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the degradations of the stage, it must and will depend for its constant hold on the affection and attention of mankind upon its loftier work; upon its more penetrating passion; upon its themes which most deeply search out the strong affections and high hopes of men and women; upon its fit and kindling illustration of great and vivid lives which either have been lived in noble fact or have deserved to endure immortally in the popular[46] belief and admiration which they have secured. "For our eyes to see!
Sons of wisdom, song, and power,
Giving earth her richest dower,
And making nations freeโ€”
A glorious company!

"Call them from the dead
For our eyes to see!
Forms of beauty, love, and grace,
'Sunshine in the shady place,'
That made it life to beโ€”
A blessed company!"

[47]





ADDRESS
TO THE STUDENTS
OF THE UNIVERSITY OF
HARVARD
30TH MARCH 1885

[48]





[49]

THE ART OF ACTING

I. THE OCCASION.

I am deeply sensible of the compliment that has been paid, not so much to me personally as to the calling I represent, by the invitation to deliver an address to the students of this University. As an actor, and especially as an English actor, it is a great pleasure to speak for my art in one of the chief centres of American culture; for in inviting me here to-day you intended, I believe, to recognize the drama as an educational influence, to show a [50]genuine interest in the stage as a factor in life which must be accepted and not ignored by intelligent people. I have thought that the best use I can make of the privilege you have conferred upon me is to offer you, as well as I am able, something like a practical exposition of my art; for it may chanceโ€”who knows?โ€”that some of you may at some future time be disposed to adopt it as a vocation. Not that I wish to be regarded as a tempter who has come among you to seduce you from your present studies by artful pictures of the fascinations of the footlights. But I naturally supposed that you would like me to choose, as the theme of my address, the subject in which I am most interested, and to which my life has been devoted; and that if any students here should ever determine to become actors, they could not be much the worse for the information and counsel I could gather for them from a tolerably [51]extensive experience. This subject will, I trust, be welcome to all of you who are interested in the stage as an institution which appeals to the sober-minded and intelligent; for I take it that you have no lingering prejudice against the theatre, or else I should not be here. Nor are you disposed, like certain good people, to object to the theatre simply as a name. These sticklers for principle would never enter a playhouse for worlds; and I have heard that in a famous city of Massachusetts, not a hundred miles from here, there are persons to whom the theatre is unknown, but who have no objection to see a play in a building which is called a museum, especially if the vestibule leading to the theatre should be decorated with sound moral principles in the shape of statues, pictures, and stuffed objects in glass cases.

When I began to think about my subject for the purpose of this address, I was [52]rather staggered by its vastness. It is really a matter for a course of lectures; but as President Eliot has not proposed that I should occupy a chair of dramatic literature in this University, and as time and opportunity are limited, I can only undertake to put before you, in the simplest way, a few leading ideas about dramatic art which may be worthy of reflection. And in doing this I have the great satisfaction of appearing in a model theatre, before a model audience, and of being the only actor in my own play. Moreover, I am stimulated by the atmosphere of the Greek drama, for I know that on this stage you have enacted a Greek play with remarkable success. So, after all, it is not a body of mere tyros that I am addressing, but actors who have worn the sock and buskin, and declaimed the speeches which delighted audiences two thousand years ago.

Now, this address, like discourses in a more [53]solemn place, falls naturally into divisions. I propose to speak first of the Art of Acting; secondly, of its Requirements and Practice; and lastly of its Rewards. And, at the outset, let me say that I want you to judge the stage at its best. I do not intend to suggest that only the plays of Shakespeare are tolerable in the theatre to people of taste and intelligence. The drama has many formsโ€”tragedy, comedy, historical-pastoral, pastoral-comicalโ€”and all are good when their aim is honestly artistic.

[54]



II. THE ART OF ACTING.

Now, what is the art of acting? I speak of it in its highest sense, as the art to which Roscius, Betterton, and Garrick owed their fame. It is the art of embodying the poet's creations, of giving them flesh and blood, of making the figures which appeal to your mind's eye in the printed drama live before you on the stage. "To fathom the depths of character, to trace its latent motives, to feel its finest quiverings of emotion, to comprehend the thoughts that are hidden under words, and thus possess one's-self of the actual mind of the individual man"โ€”such was Macready's definition of the player's art; and to this we may add the testimony of Talma. He describes tragic acting as "the union of grandeur [55]without pomp and nature without triviality." It demands, he says, the endowment of high sensibility and intelligence.

