We have thus endeavored to give our readers an idea of this very remarkable book—a task of no little difficulty from its variable features, its mixture of sense and silliness, of prejudice and liberality—almost every page bearing a distinct and peculiar character. There are many things which have elicited censure, on which we have not laid any stress, and among these are the frequent exhibitions of attachment to her native country, and preference of its people, its customs, its laws, &c. to those of America. We cannot find fault with her for so noble and so natural a sentiment, even though it should lead her to depreciate and underrate us. Besides, she acknowledges the blindness of her partiality to England, and speaks of it with great candor, as a national characteristic:
"How we English folks do cling to our own habits, our own views, our own things, our own people; how in spite of all our wanderings and scatterings over the whole face of the earth, like so many Jews, we never lose our distinct and national individuality; nor fail to lay hold of one another's skirts, to laugh at and depreciate all that differs from that country, which we delight in forsaking for any and all others." Vol. i. p. 90.
The chief fault of the work will be found in the dictatorial manner of the writer. A female, and a young one too, cannot speak with the self-confidence which marks this book, without jarring somewhat upon American notions of the retiring delicacy of the female character. But the early induction of Mrs. B. upon the stage, has evidently given her a precocious self-dependence and a habit of forming her own opinions. There is perhaps no situation in which human vanity is so powerfully excited, as that of the favorite actor. The directness of the applause which greets his successful efforts is most intoxicating, and mingles so much admiration of the performer with delight at the performance, that he or she, whose vanity should resist its fascinations, must be a stoic indeed.3 The effects of this personal homage, added to the advantages of her birth, and her really masculine intellect, are apparent in Mrs. B's Journal. But she also displays some fine feminine traits, which the flatteries of delighted audiences, the admiration of ambitious fashionables, and the consciousness of being the chief Lion of the day, could not destroy. Her sympathy for a sick lady, lodging in the same house in Philadelphia, is frequently and delicately expressed; and various other incidents shew that kindness and generosity are among her prominent qualities. Many pages are devoted to the subject of religion, and as appears from them, she was attentive to the performance of her devotions: Yet we cannot but think her religion as displayed in this book, more a sentiment than a principle; rather the imbodying of a poetical fancy, than that pervading feeling of the heart which enters into and characterizes the actions of those who feel its influence.—In conclusion, we will repeat what we have said before, that there is much to admire and much to condemn in this work—enough of the former to render it one of the most attractive (as it is one of the most original) that has recently issued from the press; and in censuring its faults it will be but justice to bear in mind a sentiment of Mrs. B.; "After all, if people generally did but know the difficulty of doing well, they would be less damnatory upon those who do ill." p. 114, vol. i.
3 This position has been beautifully illustrated by some modern English writer, but by whom we have forgotten. Mrs. Butler is fully aware of the intoxicating nature of the applause bestowed on actors, and speaks most sensibly on the subject, although she is probably unconscious of its full effects upon her own feelings, and manner of thinking and writing.
"Excitement," says she, "is reciprocal between the performer and the audience; he creates it in them, and receives it back again from them: and in that last scene in Fazio, half the effect that I produce is derived from the applause which I receive, the very noise and tumult of which tends to heighten the nervous energy which the scene itself begets."
The idea is farther carried out in the following striking passage:
"The evanescent nature of his triumph, however an actor may deplore it, is in fact but an instance of the broad moral justice by which all things are so evenly balanced. If he can hope for no fame beyond mere mention, when once his own generation passes away, at least his power, and his glory, and his reign is in his own person, and during his own life. There is scarcely to be conceived a popularity for the moment more intoxicating than that of a great actor in his day, so much of it becomes mixed up with the individual himself. The poet, the painter, and the sculptor, enchant us through their works; and with very, very few exceptions, their works, and not their very persons are the objects of admiration and applause; it is to their minds we are beholden; and though a certain degree of curiosity and popularity necessarily wait even upon their bodily presence, it is faint compared with that which is bestowed upon the actor; and for good reasons—he is himself his work. His voice, his eyes, his gestures, are his art, and admiration of it cannot be separated from admiration for him. This renders the ephemeral glory which he earns so vivid, and in some measure may be supposed to compensate for its short duration. The great of the earth, whose fame has arisen like the shining of the sun, have often toiled through their whole lives in comparative obscurity, through the narrow and dark paths of existence. Their reward was never given to their hands here,—it is but just their glory should be lasting." Vol. ii. pp. 61-62.