Upon such lighter phases of the life of the French capital Irving looked with a half-sinister tolerance.
That aspect of the character of the French people made no sympathetic appeal to him, but he watched their antics with unceasing interest rather as he might have watched the uncouth gambols of animals in a menagerie. But there was one of the shows of Paris which positively fascinated him, and that was the Morgue. Irving’s mind was always attracted to the study of crime; he loved to trace its motives, to examine and to probe the various modes of the criminal character; and so it happened that, on one pretext or another, our morning wanderings nearly always led us back to this gruesome exhibition. One day the fancy seized him that a man who passed before one of the corpses and then returned to gaze upon it again was possibly the murderer himself; and afterwards, while we were breakfasting at Bignons, he occupied himself with a sense of keen enjoyment in tracing in imagination the motive of the crime and the means by which it had been carried out.
At that time his thoughts were greatly occupied with the proposed revival of Macbeth, and on several evenings at the Hotel Bristol we sat long into the night discussing every phase of that greatest of all poetic tragedies. I think Irving felt—partly, perhaps, as the result of our many discussions—that in his earlier presentation of the play he had dwelt too insistently upon the purely criminal side of Macbeth’s character to the neglect of its larger and more imaginative issues. I know, at any rate, that he was so far impressed with my view of the play, that he asked me to write an essay upon the subject which was to appear simultaneously with the revival; and he did this in part, I believe, because the view I entertained of the interplay of motive between Macbeth and his guilty partner went far to supplant that masculine conception of Lady Macbeth’s character which had hitherto been imposed upon the world mainly through the genius of Mrs. Siddons. The essay, no less than the performance, proved, as we had expected, the mark for much hostile criticism; but the revival—interesting to me in many respects—illustrated with surprising force the extraordinary advance in his art which had been made by Irving since the earlier production of the play—an advance not merely of technical resource, but even more as showing the larger and profounder spirit in which he could now approach the poetic drama.
Nearly all our excursions abroad were in some way associated with work projected or already in hand, and it was while he was preparing Mr. W. G. Wills’s version of Faust that we made together a long and delightful excursion to Nuremberg. Irving was very anxious to find something that was both quaint and characteristic for the scene of Margaret’s Garden, and although he was not very fond of physical exercise, he never wearied of our constant tramps among the narrower streets of the old German city in inquisitive search for something that should fit with the ideal that he had in his mind. We trespassed freely wherever we found an open gateway; and at last, having failed to discover what was exactly suited to the purpose, we set out one day for Rothenburg on the Tauber—one of the most perfect and complete examples of a mediaeval city, and where, as we were assured, we should find richer material than was provided in Nuremberg itself.
At that time the journey between Nuremberg and Rothenburg had to be made mainly by road; the railway carried us only half-way, and then we had a drive of several hours before reaching our destination. I think it was this that mainly attracted Irving in undertaking the excursion. All through his life he clearly loved the pleasure of a drive; and during a week I spent with him at Lucerne, our every day, for six or seven hours at a stretch, was employed in exploring the shores of the lake. Rothenburg, as it chanced, furnished us with little new material towards the object of which we were in quest, and on our return to Albert Durer’s city, feeling that he had exhausted all the available means of inquiry, he at once, with characteristic promptitude, summoned the scenic artist, Mr. Hawes Craven, from London in order that he might make notes on the spot of the several scenes of the drama.
At home or abroad, Irving was always at his best as a host, and, whether in the larger entertainments which he sometimes gave on the stage of the Lyceum, or in the more intimate gatherings in the Beefsteak Room, he presided with admirable grace over a company that was often strangely varied in its composition—the most distinguished statesmen, soldiers, and men of letters, meeting in happy association with chosen members of his own profession. Two little incidents recur to me which illustrate in their different ways that sense of humour, sometimes innocently mischievous, and sometimes again employed for a long settled purpose of deliberate attack. The first of these occasions was a dinner given in honour of the members of the Saxe-Meiningen company on the stage of the theatre. I had been driving with him during the day, and happened to mention, to his manifest surprise, that I had not seen their great performance of the play of Julius Caesar which was making a considerable stir in London. He said nothing more at the time, but at the end of the evening’s feast, after having himself in a few words gracefully welcomed his distinguished guests, he announced that he would now call upon Mr. Comyns Carr, who he felt sure would do ample justice to the exquisite art of these German players. I can see now the smile upon his face as he sat down, and left me to my task, of which I acquitted myself with at least so much skill, that he was the only one among those present who was aware that I was wholly unacquainted with the subject I had been summoned to discuss.
The other incident to which I have referred had a more serious import. During his first visit to America his feelings had been gravely outraged, and not on his own account alone, by a series of scandalous articles which had appeared in one of the most popular of New York journals. Our party that evening at supper in the Beefsteak Room included a popular American Colonel, a great friend of Irving’s, and, as Irving well knew, a great friend also of the wealthy proprietor of this offending journal. The scene was wholly characteristic of Irving, who rarely forgot an injury, although he was content sometimes to lie long in wait for the fitting occasion to strike a counter-blow. In a genial prelude he led our American friend on in a growing crescendo of praise of the amiable qualities of the wealthy newspaper proprietor. “You know so-and-so,” he innocently remarked to his guest, as he settled himself down in his chair, in an attitude that not uncommonly conveyed to those who knew him that danger might be impending. “Know him!” replied the innocent Colonel, “I have known him all my life.” “Quite so,” said Irving; “good fellow, isn’t he?” “Good! He’s one of the very best fellows that was ever born.” “The kind of man,” pursued Irving, “who would never do an ungenerous or an unkind thing?” And at this, lured on to his doom, the unsuspecting Colonel burst forth in such unrestrained eulogy of his friend, as to depict for the admiration of those present a character of almost unchallenged perfection. “No doubt; no doubt,” responded Irving; “no doubt he is all that you say”; and then, in words all the deadlier for the perfect quietude of tone in which they were uttered, he added: “But he is also one of the damned’st scoundrels that ever stepped the earth.” The genial Colonel was not unnaturally taken aback; but before he could make any show of defence, Irving had whipped from his breast-pocket the series of offending articles, and, handing them across the table, made the simple comment, “I thought, old friend, you might be interested to see them.”
It was, I think, in the beginning of the year 1892 that Irving invited me to write for him a play on the subject of King Arthur. The theme had long been in his mind, and before his death Mr. Wills had completed a version, which proved, however, unacceptable to the actor. At first Irving thought that I might find it possible to recast and remodel Wills’s work; but it was afterwards agreed between us that I should be free to work out my own design. When my task was completed, Irving and Miss Terry came one night to dine with us in Blandford Square. He brought with him also his little dog Fussy, the constant companion of many years. And when dinner was over, he settled himself down in an arm-chair, with the dog upon his knees, prepared for an ordeal that is never wholly agreeable either to the author or his auditor. I know that I was nervous enough, as I always am on such occasions; and when I was about half-way through, the audible sounds of snoring which reached my ears made me fancy in my morbid state of sensitiveness that I had failed to grip or to hold the attention of the man I so strongly desired to please. Still I plodded on, not daring to lift my eyes from the book, and still the stertorous sounds continued, until at last, exasperated beyond endurance, I closed the book, with the abrupt announcement that I felt it useless to go on. “What do you mean?” inquired Irving, in blank amazement. “Why, you were asleep,” I replied; but even as I spoke, I perceived the ridiculous blunder into which I had fallen, for the snoring still continued without interruption, and, lifting my eyes, I saw Miss Terry, with laughing gesture, pointing to the sleeping terrier still resting upon Irving’s knees. I had “tried it on the dog,” and it was the dog I had failed to please.
My association with Irving during the preparation of King Arthur was wholly interesting and delightful. I had been warned by those who had long worked with him in the theatre that Irving was intolerant of interference, and that I would do well not to assume any position of authority in the direction of the rehearsals. My own experience, however, completely belied this warning; from the first he treated me with the utmost consideration, and invited, rather than repressed, the suggestions I had to make. His own work at rehearsal was always deeply interesting to watch, though it often revealed little more than the mechanical part of his own performance. This, however, he fixed with absolute exactitude, and the minute invention of detail which he displayed sufficed to suggest that in his own private study of the part this fabric of mechanism was already wedded to the emotional message he intended to convey. As a rule, he was word-perfect before the rehearsals of any play began, and this left him free to bestow infinite patience and pains upon the work of others. He would go through the whole of any one of the minor parts, instructing the actor in every detail of gesture and movement; and when it came to scenes in which he himself was concerned, he knew precisely—and could precisely realise—the pace and the tone that were needed to achieve the effect he desired.