was, I fancy, entirely English, but her acting
was on a level with the best of “the French school.” Disraeli was an old
admirer of French acting, as we know from “Coningsby,” and I think it is
pretty clear from the same source that he particularly liked Déjazet. For
he had Déjazet in mind, I guess, in the member of Villebecque’s troop of
French comedians engaged for the delectation of Lord Monmouth, “a lady
of maturer years who performed the heroines, gay and graceful as May.”
This was the lady, it will be remembered, who saved the situation when
Mlle. Flora broke down. “The failure of Flora had given fresh animation
to her perpetual liveliness. She seemed the very soul of elegant frolic.
In the last scene she figured in male attire; and in air, fashion,
and youth beat Villebecque out of the field. She looked younger than
Coningsby when he went up to his grandpapa.” This is Déjazet to the life.
The whole episode of the French players in “Coningsby” shows Disraeli
as not only an experienced playgoer but a connoisseur of the theatre.
His description of the company is deliciously knowing—from the young
lady who played old woman’s parts, “nothing could be more garrulous and
venerable,” and the old man who “was rather hard, but handy; could take
anything either in the high serious or the low droll,” to the sentimental
lover who “was rather too much bewigged, and spoke too much to the
audience, a fault rare with the French; but this hero had a vague idea
that he was ultimately destined to run off with a princess.”
Public-domain text, read in full here on John Shaqi.
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