Ruskin, in the lecture noted above, had described Leech's work as containing "the finest definition and natural history of the classes of our society, the kindest and subtlest analysis of its foibles, the tenderest flattery of its pretty and well-bred ways, with which the modesty of subservient genius ever immortalized or amused careless masters." Small wonder was it, then, that Punch appealed for greater generosity to John Leech's three surviving sisters. Their combined pensions only amounted to £180—a "dole" which lent point to the dramatic dialogues in 1881 between a Minister and a Celebrity and (after the Celebrity's death) between the Minister and his Secretary, as a result of which the former decides to give the orphan daughter £50.
The cult of Japanese art in the late 'eighties furnished Punch's artists with new formulas and new methods of treating Parliamentary scenes. It also inspired the following ingenious adaptation of a famous phrase:—
Madame Roland Re-Edited (from a sham Japanese point of view): O Liberty! what strange (decorative) things are done in thy name!
Punch had reproached Millais for condescending to the "pretty-pretty" style, but in 1888 he was moved to caricature the modern fear of the same tendency—a fear destined to dominate so much of modern art in later years and to enthrone the Golliwog in the nursery.
DRAMA, OPERA AND MUSIC
Punch was mixed up with the drama from the very beginning. He drew his name and his initial inspiration from a puppet-show; all four editors who held the office between 1841 and 1892 were playwrights—three of them, Mark Lemon, Tom Taylor and Burnand prolific playwrights—and many of his leading contributors from Douglas Jerrold onwards owed a double allegiance to journalism and the drama. In these circumstances one can hardly expect to find in Punch's copious references to plays and players an entirely judicial or dispassionate critical attitude. Yet when all deductions have been made on the score of old loyalties, partisanship and even prejudice, his record, during the period which opened with the visits of Salvini and ended with Tree's Hamlet and the tyranny of "Ta-ra-ra-boom-de-ay," shows a creditable readiness to acclaim fresh talent and to applaud a good thing irrespective of its origin. We find a certain amount of resentment against the adulation of foreigners, but his patriotism in this respect is untainted by any Chauvinism—witness his "Salvo to Salvini" in 1875:—
Punch is rejoiced to see that a representative body of the London Actors lately made express application to the great Italian Player, now displaying his art for London's behoof, to give a morning performance of Othello, at which they could be present. Salvini answered the application with an Italian's courtesy, and an artist's feeling with his fellows. Remembering how, when Punch was young, an illiterate English mob once howled and hooted a French company from the stage of Drury Lane, and how, when the noblest Actor of his generation, William Macready, published a protest against the cowardly outrage, in which he associated his brother Actors with himself, a large body of those Actors disclaimed such association, and denied William Macready's right to speak for more than William Macready—Punch cannot but rejoice in the present indication of a larger and less "parochial" spirit of appreciation.
The actors who had the good fortune to see Salvini on Monday have seen a great artist, in the ideal sense of the word—one whose art "in the very storm and whirlwind of his passion, can beget a temperance that gives it smoothness"; whose voice keeps its music even in rage or agony, and whose action can be graceful, even in its moments of utmost vehemence; and this without forfeiture of force, or sacrifice of truth. It is of secondary importance whether or not those who hear Salvini understand Italian. They are sure to know the text of Othello; and Salvini's look, tone, and gesture speak the universal language.
Salvini, Ristori, Bernhardt
They must have marked the breadth and calmness of his style, the self-restraint that never betrays effort, and the grandeur resulting from this element of large effect. They will have seen how superior to points and petty tricks and clap-traps he is from first to last; how completely the Moor, steeped at first in the stately Oriental calm that almost looks like languor, till love lights in his eye and mantles in his face, or doubt begins to torture, and sense of wrong gathers and glows to fury, and a rage, far more terrible and unsparing than a wild beast's, works to madness in his brain.
The over-vehemence of Othello's final agony is deprecated, but Punch concludes by recommending all "who wish to know the highest expression of ideal tragic acting to see this famous Italian actor."
As he had welcomed another glory of Italian art in Ristori, so he yielded to the versatile enchantments of the "divine Sarah" in her frequent visits to our shores. The following tribute dates from 1879:—
TO SARAH!