Pictorial Shakespeare, 1880-1890 - eTheses Repository - University ...

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42 At times this approach leads the author into detailed and sensitive analyses of passages of the text, at times into paragraphs of self-satisfaction and self-congratulation. After observing that the performance of Rosalind allowed her to -ive "full expression" to what was best in herself, as well as in her art, she continues: It was surely a "trange perversion which, we read, assigned Rosalind, as at one time it had assigned Portia, to actresses whose strength lay only in comedy. Even the joyous, boyant side of her nature could hardly have justice done to it in their hands; for that is so inextricably mingled v.ith deep womanly tenderness, with an active intellect disciplined with fine culture, a,', .veil as tempered by a certain native distinction, that a mere comedian could not give the true tone and colouring even to her playfulness and ;:it. (p.236) The implication that Helen Paucit possessed all these gifts is clear. In her accounts of performance Helen Paucit often claims that her degree of identification with the character was so great as to nove not only the audience but fellow-actors and the actress herself: best-known among such passages is that describing her playing Herraione to Macready's Leontes, but similar reminders of her involvement with the heroines are found throughout the book. Thus, among general reflections on the art of acting, towards the end of the letter on Beatrice, the author argues against the taking of calls during the performance of a play: It was ever my desire to forget ny audience. Little did they, v;ho only meant Irinclness, know how much they took fro,, my oov;er of workin ; out my conceptions when they forced nc in this v;ay out of my dream-world. /^ 332-3) Realistic staging was another obstacle to the v.-orking out of the conception - an "ideal" theatre was preferable to a realistic one. She does not go so far as to propoae a return to the techniques of Elizabethan staging, but prefers scenery to be kept in its plrce: ...oh how refreshing- it i- to have your thoughts centred upon such h.j-nan beings as oh,:kespeare drew, each phase of their characters
4 O J before you, , ith ell their joys, their woes, their .'flections, sufferings, passions, instead of the irr:ove:blo upholstery and p&intuci simulations of reality in which the modern fashion takes deli,_htl (Imogen 1 ,p.l66) acready knev/ the vc lue of illusion, but kept it appro .ri, tely subordinate to "the arc nu tic interest 11 ( 'i'.eetrice' , p. 334). In her ^pprecic.tion oi painting is found comparable cesire to sllov. the cro;n world full freedom: p cii; ry entry, for January 16, lt.63, describes & visit to the Burlington ballery. There she admired "some of the old mrsters", together .ith
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p o , PICTORIAL SHAKESPEARE, 1880-1
Page 3 and 4:
SYNOPSIS This thesis ie in two volu
Page 5 and 6: VOLU.TE 0:iE Pace. Introduction i A
Page 7 and 8: 11 of habits and jnnmivra, and ic h
Page 9 and 10: IV ACKHOWL.EnGEM PMT S I am gratefu
Page 11 and 12: vi 16 .^ccne from Daly's production
Page 13 and 14: In 1882 J.M.Stoddart, a Philadelphi
Page 15 and 16: artistic achievement is considerabl
Page 17 and 18: is of cource and obviously removed
Page 19 and 20: similar kind sought for the restora
Page 21 and 22: 11 in the earliest dawn of literatu
Page 23 and 24: 13 all conventional circles. It was
Page 25 and 26: and in Gothic times": In tho;:e tii
Page 27 and 28: Illustration 1 (b) Hughes, April Lo
Page 29 and 30: Illust ation 2 (b) Wate timiBe T Th
Page 31 and 32: 17 Moore's independence took him to
Page 33 and 34: 19 fetishism and the worship of lit
Page 35 and 36: 21 felt to be essential in evoking
Page 37 and 38: 23 the now movement was advocated a
Page 39 and 40: 25 the wrong effect in a room, wher
Page 41 and 42: 27 Chapter Two SHAKESPEARE CRITICIS
Page 43 and 44: 29 possesses - and Mr Swinburne, th
Page 45 and 46: 31 T '..e recognise the speech of t
Page 47 and 48: ihis tells us nv ch more about £>.
