No. 167.
[Steele.
Tuesday, May 2, to Thursday, May 4, 1710.
Segnius irritant animos demissa per aurem,
Quam quæ sunt oculis subjecta fidelibus——
Hor., Ars Poet. 180.
From my own Apartment, May 2.
Having received notice, that the famous actor Mr. Betterton[250] was to be interred this evening in the cloisters near Westminster Abbey, I was resolved to walk thither, and see the last office done to a man whom I had always very much admired, and from whose action I had received more strong impressions of what is great and noble in human nature, than from the arguments of the most solid philosophers, or the descriptions of the most charming poets I had ever read. As the rude and untaught multitude are no way wrought upon more effectually than by seeing public punishments and executions, so men of letters and education feel their humanity most forcibly exercised, when they attend the obsequies of men who had arrived at any perfection in liberal accomplishments. Theatrical action is to be esteemed as such, except it be objected, that we cannot call that an art which cannot be attained by art. Voice, stature, motion, and other gifts, must be very bountifully bestowed by Nature, or labour and industry will but push the unhappy endeavourer, in that way, the further off his wishes.
Such an actor as Mr. Betterton ought to be recorded with the same respect as Roscius among the Romans. The greatest orator[251] has thought fit to quote his judgment, and celebrate his life. Roscius was the example to all that would form themselves into proper and winning behaviour. His action was so well adapted to the sentiments he expressed, that the youth of Rome thought they wanted only to be virtuous to be as graceful in their appearance as Roscius. The imagination took a lively impression of what was great and good; and they who never thought of setting up for the arts of imitation, became themselves imitable characters.
There is no human invention so aptly calculated for the forming a free-born people as that of a theatre. Tully reports that the celebrated player of whom I am speaking used frequently to say, "The perfection of an actor is only to become what he is doing." Young men, who are too unattentive to receive lectures, are irresistibly taken with performances. Hence it is, that I extremely lament the little relish the gentry of this nation have at present for the just and noble representations in some of our tragedies. The operas which are of late introduced can leave no trace behind them that can be of service beyond the present moment. To sing and to dance are accomplishments very few have any thoughts of practising; but to speak justly, and move gracefully, is what every man thinks he does perform, or wishes he did.
I have hardly a notion, that any performer of antiquity could surpass the action of Mr. Betterton in any of the occasions in which he has appeared on our stage. The wonderful agony which he appeared in, when he examined the circumstance of the handkerchief in "Othello"; the mixture of love that intruded upon his mind upon the innocent answers Desdemona makes, betrayed in his gesture such a variety and vicissitude of passions, as would admonish a man to be afraid of his own heart, and perfectly convince him, that it is to stab it to admit that worst of daggers, jealousy. Whoever reads in his closet this admirable scene, will find that he cannot, except he has as warm an imagination as Shakespeare himself, find any but dry, incoherent, and broken sentences: but a reader that has seen Betterton act it, observes there could not be a word added; that longer speeches had been unnatural, nay impossible, in Othello's circumstances. The charming passage in the same tragedy, where he tells the manner of winning the affection of his mistress, was urged with so moving and graceful an energy, that while I walked in the cloisters, I thought of him with the same concern as if I waited for the remains of a person who had in real life done all that I had seen him represent. The gloom of the place, and faint lights before the ceremony appeared, contributed to the melancholy disposition I was in; and I began to be extremely afflicted, that Brutus and Cassius had any difference; that Hotspur's gallantry was so unfortunate; and that the mirth and good humour of Falstaff could not exempt him from the grave. Nay, this occasion in me, who look upon the distinctions amongst men to be merely scenical, raised reflections upon the emptiness of all human perfection and greatness in general; and I could not but regret, that the sacred heads which lie buried in the neighbourhood of this little portion of earth in which my poor old friend is deposited, are returned to dust as well as he, and that there is no difference in the grave between the imaginary and the real monarch. This made me say of human life itself with Macbeth: