Read Ebook: Henry Irving's Impressions of America Narrated in a Series of Sketches Chronicles and Conversations by Hatton Joseph

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Ebook has 1486 lines and 137363 words, and 30 pages

"I don't know what you mean; but, if what she says is true, it is wickeder, any way. You do not say that it is all false about his banquets to the aristocracy, his royal receptions? What about the Prince of Wales, then, and Lord Beaconsfield and Mr. Gladstone and the Poet Laureate visiting him? And his garden parties and the illuminations at night, parterres of flowers mixed up with colored lamps, his collections of rhododendrons and his military bands?"

"I have never crossed the Atlantic."

"Your little English friend evidently knows the Botanical well."

"She is acquainted with everything and everybody in London. I wish she were here now. Perhaps she knows a little more than some of Mr. Irving's friends care to admit."

"Does she know Mr. Irving?"

"She knows his house."

"No, sir; by the Thames."

"One comes from home to hear news. Will you not tell us all about it, then?"

"No, I will not. I think you are positively rude; but that is like you English. There, I beg your pardon; you made me say it. But, seriously now, is not Mr. Irving as rich as--"

"Claude Melnotte?"

"No; Crsus, or Vanderbilt, or Mackay? And does he not live in that palace, and have crowds of servants, and visit with the court and the aristocracy? Why, I read in the papers myself, quite lately, of an estate he had bought near, let me see,--is there such a place as Hammersmith?"

"Yes."

"Is that on the Thames?"

"Yes, more or less."

"Well, then, is that true? More or less, I suppose. You are thinking how inquisitive I am. But you started the subject."

"Did I?"

"You said he lives in chambers."

"I answered your own question."

"Beautiful! But if there is a mystery about it, what of those gorgeous receptions?"

"Oh, don't ask me questions. It is I who am seeking for information. There is no public person in the world just at this moment in whom I take a deeper interest. If he were not coming to America I should have been obliged to go to London, if only to see what you call a first night at the Lyceum. We read all about these things. We are kept well informed by our newspaper correspondents--"

"And your little English friend."

"Yes, she writes to me quite often."

"Well, now I will tell you the truth about that palace on the Thames," I said.

"Ah! he confesses," exclaimed the bright little lady, whose friends suspect her of writing more than one of the famous American novels.

An interested and interesting group of ladies and gentlemen brought their chairs closer to the conversational centre of the company.

"A few years ago, Irving and a friend, strolling through the purlieus of Brook Green , towards Hammersmith, saw a house to be sold. It was low and dilapidated, but it had an old-fashioned garden, and the lease was offered at a small sum. Irving knew the house, and he had a mind to examine its half-ruined rooms. He did so, and concluded his investigation by buying the lease. It cost him about half the money you would pay for an ordinary house off Fifth avenue, in New York; less than you would pay for a house in Remsen street, Brooklyn; in Michigan avenue, Chicago; or in Commonwealth avenue, Boston. Since then it has been one of his few sources of amusement to lay out its garden, to restore the old house and make it habitable. It is a typical English home, with low red roofs, ancient trees, oaken stairs, and a garden with old-fashioned flowers and fruit in it; but it is the home of a yeoman rather than a prince, the home of a Cincinnatus rather than the palace of an Alcibiades. The staff of servants consists of a gardener and his wife, and I have been present at several of the owner's receptions. The invitation was given in this wise: 'I am going to drive to the Grange, on Sunday afternoon,--will you bring your wife, and have a cup of tea?' And that described the feast; but Irving, looking at his gilliflowers and tulips, watching the gambols of his dogs, and discussing between whiles the relative cost of carpets and India matting, illustrated the truth of the philosophy, that there is real recreation and rest in a mere change of occupation. Those persons who tell you that Irving's tastes are not simple, his private life an honor to him, and his success the result of earnestness of purpose, clearness of aim, deep study and hard work, neither know him nor understand how great a battle men fight in England, who cut their way upwards from the ranks, to stand with the highest at head-quarters."

Quite a round of applause greeted this plain story.

"Why, my dear sir," exclaimed my original interlocutor, "I am right glad to hear the truth. Well, well, and that is Mr. Irving's real home, is it? But I thought you said he lives in chambers."

"One day he hopes to furnish and enjoy the simplicity and quiet of that cottage in a garden, four miles from his theatre; but he still lives, where he has lived for a dozen years or more, in very unpretentious rooms in the heart of London."

And now, courteous reader, come straightway into this little company of the friendly and the curious, and I will show you where Henry Irving lived until he set sail for America, and you shall hear him talk about his art and his work; for my good friend, the editor of "Harper's Magazine," commissioned me to describe the famous English actor at home, and here is the result:--

AT the corner of Grafton street, where the traffic of a famous West End artery ebbs and flows among picture exhibitions and jewelry stores, lives the most popular actor of his time. It is a mysterious-looking house. The basement is occupied by a trunk store. From the first floor to the top are Mr. Henry Irving's chambers. They present from the outside a series of dingy, half-blind windows that suggest no prospect of warmth or cheer. "Fitting abode of the spirit of tragic gloom!" you might well exclaim, standing on the threshold. You shall enter with me, if you will, to correct your first impressions, and bear testimony to the fact that appearances are often deceptive.

It is a frank smile that greets us as the actor enters and extends his long, thin hand. I know no one whose hand is so suggestive of nervous energy and artistic capacity as Irving's. It is in perfect harmony with the long, expressive face, the notably aesthetic figure!

"You want to talk shop," he says, striding about the room, with his hands in the pockets of his loose gray coat. "Well, with all my heart, if you think it useful and interesting."

"I do."

"May I select the subject?"

"Yes."

"Then I would like to go back to one we touched upon at your own suggestion some months ago."

"An actor on his audiences?"

"Agreed. I will 'interview' you, then, as they say in America."

"Well, then, as I think I have said before when on this subject, there has always appeared to me something phenomenal in the mutual understanding that exists between you and your audiences; it argues an active sympathy and confidence on both sides."

"That is exactly what I think exists. In presence of my audience I feel as safe and contented as when sitting down with an old friend."

"In what part do you feel most at home with your audience, and most certain of them?"

"Well, in Hamlet," he replied, thoughtfully.

"Has that been your greatest pecuniary success?"

"Yes."

"What were the two unprecedented runs of 'Hamlet'?"

"You believe, then, that merit eventually makes its mark, in spite of professional criticism, and that, like Masonic rituals, the story of success, its form and pressure, may go down orally to posterity?"

"I believe that what audiences really like they stand by. I believe they hand down the actor's name to future generations. They are the judge and jury who find the verdict and pronounce sentence. I will give you an example in keeping with the rapid age in which we live. I am quite certain that within twelve hours of the production of a new play of any importance all London knows whether the piece is a success or a failure, no matter whether the journals have criticised it or not. Each person in the audience is the centre of a little community, and the word is passed on from one to the other."

"What is your feeling in regard to first-night audiences, apart from the regular play-going public? I should imagine that the sensitive nature of a true artist must be considerably jarred by the knowledge that a first-night audience is peculiarly fastidious and sophisticated."

"Detraction and malicious opposition are among the penalties of success. To be on a higher platform than your fellows is to be a mark for envy and slander," I answered, dropping, I fear, into platitude, which my host cut short with a shrug of the shoulders and a rapid stride across the room.

It was an artistic casket, in which was enshrined what looked like a missal bound in carved ivory and gold. It proved, however, to be a beautifully bound book of poetic and other memorials of Charles the First, printed and illustrated by hand, with exquisite head and tail pieces in water-colors, portraits, coats-of-arms, and vignettes, by Buckman, Castaing, Terrel, Slie, and Phillips. The work was "imprinted for the author at London, 30th January, 1879," and the title ran: "To the Honor of Henry Irving: to cherish the Memory of Charles the First: these Thoughts, Gold of the Dead, are here devoted." As a work of art, the book is a treasure. The portraits of the Charleses and several of their generals are in the highest style of water-color painting, with gold borders; and the initial letters and other embellishments are studies of the most finished and delicate character.

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