Page 49 and 50: 35 (XVII .LGO-Lll,) . The Irving re
Page 51 and 52: 37 This is a typical Wildean parado
Page 53 and 54: 39 autocrat "not merely should desi
Page 55: 41 series of "efforts to interpret
Page 59 and 60: iv. waiter ?at,er«n Pater publishe
Page 61 and 62: 47 This view is re^-examined by the
Page 63: 49 This description might be of the
Page 66 and 67: 52 Henry V exhibits a contrast betw
Page 68 and 69: 54 an air of grave thought, of an i
Page 70 and 71: 56 Our firot question with regard t
Page 72 and 73: 58 It has been suggest ed that one
Page 74 and 75: 60 would earn "not more than £1,50
Page 76 and 77: 62 hero* a faithful wife, and Geoff
Page 78 and 79: 64 two procoedures can bo observed:
Page 80 and 81: 66 speeches and tableaux. This was
Page 82 and 83: great a coincidence that Eva should
Page 84 and 85: 70 aa well r.a to the theatre", but
Page 86 and 87: 72 ing Ruth Holt and speaking with
Page 88 and 89: 74 I note, by the bye, that Sweet L
Page 90 and 91: 76 were produced, twelve of them re
Page 92 and 93: 78 These changes in the way in whic
Page 94 and 95: Clayton in hie speech on the closin
Page 96 and 97: 82 palled on many observers - the c
Page 98 and 99: 84 maintain itself on its intellect
Page 100 and 101: 66 were "becoming so nict and gente
Page 102 and 103: 88 in the course of the century the
Page 104 and 105: PART 2-.VO The Production of Shakes
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9? On flarch -°4» 1874 reward Fit
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published a collection of Essays in
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96 who did can hardly have been una
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Aquarium" (p»15). Against this may
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-00 pictures: but always \vithout a
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102 of the three major "new" plays,
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Illustration 3 Following p.103 Elle
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105 tiat selects one episode from a
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107 The virtues of Irving*s stagecr
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109 the picturesque grappling in a
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Illust ation Ellen Terry as Lady Ma
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Ill up to i'Tacbeth and his vdfc -
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113 the inadequacy of his voice. Ar
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115 to be calm" when the ncv/s of C
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117 here", and folding his arras at
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119 of events, by the urgency of th
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Illustration 6 Following p.120
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122 to the ba.ok a grcnd effect is
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124 by the Doctor and "ihc Gentlewo
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126 Macbeth woo in continuous perfo
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128 SCliilE PAi;,-,i;rt t DESI&ITER
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130 Between 18?4 and 1875 Godwin ha
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132 The solution of this unadifying
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1..4 Alhainbra Theatre in December
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136 but ac. an architect and interi
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138 in the flcah the customs of t:i
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140 each of the plays in the Shakes
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142 the beauty of proportion, and t
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144 The etc c-Li;'ru'êraent of the
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146 considerable diplomacy in ceali
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148 We hope we are doing Sir iûire
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150 Chapter Three GODWIN, ..ILuOIi
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152 approval of literote and intel
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haa never been genarous to the Bard
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155 adornments, bold embroideries,
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156 good nctor" in modern comedy, w
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en rt- SB rt- O VJ1 •O
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-U9 Sola i i his Illustrated London
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lol an unusual chill in the air, wh
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' Captious Critic found him incongr
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signals to each, other surropticiou
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167 and would appear, from the prom
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109 "paddock" (Theoualrl*s emendati
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I O 1 o 0 Q 3 f* ; n « o o » § 6
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173 After learning of Polonius's mu
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; cl:ed u vt.'co t •.v;r.rc1 c a
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177 spade and lade ?r, evidently fo
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179 was current in the years of the
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11 Laciec and C-c: blcmon, - I woul
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1-3 ions to all and sundry. The pla
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165 Chapter Four. k-JiibHi£LD Arii
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To iill the Vc cant position - assu
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169 oi the early 'eighties often sh
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evidence in Ingomar (a play he admi
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193 Lady of Lyons would be retained
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195 by ? roviv.' 1 oi ty^n; lion,,
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197 (according to the interview) on
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199 period at all" and th
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201 not been token into account in
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203 the fray. Enter three or four c
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. Illust ation 10 Following p. 20k
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206 The first misfortune of the eve
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208 the back a row of three rounded
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210 notes the t "there seens little
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absent in both. Fron the balcony uo
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214 good deal". The Illustrated s_p
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216 £i:c! DIVJ obse ver useci "arc
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... .'lien Ju'ici, ;".s picked u by
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ia t.-is scene. In c; be f L.n ac-r
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2; 2 "picture" i^ruc as to ; ct-c'r
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c cy oi Subr, s ion all the no re s
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26 . to• orô the spocc t:>r..:>
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Uiot belor-/". 'iho i.t i'iy ,.o _o
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230 oi lc%uo lor icorôo tnu the re
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232 arausea . The merry-anarew" - G
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234 comings, the new Romeo and Juli
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236 On January 4, 1884 The Times ha
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c-38 propoial to present Browning's
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240 for 1884" (5 January 1884): Ret
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242 It was A%% to be exoccted that
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None of this was of avail: reviewer
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246 few stage-directions, and some
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248 to "Mr David James's chick-a-le
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250 "Master, co on, and I will foll
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TI-, 4. 4.-«« n Following p.251 .