"The actor who possesses this double gift adopts a course of study peculiar to himself. In the first place, by repeated exercises, he enters deeply into the emotions, and his speech acquires the accent proper to the situation of the personage he has to represent. This done, he goes to the theatre not only to give theatrical effect to his studies, but also to yield himself to the spontaneous flashes of his sensibility and all the emotions which it involuntarily produces in him. What does he then do? In order that his inspirations may not be lost, his memory, in the silence of repose, recalls the accent of his voice, the expression of his features, his actionโ€”in a word, the spontaneous workings of his mind, which he had suffered to have free course, and, in effect, everything which in the moments of [56]his exaltation contributed to the effects he had produced. His intelligence then passes all these means in review, connecting them and fixing them in his memory to re-employ them at pleasure in succeeding representations. These impressions are often so evanescent that on retiring behind the scenes he must repeat to himself what he had been playing rather than what he had to play. By this kind of labor the intelligence accumulates and preserves all the creations of sensibility. It is by this means that at the end of twenty years (it requires at least this length of time) a person destined to display fine talent may at length present to the public a series of characters acted almost to perfection."

You will readily understand from this that to the actor the well-worn maxim that art is long and life is short has a constant significance. The older we grow the more acutely alive we are to the [57]difficulties of our craft. I cannot give you a better illustration of this fact than a story which is told of Macready. A friend of mine, once a dear friend of his, was with him when he played Hamlet for the last time. The curtain had fallen, and the great actor was sadly thinking that the part he loved so much would never be his again. And as he took off his velvet mantle and laid it aside, he muttered almost unconsciously the words of Horatio, "Good-night, sweet Prince;" then turning to his friend, "Ah," said he, "I am just beginning to realize the sweetness, the tenderness, the gentleness of this dear Hamlet!" Believe me, the true artist never lingers fondly upon what he has done. He is ever thinking of what remains undone: ever striving toward an ideal it may never be his fortune to attain.

We are sometimes told that to read the best dramatic poetry is more educating[58] than to see it acted. I do not think this theory is very widely held, for it is in conflict with the dramatic instinct, which everybody possesses in a greater or less degree. You never met a playwright who could conceive himself willingโ€”even if endowed with the highest literary giftsโ€”to prefer a reading to a playgoing public. He thinks his work deserving of all the rewards of print and publisher, but he will be much more elated if it should appeal to the world in the theatre as a skilful representation of human passions. In one of her letters George Eliot says: "In opposition to most people who love to read Shakespeare, I like to see his plays acted better than any others; his great tragedies thrill me, let them be acted how they may." All this is so simple and intelligible, that it seems scarcely worth while to argue that in proportion to the readiness with which the reader of Shakespeare imagines the attributes of [59]the various characters, and is interested in their personality, he will, as a rule, be eager to see their tragedy or comedy in action. He will then find that very much which he could not imagine with any definiteness presents new images every momentโ€”the eloquence of look and gesture, the by-play, the inexhaustible significance of the human voice. There are people who fancy they have more music in their souls than was ever translated into harmony by Beethoven or Mozart. There are others who think they could paint pictures, write poetryโ€”in short, do anything, if they only made the effort. To them what is accomplished by the practised actor seems easy and simple. But as it needs the skill of the musician to draw the full volume of eloquence from the written score, so it needs the skill of the dramatic artist to develop the subtle harmonies of the poetic play. In fact, to do and not [60]to dream, is the mainspring of success in life. The actor's art is to act, and the true acting of any character is one of the most difficult accomplishments. I challenge the acute student to ponder over Hamlet's renunciation of Opheliaโ€”one of the most complex scenes in all the dramaโ€”and say that he has learned more from his meditations than he could be taught by players whose intelligence is equal to his own. To present the man thinking aloud is the most difficult achievement of our art. Here the actor who has no real grip of the character, but simply recites the speeches with a certain grace and intelligence, will be untrue. The more intent he is upon the words, and the less on the ideas that dictated them, the more likely he is to lay himself open to the charge of mechanical interpretation. It is perfectly possible to express to an audience all the involutions of thought, the speculation, doubt,[61] wavering, which reveal the meditative but irresolute mind. As the varying shades of fancy pass and repass the mirror of the face, they may yield more material to the studious playgoer than he is likely to get by a diligent poring over the

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