By another bribe we contrived to make our way into a box, whose doors were more unrelenting than brass or marble to the crowd in the lobby, less acquainted with the mode of getting through the English world; and I had my first view of national loyalty, in the handsomest theatre which I have ever seen. How often it has been burnt down and built since, is beyond my calculation. It was then perfection.
We had galloped to some purpose; for we had distanced the monarch and his eight carriages. The royal party had not yet entered the house; and I enjoyed, for a few minutes, one of the most striking displays that the opulence and animation of a great country can possibly produce—the coup-d'oeil of a well-dressed audience in a fine and spacious theatre. Multitudes spread over hill and dale may be picturesque; the aspect of great public meetings may be startling, stern, or powerfully impressive; the British House of Lords, on the opening of the session, exhibits a majestic spectacle; but for a concentration of all the effects of art, beauty, and magnificence, I have yet seen nothing like one of the English theatres in their better days. To compare it in point of importance with any other great assemblage, would in general be idle. But at this time, even the assemblage before me, collected as it was for indulgence, had a character of remarkable interest. The times were anxious. The nation was avowedly on the eve of a struggle of which no human foresight could discover the termination. The presence of the king was the presence of the monarchy; the presence of the assemblage was the presence of the nation. The house was only a levee on a large scale, and the crowd, composed as it was of the most distinguished individuals of the country—the ministers, the peerage, the heads of legislature—and the whole completed by an immense mass of the middle order, gave a strong and admirable representation of the power and feelings of the empire.
At length the sound of the trumpets was heard, the door of the royal box was thrown open, and "God save the King" began. Noble as this noblest of national songs is, it had, at that period, a higher meaning. It is impossible to describe the spirit and ardour in which it was received; nay, the almost sacred enthusiasm in which it was joined by all, and in which every sentiment was followed with boundless acclamation. It was more than an honourable and pleased welcome of a popular king. It was a national pledge to the throne—a proud declaration of public principle—a triumphant defiance of the enemy and the Earth to strike the stability of a British throne, or subdue the hearts of a British people.
The king advanced to the front of the box, and bowed in return to the general plaudits. It was the first time that I had seen George the Third, and I was struck at once with the stateliness of his figure and the kindliness of his countenance. Combined, they perfectly realized all that I had conceived of a monarch, to whose steadiness of determination, and sincerity of good-will, the empire had been already indebted in periods of faction and foreign hostility; and to whom it was to be indebted still more in coming periods of still wilder faction, and of hostility which brought the world in arms against his crown.
As I glanced around for a moment, to see the effect on the house, which was then thundering with applause, I observed a slight confusion, like a personal quarrel, in the pit; and in the next instant saw a hand raised above the crowd, and a pistol fired full in the direction of the royal box. The King started back a pace or two, and the general apprehension that he had been struck, produced a loud cry of horror. He evidently understood the public feeling, and instantly came forward, and by a bow, with his hand on his heart, at once assured them of his gratitude and his safety. This was acknowledged by a shout of universal congratulation; and many a bright eye, and many a manly one, too, streamed with tears. In the midst of all, the Queen and the royal family rushed into the box, flung themselves round the king, and all was embracing, fainting, and terror. Cries for the seizure of the assassin now resounded on every side. He was grasped by a hundred hands, and torn out of the house. Then the universal voice demanded "God save the King" once more: the performers came forward and the national chant, now almost elevated to a hymn, was sung by the audience with a solemnity scarcely less than an act of devotion. All the powers of the stage never furnished a more touching, perhaps a more sublime scene, than the simple reality of the whole occurrence before my eyes.
But at length the tumult sank; the order of the theatre was resumed; and the curtain rose, displaying a remarkably fine view of Roman architecture, a vista of temples and palaces, the opening scene of Coriolanus.
The fame of the admirable actor who played the leading character was then at its height; and John Kemble shared with his splendid sister the honour of being the twin leaders of the theatrical galaxy. I am not about to dwell on Shakspeare's conception of the magnificent republican, nor on the scarcely less magnificent representative which it found in the actor of the night. But I speak to a generation which have never seen either Siddons or Kemble, and will probably never see their equals. I may be suffered, too, to indulge my own admiration of forms and faculties which once gave me a higher sense of the beauty and the powers of which our being is capable. Is this a dream? or, if so, is it not a dream that tends to ennoble the spirit of man? The dimness and dulness of the passing world require relief, and I look for it in the world of recollections.
Kemble was, at that time, in the prime of his powers; his features strongly resembling those of Siddons; and his form the perfection of manly grace and heroic beauty. His voice was his failing part; for it was hollow and interrupted; yet its tone was naturally sweet, and it could, at times, swell to the highest storm of passion. In later days he seemed to take a strange pride in feebleness, and, in his voice and his person, affected old age. But when I saw him first, he was all force, one of the handsomest of human beings, and, beyond all comparison, the most accomplished classic actor that ever realized the form and feelings of the classic age. His manners in private life completed his public charm; and, in seeing Kemble on the stage, we saw the grace and refinement acquired by the companionship of princes and nobles, the accomplished, the high-born, and the high-bred of the land.
From the mingled tenderness and loftiness of Kemble's playing, a new idea of Coriolanus struck me. I had hitherto imagined him simply a bold patrician, aristocratically contemptuous of the multitude, indignant at public ingratitude, and taking a ruthless revenge. But the performance of the great actor on this night opened another and a finer view to me. Till now, I had seen the hero, a Roman, merely a gallant chieftain of the most unromantic of all commonwealths, the land of inflexibility, remorseless daring, and fierce devotement to public duty. But, by throwing the softer feelings of the character into light, Kemble made him less a Roman than a Greek—a loftier and purer Alcibiades, or a republican Alexander, or, most and truest of all, a Roman Achilles—the same dazzling valour, the same sudden affections, the same deep conviction of wrong, and the same generous, but unyielding, sense of superiority. Say what we will of the subordination of the actor to the author, the great actor shares his laurels. He, too, is a creator.
But while I followed, with eye and mind, the movements of the stage, Lafontaine was otherwise employed. His opera-glass was roving the boxes; and he continually poured into my most ungrateful ear remarks on the diplomatic body, and recognitions of the merveilleux glittering round the circle. At last, growing petulant at being thus disturbed, I turned to beg of him to be silent, when he simply said—"La Voilà!" and pointed to a group which had just taken their seats in one of the private boxes. From that moment I saw no more of the tragedy. The party consisted of Clotilde, Madame la Maréchal, and a stern but stately-looking man, in a rich uniform, who paid them the most marked attention.