but because of its perfect consistency with itself. As the animal-painter said of his favourite picture of rabbits that there was more nature about those rabbits than you usually found in rabbits, so it may be said of Mr. Fechter's Hamlet, that there was more consistency about that Hamlet than you usually found in Hamlets. Its great and satisfying originality was in its possessing the merit of a distinctly conceived and executed idea. From the first appearance of the broken glass of fashion and mould of form, pale and worn with weeping for his father's death, and remotely suspicious of its cause, to his final struggle with Horatio for the fatal cup, there were cohesion and coherence in Mr. Fechter's view of the character. Devrient, the German actor, had, some years before in London, fluttered the theatrical doves considerably, by such changes as being seated when instructing the players, and like mild departures from established usage; but he had worn, in the main, the old nondescript dress, and had held forth, in the main, in the old way, hovering between sanity and madness. I do not remember whether he wore his hair crisply curled short, as if he were going to an everlasting dancing-master's party at the Danish court; but I do remember that most other Hamlets since the great Kemble had been bound to do so. Mr. Fechter's Hamlet, a pale, woebegone Norseman with long flaxen hair, wearing a strange garb never associated with the part upon the English stage (if ever seen there at all) and making a piratical swoop upon the whole fleet of little theatrical prescriptions without meaning, or, like Dr. Johnson's celebrated friend, with only one idea in them, and that a wrong one, never could have achieved its extraordinary success but for its animation by one pervading purpose, to which all changes were made intelligently subservient. The bearing of this purpose on the treatment of Ophelia, on the death of Polonius, and on the old student fellowship between Hamlet and Horatio, was exceedingly striking; and the difference between picturesqueness of stage arrangement for mere stage effect, and for the elucidation of a meaning, was well displayed in there having been a gallery of musicians at the Play, and in one of them passing on his way out, with his instrument in his hand, when Hamlet, seeing it, took it from him, to point his talk with Rosencrantz and Guildenstern.
This leads me to the observation with which I have all along desired to conclude: that Mr. Fechter's romance and picturesqueness are always united to a true artist's intelligence, and a true artist's training in a true artist's spirit. He became one of the company of the Theatre Francais when he was a very young man, and he has cultivated his natural gifts in the best schools. I cannot wish my friend a better audience than he will have in the American people, and I cannot wish them a better actor than they will have in my friend.
Footnotes:
{1} Cornhill Magazine
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Go to Start
Mrs. Lirriper's Legacy
I--Mrs. Lirriper Relates How She Went On, And Went Over | II--Mrs. Lirriper Relates How Jemmy Topped Up
CHAPTER I--MRS. LIRRIPER RELATES HOW SHE WENT ON, AND WENT OVER
Ah! It's pleasant to drop into my own easy-chair my dear though a little palpitating what with trotting up-stairs and what with trotting down, and why kitchen stairs should all be corner stairs is for the builders to justify though I do not think they fully understand their trade and never did, else why the sameness and why not more conveniences and fewer draughts and likewise making a practice of laying the plaster on too thick I am well convinced which holds the damp, and as to chimney-pots putting them on by guess-work like hats at a party and no more knowing what their effect will be upon the smoke bless you than I do if so much, except that it will mostly be either to send it down your throat in a straight form or give it a twist before it goes there. And what I says speaking as I find of those new metal chimneys all manner of shapes (there's a row of 'em at Miss Wozenham's lodging-house