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253 not enthusiastic, is often kind
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Illustration 12 Mr and Mrs Kendal a
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256 she delivered "0 oninous.J He c
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258 It v/rxc p..T-b of a rtr-tcLy o
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260 ohakoapc.-re seemed to have bee
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262 -c.ky 'h t 2 June 1804). In 100
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264 wary Andersen's p.-oOuction of
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266 at home in her part. "\v. .A."
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268 at first. Peovlc must rrov; e.c
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P70 inforn- ti-»n ;v.-c rot ^r-.a^
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272 he mentioned those used in the
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274 of fifty-six minutes. The brief
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276 F.H. K c din, as Polixenes, \vr
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277 moved towards her. Tier next 1
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its early speeches the actress "see
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261 i-Ievs, he a scared "bright and
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282 laughter and nur.ic v/eie heard
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Ha, ha, what a fool honesty is} I p
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-Illustration 15 — Mary Anderson
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287 at 103 - "You perceive she stir
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artistic predilection* to the theat
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291 Chaoto Seven : Th£ 1888-9 Sti
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293 magnificent thon sensitive; but
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295 written by Shakespeare wrs appr
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297 in a supposedly riliz&bethan ma
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Illust ation 16 Following p.298 Sce
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300 degree of refinement and intell
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302 iii. Beerbohm Tree and The Merr
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304 actor; never yet that Nature ha
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306 rushing water" in the forest wh
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308 ibleS. Lady Tree wrote th,-1 he
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310 original. Daniel BancJmai.n had
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312 i ct Two 1 ay 1471 l.The Roaci
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ecorded Mansfield f L, business in
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316 any specific ccscrijtion oi the
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318 Hichara "r. t er hysteric*. 1",
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320 his ctrêr, and his rationalisa
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322 hen he conies we h pj he ,111 h
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324 in the use of unit sets, styliz
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are vlthin reach of ell, the old sy
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328 to the new stagecraft. Archer a
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330 and the fairies performed an el
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to provide a repertory theatre in L
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334 To a society which had made a c
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Her public readings, and the reviva
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338 aioting of two short scenes in
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340 greeted with a chorus of catcal
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34; Mrs Langtry again engaged Wingf
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344 virtue of his voice more than b
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proper person - one almost expected
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Illust:ation 18 Mrs Langtry as Cleo
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343 of the preparations for the bat
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35 J was left to the audience's pow
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352 unable to deny some power in Mr
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oversight of \vin,cfield's, or did
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356 The actress should take for gra
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"Isn't she Itoyall" "Isn't she " sn
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360 'illir.i Poel's collection of e
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362 lost in retrospect by contrast
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364 Artist (1087), but the emotiona
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SONDERDRUCK DEUTSCHE SHAKESPEARE-GE
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Designer and Director: E. W. Godwin
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Page 404 and 405:
Page 406 and 407:
Page 408 and 409:
Page 410 and 411:
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