CHARLES LAMB'S UNCOLLECTED WRITINGS.[1]
SECOND PAPER.
Readers of Lamb's "Life and Letters" remember that before "Mr. H." was written, before Kemble had rejected "John Woodvil," Godwin's tragedy of "Antonio" had been produced at Drury-Lane Theatre, and that Elia was present at the performance thereof. But perhaps they do not know (at least, not many of them) that Elia's essay on "The Artificial Comedy of the Last Century," as originally published in the "London Magazine," contained a full and circumstantial account of the cold and stately manner in which John Kemble performed the part of Antonio in Godwin's unfortunate play. For some reason or other, Lamb did not reprint this part of the article. Admirers of Charles Lamb and admirers of the drama will be pleased—for 'tis a very characteristic bit of writing—with what Elia says of
JOHN KEMBLE AND GODWIN'S TRAGEDY OF "ANTONIO."
"The story of his swallowing opium-pills to keep him lively upon the first night of a certain tragedy we may presume to be a piece of retaliatory pleasantry on the part of the suffering author. But, indeed, John had the art of diffusing a complacent equable dulness (which you knew not where to quarrel with) over a piece which he did not like, beyond any of his contemporaries. John Kemble had made up his mind early that all the good tragedies which could be written had been written, and he resented any new attempt. His shelves were full. The old standards were scope enough for his ambition. He ranged in them absolute, and 'fair in Otway, full in Shakspeare shone.' He succeeded to the old lawful thrones, and did not care to adventure bottomry with a Sir Edward Mortimer, or any casual speculator that offered.
"I remember, too acutely for my peace, the deadly extinguisher which he put upon my friend G.'s 'Antonio' G., satiate with visions of political justice, (possibly not to be realized in our time,) or willing to let the skeptical worldlings see that his anticipations of the future did not preclude a warm sympathy for men as they are and have been, wrote a tragedy. He chose a story, affecting, romantic, Spanish,—the plot simple, without being naked,—the incidents uncommon, without being overstrained. Antonio, who gives the name to the piece, is a sensitive young Castilian, who, in a fit of his country honor, immolates his sister—
"But I must not anticipate the catastrophe. The play, reader, is extant in choice English, and you will employ a spare half-crown not injudiciously in the quest of it.
"The conception was bold, and the dénouement—the time and place in which the hero of it existed considered—not much out of keeping; yet it must be confessed that it required a delicacy of handling, both from the author and the performer, so as not much to shock the prejudices of a modern English audience. G., in my opinion, had done his part. John, who was in familiar habits with the philosopher, had undertaken to play Antonio. Great expectations were formed. A philosopher's first play was a new era. The night arrived. I was favored with a seat in an advantageous box, between the author and his friend M.G. sat cheerful and confident. In his friend M.'s looks, who had perused the manuscript, I read some terror. Antonio, in the person of John Philip Kemble, at length appeared, starched out in a ruff which no one could dispute, and in most irreproachable mustachios. John always dressed most provokingly correct on these occasions. The first act swept by, solemn and silent. It went off, as G. assured M., exactly as the opening act of a piece—the protasis—should do. The cue of the spectators was to be mute. The characters were but in their introduction. The passions and the incidents would be developed hereafter. Applause hitherto would be impertinent. Silent attention was the effect all-desirable. Poor M. acquiesced,—but in his honest, friendly face I could discern a working which told how much more acceptable the plaudit of a single hand (however misplaced) would have been than all this reasoning. The second act (as in duty bound) rose a little in interest; but still John kept his forces under,—in policy, as G. would have it,—and the audience were most complacently attentive. The protasis, in fact, was scarcely unfolded. The interest would warm in the next act, against which a special incident was provided. M. wiped his cheek, flushed with a friendly perspiration,—'tis M.'s way of showing his zeal,—'from every pore of him a perfume falls.' I honor it above Alexander's. He had once or twice during this act joined his palms in a feeble endeavor to elicit a sound; they emitted a solitary noise without an echo; there was no deep to answer to his deep. G. repeatedly begged him to be quiet. The third act at length brought on the scene which was to warm the piece progressively to the final flaming forth of the catastrophe. A philosophic calm settled upon the clear brow of G., as it approached. The lips of M. quivered. A challenge was held forth upon the stage, and there was promise of a fight. The pit roused themselves on this extraordinary occasion, and, as their manner is, seemed disposed to make a ring,—when suddenly Antonio, who was the challenged, turning the tables upon the hot challenger, Don Gusman, (who, by the way, should have had his sister,) balks his humor, and the pit's reasonable expectation at the same time, with some speeches out of the new philosophy against duelling. The audience were here fairly caught,—their courage was up, and on the alert,—a few blows, ding dong, as R——s the dramatist afterwards expressed it to me, might have done the business,—when their most exquisite moral sense was suddenly called in to assist in the mortifying negation of their own pleasure. They could not applaud, for disappointment; they would not condemn, for morality's sake. The interest stood stone-still; and John's manner was not at all calculated to unpetrify it. It was Christmas time, and the atmosphere furnished some pretext for asthmatic affections. One began to cough, his neighbor sympathized with him, till a cough became epidemical. But when, from being half artificial in the pit, the cough got frightfully naturalized among the fictitious persons of the drama, and Antonio himself (albeit it was not set down in the stage-directions) seemed more intent upon relieving his own lungs than the distresses of the author and his friends,—then G. 'first knew fear,' and, mildly turning to M., intimated that he had not been aware that Mr. Kemble labored under a cold, and that the performance might possibly have been postponed with advantage for some nights further,—still keeping the same serene countenance, while M. sweat like a bull.
"It would be invidious to pursue the fates of this ill-starred evening. In vain did the plot thicken in the scenes that followed, in vain the dialogue wax more passionate and stirring, and the progress of the sentiment point more and more clearly to the arduous development which impended. In vain the action was accelerated, while the acting stood still. From the beginning, John had taken his stand,—had wound himself up to an even tenor of stately declamation, from which no exigence of dialogue or person could make him swerve for an instant. To dream of his rising with the scene (the common trick of tragedians) was preposterous; for from the onset he had planted himself, as upon a terrace, on an eminence vastly above the audience, and he kept that sublime level to the end. He looked from his throne of elevated sentiment upon the under-world of spectators with a most sovran and becoming contempt. There was excellent pathos delivered out to them: an they would receive it, so; an they would not receive it, so. There was no offence against decorum in all this; nothing to condemn, to damn. Not an irreverent symptom of a sound was to be heard. The procession of verbiage stalked on through four and five acts, no one venturing to predict what would come of it, when, towards the winding-up of the latter, Antonio, with an irrelevancy that seemed to stagger Elvira herself,—for she had been coolly arguing the point of honor with him,—suddenly whips out a poniard, and stabs his sister to the heart. The effect was as if a murder had been committed in cold blood. The whole house rose up in clamorous indignation, demanding justice. The feeling rose far above hisses. I believe at that instant, if they could have got him, they would have torn the unfortunate author to pieces. Not that the act itself was so exorbitant, or of a complexion different from what they themselves would have applauded upon another occasion in a Brutus or an Appius,—but, for want of attending to Antonio's words, which palpably led to the expectation of no less dire an event, instead of being seduced by his manner, which seemed to promise a sleep of a less alarming nature than it was his cue to inflict upon Elvira, they found themselves betrayed into an accompliceship of murder, a perfect misprision of parricide, while they dreamed of nothing less.