With over-rash and headlong peevishness,
To bring our calm discretion to repentance!"
Epilogue.
I leave the history of the great players who rivalled or succeeded Edmund Kean, to other chroniclers. They belong—the great players—to a vocation which is next in dignity to that of the poet. In the far off Ionian Islands, Demodocus first inspired his countrymen with that taste for dramatic representation which has overrun the world. Five centuries later, Thespis invented tragedy; and after seven centuries more had elapsed, and there was a new dispensation upon earth, and heathenism was fiercely fighting out its last struggle with Christianity, the stage yielded two of the noblest martyrs to the faith, in the persons of the then renowned actors,—Genesius of Rome, and Gelasinus of Heliopolis.
Looking, recently, at the old patent granted by Charles II. to Killigrew and Davenant (now in Drury Lane Theatre), I could not help remarking, that the parchment for which so many hundreds of thousands of pounds had been given, was now virtually worthless, save for the superb portrait of Charles, within the gigantic initial letter of his name. When that patent for two theatres was granted, London was less populous than Manchester is now; and as the population increased, theatres (beginning with that in Goodman's Fields) sprung up in spite of the patent or Lord Chamberlain. The latter granted licenses to a few, with great restrictions. At the Lyceum, for instance, not even a tragedy could be produced unless there were at least five songs or concerted pieces in each act; and the tragedy even then must be called a burletta. The licenser's powers did not extend to St. George's Fields, where political plays forbidden on the Middlesex side of the river were attractive merely because they were forbidden.
Subsequently, at the minor theatres, plays, which could only be legally acted at the patent houses, were performed, without being converted into burlettas. The proprietors of the patents prosecuted the offenders; but the levying of penalties (£50 nightly) against Englishmen, for producing or acting in Shakspeare's plays, seemed so absurd, that after some toying with the question, in 1842, the government brought forward the bill of 1843, which passed both houses, after Lord Campbell had deprived it of some tyrannic authority it conferred upon the Lord Chamberlain. A "free trade" principle was thereby introduced. The patent houses lost all their privileges, save that of being exempt from a yearly renewal of license to act; and the legitimate drama could be performed in any licensed theatre. At Sadler's Wells, for instance, it was long and worthily upheld by Mr. Phelps, without fear of every actor therein incurring a penalty of £300 weekly, as when he played every night, contrary to law.
Since 1843, then, the term of "Their," or "Her Majesty's Servants," is a mere formality, as there is no especial company now privileged to serve or solace royalty. Mr. Webster, who occupies Garrick's chair, in the management of the Theatrical Fund, tells me, that Baddeley was the last actor who wore the uniform of scarlet and gold, prescribed for the "gentlemen of the household," who were patented actors; and that he used to appear in it at rehearsal. He was proud of being one of their "Majesties' servants;"—a title once coveted by all nobly-aspiring actors. They were sometimes nearest to the desired end when they seemed farthest off. "Have you ever heard," asks Garrick, in an unpublished letter to Moody, then at Liverpool, "of a Mrs. Siddons, who is strolling about somewhere near you?" Four months later, Garrick brought her out at Drury Lane. That space of time intervened, between the periods when Edmund Kean was starving and triumphing. And now, in the green-room of Drury Lane Theatre, the busts of Mrs. Siddons and Kean face each other; while that of Shakspeare, opposite Garrick, seems to smile on all three,—his great interpreters, as well as Their Majesties' Servants.
Mr. Foote as Sir Thomas Lofty.