A RECOLLECTION OF KEAN, THE ACTOR
On my way to Keighley, I could not but turn over in my mind the thoughts relating to the friendships formed on the stage, or in connection therewith. I remember that one of the Barnsley company was an aged actor, Mr John Copeland. He interested himself very much in me, and gave me from time to time good advice. He told me to leave the stage, and take to some more reliable and permanent employment. He pictured himself as a result of sticking closely to the profession, saying he had had more than half-a-century of experience of its ups and downs. In his old age, though he loved the stage and warmly praised the art of acting, he held that the rewards were not commensurate to the skill employed, and that when these were forthcoming the temptations were so insidious as to be ruinous unless the moral atmosphere of the profession itself was purified. The old man’s ideal was high and he was fond of saying that with all its defects—defects which were largely caused by the professionals themselves—the drama and the art of portraying it would last as long as human nature. I was drawn to the old man, and felt for him. I often took his part, especially where he had to appear in a gross character. At his time of life, he did not like to blacken his face, and on one occasion when we were playing “Uncle Tiff,” the old man was grateful because I relieved him of that character. It was a pathetic part—a sort of nigger being left in charge of children after the parents’ death. Old Copeland was a good actor, and he told me of having travelled with Edmund Kean, the great tragedian. He was then about eighty years of age, and was brimful of anecdote and humour about men and things on the stage. He himself was an author of many MS. plays, and the most agreeable of company, being an educated man. But we had to part company as I have already stated, and I went home, pondering over his advice. Now, my pen writes these lines descriptive somewhat of the breaking apart from those noble hearts, and that still more noble art of the drama.
Thespis, O! Thespis, founder of that noble art,
Thou didst convey thy actors in a cart;
But here the simple Thespian has to pad,
And, though it makes his heart feel sad
To leave his friends so far behind—
Such friendship never more he’ll find,
Yet adieu! a heart-warm fond adieu!
Companions noble, poor and few!
This, I think, marks the completion of my connection with the stage world, and I cannot but feel that those who have scanned these few recollections of mine will have found them something more than an uneventful and cut-and-dried story.