The long and consistently hostile campaign which Punch conducted against Ibsen and the Ibsen plays shows him in a much less favourable light and on precarious ground. It was open to him to pronounce Ibsen dreary, disagreeable and didactic; some of his plays were fair game for the parodist and the opportunity was turned to excellent account. But the long and acrimonious tirade against the Ibsenites and their "Arch or Archer-priest" in 1891 is seriously weakened by the writer's confession that his knowledge of the Ibsen plays was confined to perusal of "several of them"—that he had never seen one of them on the stage; and his challenge to the Ibsen-worshippers to test the merits of their idol by a single performance at a London theatre was rash, to say the least of it.
Actors and Society
Turning to native drama, one cannot avoid noticing that Punch, who had followed Irving's career with interest and sympathy from its modest beginnings in farce and comedy, became increasingly critical of his later ventures. He is pronounced physically unsuited to the part of Macbeth in 1875, and Punch did not fail to fasten on the vulnerable points in his Romeo in 1882. In the same year Irving is especially blamed for his resort to the "benefit" performance system, and his defence is pronounced unconvincing in an article ingeniously headed, "The Doubt of the Benefit," in which Irving is described as "an admirable Comedian, an occasionally impressive Tragedian, a nervously painstaking Actor, and, generally, an indifferent Elocutionist." But Punch had indulged in even more caustic criticism of the popular actor-manager in the previous year, à propos of an address delivered at Edinburgh:—
Again the sickening cry is raised about the "social status of the Actor," and this time à propos of a paper read by Mr. Henry Irving, at a Philosophical Institution known as The Music Hall in Edinburgh. The social status of the Actor is that of a well-fed, well-clothed, well-paid—perhaps over-paid—worker in a curious profession. If he be amusing and intelligent, and behaves like a gentleman, he is exceptionally favoured by what is called "Society"; as most people, except a few fanatics, are interested in the world behind the footlights. But every Actor is not necessarily amusing, intelligent, and gentlemanly, and these are the people, probably, who are a little uneasy about their status. If they are not content with their pudding, the world is all before them. On the other hand, the more favoured ones are a little apt to be spoiled by injudicious patronage. "Society" is a little too ready to treat them like pet poodles.
Why on earth does Mr. Irving yearn for the companionship of Bishops? Does he want to convert them all to Irvingism, and to come and listen to him discoursing Shakespearean Inspirations in Unknown Tongues? Does he require Church Patronage for the Stage, and his Theatre Stalls filled as those of a Cathedral are with Prebends, Minor Canons and Greater Guns of the Ecclesiastical Establishment? Is it the height of an Actor's ambition to swell the crowd of distinguished Nobodies at the Duchess of Mountrouge's reception, or to appear as a great attraction of Lady Doubtful's Assemblies, and to be able to exhibit cards of fashionable "At Homes" in the mirror which is held up to Nature over his mantelpiece?
Elevation of the Stage forsooth! We should have thought that the Stage had elevated Mr. Irving above all such twaddle as this.
"Act well your part, there all the honour lies."
Be satisfied with this: Live for your Art, not for that limited, narrow, uncharitable, scandalmongering section of the great public which calls itself "Society," and which loves to patronize Art in any form at the least possible cost to itself.
Even harsher is the rebuke administered three weeks later to Irving for his self-laudatory speeches, and the unnecessary autobiographical reminiscences in which he contrasted his present with his past earnings, thus creating a false impression of one who was in reality the most generous of men. The petting of actors by society appealed to Punch no more than the invasion of the stage by amateurs; he regarded such favouritism as ministering to their worst infirmity, vanity; and in 1884 he fell foul of Mrs. Kendal's speech at the Social Science Congress on the social position of actors, in which she reprobated self-advertisement (Satan rebuking Sin, according to her critic), but claimed a recognition which Punch denounced as mere snobbishness. Of Ellen Terry, who was associated with Irving at the Lyceum from 1878, Punch remained the affectionate and benevolent admirer, though he admitted that her conception of Lady Macbeth in 1889 raised a good deal of legitimate criticism. The lavish mounting of the Lyceum revivals, I may add, exercised Punch's frugal mind, and reached a climax in the production of Henry VIII in 1892.
THE NEW CRAZE
Scene—The Green-Room of the Parthenon, before rehearsal.
Hard-working Baronet: "Here's the Duke, confound him! Only been six months on the stage, and getting twenty guineas a week!"
Conscientious Viscount: "Yes, and us only getting six after ten years of it. I hate these beastly Dukes coming and spoiling the profession!"