Some eminent Victorians: Personal recollections in the world of art and lettersCarr, J. Comyns (Joseph Comyns)
General
Some eminent Victorians: Personal recollections in the world of art and letters
Carr, J. Comyns (Joseph Comyns)
Art, Victorian; English literature -- 19th century; Great Britain -- Intellectual life -- 19th century
Henley was hardly prepared for such an invitation, and as we sat in
expectation of what he would have to say, it was easy to perceive that
the critic’s destructive method, which at that time was uppermost in
him, could not suddenly readjust itself to the task of offering any
coherent appreciation of the character which Irving, according to his
allegation, had misinterpreted.
Irving was notoriously skilful in this kind of combat. He was patient in
the endurance of any slight which he conceived to be passed upon his
work as an actor, but his patience was never forgetful, and when the
hour came, however long it might have been delayed, when he thought
that he could claim his own, he was wont to strike mercilessly.
I remember an incident concerning myself, belonging to the earlier
stages of our friendship. It was after the conclusion to a dinner of the
Rabelais Club, when he invited several of us to adjourn to his rooms in
Grafton Street for a final cigar. I was very cordially bidden to be of
the company, little guessing that he had selected this particular
occasion to single me out as the mark of his disapproval. When we were
all comfortably seated round him, and he was reclining deep in his chair
in an easy attitude that I afterwards learned to know was nearly always
ominous, he threw out for our discussion a proposition in regard to
which we could not fail to find ourselves unanimous.
“Now, talking among friends,” he said, “I suppose that you would all
agree that criticism ought to be fair?”
With no possible exception we were all loudly enthusiastic in assent.
“Quite so,” replied Irving, in the same dispassionate and measured
tones. “Well, then,” he continued, in a voice somewhat threateningly
raised but still carefully controlled, “there is a criticism I have read
in a magazine called _The Theatre_ about a play of mine. Very clever!”
And then with sudden vehemence, pointing to me, he added, “You wrote
it!”
“Do you mean,” I inquired, “the article on _Iolanthe_?”--an adaptation
by W. G. Wills of _King Rene’s Daughter_ which had recently been
presented at the Lyceum. “Yes, I wrote it!”
“Quite so,” returned Irving, his voice now rising in a tenser strain.
“Well, nothing more unfair and more unjust has ever been written.”
I was young enough then not to be unmoved by this sudden and unexpected
onslaught, but I summoned the courage to ask him, in reply, if the
magazine was in the room. I saw as I spoke that it was lying on the
table, and I asked him, as the article was short, if he would allow me
to read it to those of my fellow-critics who were present, some of whom
might fairly be supposed to be unaware of its import.
Irving could not, of course, but assent to my demand, but when I had
concluded he appealed with even greater vehemence to those who were
present in justification of what he had already said.
“You see! You see!” he cried. “Not one word about me!”
Public-domain text, read in full here on John Shaqi.
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