“She should have died hereafter,”
into
“She would have died hereafter.”
That is a sort of careless dismissal of his wife’s death, as something that must have occurred, according to the common lot.
The irresolution and generally dejected tone of the Scottish King, as presented by the actor, was much criticised, and severely too. There was something “craven,” it was said, in this constant faltering and shrinking. This, however, was the actor’s conscientious “reading” of the part: he was not bound by the Kemble or Macready traditions, but irresistibly impelled to adopt the highly-coloured “romantic” view of our day. He made it interesting and picturesque, and, in parts, forcible. Miss Terry’s Lady Macbeth filled everyone with wonder and admiration; as in the case of her Queen Katherine, it seemed a miracle of energy and dramatic inspiration triumphing over physical difficulties and habitual associations. The task was herculean, and even those who objected could not restrain their admiration.[49]
The pictures set forth in this wonderful representation linger in the memory. The gloomy Scottish scenes, the castles and their halls, the fine spreading landscapes, the treatment of the witches, and Banquo’s ghost, were all but perfect in tone, and had a judicious reserve. There was nothing overlaid or overdone. How admirably and exactly, for instance, did the scene correspond to the beautiful lines:
“This castle hath a pleasant seat; the air
Nimbly and sweetly recommends itself.”
There painting and poetry went together! The banqueting-hall, the arrangement of the tables, at right angles with the audience, had a strange, barbaric effect, the guests being disposed in the most natural fashion.
After the run of ‘Macbeth’ had ceased, the manager proceeded to carry out a plan which had long been in his thoughts, and which many had suggested to him. This was to give “readings,” in conjunction with Miss Terry, of some of his plays. This would offer some respite from the enormous outlay entailed by producing these great pieces at his theatre. One could fancy that nothing could be more attractive than such “readings,” the interest in the personality of the two great performers being so generally diffused. He re-arranged “Macbeth” for this purpose, and set off on a tour in the provinces. But though everywhere well received, I think the plan did not command the full success that was expected. There was a defect somehow in the plan: two characters seemed to rob the performance of that unity which is the charm of a reading. Further, it was illustrated by the fine music, with orchestra, etc., and this again disturbed the natural simplicity of a reading. The actor’s own vividly-coloured imagination and tastes could not, in fact, be content with the bald and triste mechanisms of the ordinary reader: he tried to impart what ornamentation he could. The experiment was not, however, carried out very long.[50]