The Last Leaf / Observations, during Seventy-Five Years, of Men and Events in America and Europe

by James Kendall Hosmer

"The wolves have preyed; and look, the gentle day,
Before the wheels of Phoebus, round about
Dapples the drowsy east with spots of gray."

With the rough comedy of Dogberry and the watchmen, that foils so well the sad tragedy of poor Hero's heart-breaking, and contrasts in its blunders with the diamond-cut-diamond dialogue of Benedick and Beatrice, there was less difficulty. From first to last, it was engrossing labour, as hard for the trainer as the trained, yet still delightful work; for what is a conscientious manager, but an artist striving to perfect a beautiful dramatic picture? The different personages are the pieces for his mosaic, who, in emphasis, tone, gesture, by-play, must be carved and filed until there are no flaws in the joining, and the shading is perfect. But all was ready at last, from the roar of Dogberry at the speech of Conrade,

"Away! you're an ass! you're an ass!"

to the scarcely articulate agony of Hero when she sinks to the earth at her lover's sudden accusation,

"O Heavens! how am I beset!
What kind of catechising call you this?"

I fancy you ask, rather sneeringly, as to our scenery and stage adjuncts. Once, in the great court theatre at Munich, I saw Wagner's Rheingold. The king was present, and all was done for splendour that could be done in that centre of art. When the curtain rose, the whole great river Rhine seemed to be flowing before you across the stage, into the side of whose flood you looked as one looks through the glass side of an aquarium. At the bottom were rocks in picturesque piles; and, looking up through the tide to the top, as a diver might, the spectator saw the surface of the river, with the current rippling forward upon it, and the sunlight just touching the waves. Through the flood swam the daughters of the Rhine, sweeping fair arms backward as they floated, their drapery trailing heavy behind them, darting straight as arrows, or winding sinuously, from bottom to top, from side to side, singing wildly as the Lorelei. The scene changed, and it was the depths of the earth, red-glowing and full of gnomes. And a third time, after a change, you saw from mountain-tops the city which the giants had built in the heavens for the gods,—a glittering dome or pinnacle now and then breaking the line of white palaces, now and then a superb cloud floating before it, until, at last, a mist seemed to rise from valleys below, wrapping it little by little, till all became invisible in soft gradations of vapoury gloom. I shall never again see anything like that, where an art-loving court subsidises heavily scene-painter and machinist; but for all that, is it wise to have only sneers for what can be brought to pass with more modest means? Our hall at Sweetbrier is as large as the Christ Church refectory, and handsomely proportioned and decorated. A wide stage runs across the end. We found some ample curtains of crimson, set off with a heavy yellow silken border of quite rich material, which had been used to drape a window that had disappeared in the course of repairs. This, stretched from side to side, made a wall of brilliant colour against the gray tint of the room; and possibly Roger Ascham, seeing our audience-room before and after the hanging of it, might have had a thought of Antwerp. The stage is the one thing in the world privileged to deceive. The most devoted reader of Ruskin can tolerate shams here. The costumes were devised with constant reference to Charles Knight, and, to the eye, were of the gayest silk, satin, and velvet. There was, moreover, a profusion of jewels, which, for all one could see, sparkled with all the lustre of the great Florentine diamond, as you see it suspended above the imperial crowns in the Austrian Schatz-Kammer at Vienna. The contrasts of tint were well attended to. Pedro was in white and gold, Claudio in blue and silver, Leonato in red; while our handsome Benedick, a youth of dark Italian favour, in doublet of orange, a broad black velvet sash, and scarlet cloak, shone like a bird of paradise.

There was a garden-scene, in the foreground of which, where the eyes of the spectators were near enough to discriminate, were rustic baskets with geraniums, fuchsias, and cactuses, to give a southern air. In the middle distance, armfuls of honeysuckle in full bloom were brought in and twined about white pilasters. There was an arbour overhung with heavy masses of the trumpet-creeper. A tall column or two surmounted with graceful garden-vases were covered about with raspberry-vines, the stems of brilliant scarlet showing among the green. A thick clump of dogwood, whose large white blossoms could easily pass for magnolias, gave background. The green was lit with showy colour of every sort,—handfuls of nasturtiums, now and then a peony, larkspurs for blue, patches of poppies, and in the garden-vases high on the pillars (the imposition!) clusters of pink hollyhocks which were meant to pass for oleander-blossoms, and did, still, wet with the drops of the afternoon shower, which had not dried away when all was in place. When it comes to rain and dewdrops, dear Dr. Holmes, a "fresh-water college" has an advantage. First, it was given under gas; then, the hall being darkened, a magnesium-light gave a moon-like radiance, in which the dew on the buds glistened, and the mignonette seemed to exhale a double perfume, and a dreamy melody of Mendelssohn sung by two sweet girl-voices floated out about the "pleached bower," like a song of nightingales. Then toward the end came the scene of the chapel and Hero's tomb. No lovelier form was ever sculptured than that of the beautiful Queen Louisa of Prussia, as she lies in the mausoleum at Charlottenburg, carved by Rauch, asleep on the tomb in white purity. To the eye, our Hero's tomb was just such a block of spotless marble seen against a background of black, with just such a fair figure recumbent upon it, whose palms and lids and draping the chisel of an artist seemed to have folded and closed and hung,—all idealised again by the magic of the magnesium-light. As the crimson curtain was drawn apart, an organ sounded, and a far-away choir sent into the hush the Ave Verum of Mozart, low-breathed and solemn.

It was not Munich, Fastidiosus. They were American young men and young women, with no resources but those of a rural college, and such as their own taste and the woods and gardens could furnish; but the young men were shapely and intelligent, and the young women had grace and brightness; their hearts were in it, and in the result surely there was a measure of "sweetness and light" for them and those who beheld.

You fear it may beget in young minds a taste for the theatre, now hopelessly given over in great part to abominations. Why not a taste that will lift them above the abominations? Old Joachim Greff, schoolmaster at Dessau in 1545, who has a place in the history of German poetry, has left it on record that he trained his scholars to render noble dramas in the conscientious hope "that a little spark of art might be kept alive in the schools under the ashes of barbarism." "And this little spark," says Gervinus, "did these bold men, indeed, through two hundred years, keep honestly until it could again break out into flame." Instead of fearing the evil result, rather would I welcome a revival of what Warton calls "this very liberal exercise." Were Joachim Greffs masters in our high schools and in the English chairs in our colleges, we might now and then catch a glimpse of precious things at present hidden away in never-opened store-houses, and see something done toward the development of a taste that should drive out the opera-bouffe.

Here, at the end, Fastidiosus, is what I now shape in mind. Hippolyte Taine, in one of his rich descriptions, thus pictures the performance of a masque: