Читать книгу Their Majesties' Servants. Annals of the English Stage (Volume 2 of 3) - Doran John - Страница 1

Artists who have been wont to look into the Vicar of Wakefield, Gil Blas, and last century comedies, for picturesque subjects, would find account in referring to the lives of our actresses. Here is not a bad picture of its class. The time is at the close of the seventeenth century; the scene is at the Mitre Tavern in St. James's Market, kept by one Mrs. Voss. It is a quiet summer evening, and after the fatigues of the day are over, and before the later business of the night has commenced, that buxom lady is reclining in an easy chair, listening to a fair and bright young creature, her sister,1 who is reading aloud, and is enjoying what she reads. Her eyes, like Kathleen's in the song, are beaming with light, her face glowing with intelligence and feeling. Even an elderly lady, their mother, turns away from the picture of her husband, who had ridden in the Guards, and held a commission under James II. – she turns from this, and memories of old days, to gaze with tender admiration on her brilliant young daughter; who, be it said, at this present reading, is only an apprentice to a seamstress in King Street, Westminster.

But the soul of Thalia is under her bodice, into a neater than which, Anadyomene could not have laced herself. She is rapt in the reading, and with book held out, and face upraised, and figure displayed at its very best, she enthrals her audience, unconscious herself that this is more numerous than she might have supposed. On the threshold of the open door stand a couple of guests; one of them has, to us, no name; the other is a gay, rollicking young fellow, smartly dressed, a semi-military look about him, good humour rippling over his face, combined with an air of astonishment and delight. This is Captain Farquhar. His sight and hearing are wholly concentrated on that enchanted and enchanting girl, who, unmindful of aught but the "Scornful Lady," continues still reading aloud that rattling comedy of Beaumont and Fletcher. How the mother listened to it all is not to be told; but nearly a century later Queen Charlotte could listen to her daughters reading "Polly Honeycombe," and no harm done. We may fancy the young reader at the Mitre, whose name is Anne Oldfield, in that silvery voice for which she was famed, half in sadness and half in mirth, reading the lines in which the lady says: —

Captain Farquhar, at whatever passage in the play, betrayed his presence by his involuntary applause. The girl looked towards him more pleased than abashed; and when the captain pronounced that there was in her the stuff for an exquisite actress, the fluttered thing clasped her hands, glowed at the prophecy, and protested in her turn, that of all conditions it was the one she wished most ardently to fulfil. From that moment the glory and the mischief were commenced. The tall girl stood up, her large eyes dilating, the assured future Lady Betty Modish and Biddy Tipkin, Farquhar's own Sylvia and Mrs. Sullen, the Violante and the Lady Townley that were to set the playgoing world mad with delight; the Andromache, Marcia, and Jane Shore, that were to wring tears from them; the supreme lady in all, but chiefest in comedy; and that "genteel," for which she seemed expressly born.

Farquhar talked of her to Vanbrugh, and Vanbrugh introduced her to Rich, and Rich took her into his company, assigned her a beginner's salary, fifteen shillings a week, and gave her nothing to do. She had a better life of it at the seamstress's in King Street. But she had time to spare and leisure to wait. She was barely fifteen, when, in 1700, she played Alinda, in Vanbrugh's adaptation from Beaumont and Fletcher, the "Pilgrim." The next three or four years were those of probation; and when, in the season of 1704-5, Cibber assigned to her the part of Lady Betty Modish, in his "Careless Husband," the town at once recognised in her the most finished actress of such difficult yet effective parts of her day.

The gentle Alinda suited the years and inexperience of Mrs. Oldfield; her youth was in her favour, and her figure, but therewith was such great diffidence, that she had not courage enough to modulate her voice. Cibber watched her; he could see nothing to recommend her, save her graceful person. But there reached his ear occasional silver tones, which seemed to assure him of the rare excellence of the instrument. Still, like "the great Mrs. Barry," her first appearances were failures; and such were those of Sarah Siddons, in after years. Warmed by encouraging applause, however, the promise ripened, and with opportunity, the perfection that came was demonstrated both to watchful Cibber and an expectant public.

In 1703 the company was at Bath, where Queen Anne might have been seen in the Pump Room in the morning, – later in the day, at the play. But the joyous and brilliant queen of comedy was not there. Mrs. Verbruggen, the Mrs. Mountfort of earlier days, was ill in town, nursing a baby, whose birth ultimately cost the life of the mother. There was a scramble for her parts. Each of the more influential actresses obtained several; but to young and unobtrusive Mrs. Oldfield, there fell but one, – the mediocre part of Leonora, in "Sir Courtly Nice." Cibber reluctantly ran over the scenes with her, at her request, in which the Knight and the Lady meet. He was careless, from lack of appreciation of the actress; she was piqued, and sullenly repeated the words set down for her. There was, in short, a mutual distaste. But, when the night came, Colley saw the almost perfect actress before him, and as he says, – "she had a just occasion to triumph over the error of my judgment by the almost amazement that her unexpected performance awaked me to; so sudden and forward a step into nature I had never seen. And what made her performance more valuable was, that I knew it all proceeded from her own understanding, – untaught and unassisted by any one more experienced actor." Any other player but Cibber, in his place, would have laid Anne Oldfield's success to the instruction he had given her at rehearsal.

Colley Cibber had then in his desk the unfinished manuscript of his "Careless Husband;" it had long lain there, through the author's hopelessness of ever finding an actress who would realise his idea of Lady Betty Modish. He had no longer any doubt. He at once finished the piece, brought it on the stage, and silent as to his own share in the triumph, attributed it all, or nearly all, to Mrs. Oldfield. "Not only to the uncommon excellence of her action; but even to her personal manner of conversing." I must repeat what Cibber tells us, that many of the sentiments were Mrs. Oldfield's, dressed up by him, "with a little more care than when they negligently fell from her lively humour." Respecting what Cibber adds, that "had her birth placed her in a higher rank of life, she had certainly appeared to be, in reality, what in the play she only excellently acted, – an agreeably gay woman of quality, a little too conscious of her natural attractions," I will remark that, as she really appeared to be so, her birth (she was a gentleman's daughter) could not prevent her from appearing so. And Cibber avows, what the testimony of Walpole confirms, that he had "often seen her in private societies, where women of the best rank might have borrowed some part of her behaviour without the least diminution of their sense of dignity."

In 1702, the merit of Mrs. Oldfield was not recognised by Gildon, who, in his "Comparison between the two Stages," classes her among "the rubbish," of which the stage should be swept. Of Mrs. Verbruggen (Mountfort), he speaks as "a miracle." He could not see that Oldfield would be her successor, and would, in some parts, even excel her. By the year 1706, however, she had risen to be on an equality with such a brilliant favourite as Mrs. Bracegirdle, whom, in the opinion of many, her younger competitor surpassed. The salary of the latter then, and for some years later, was not, however, a large one, if measured by modern rule. Four pounds a week, with a benefit, – in all, little more than £250 a year, cannot be called excessive guerdon. Her own benefit was always profitable; but I am sorry to add, that this joyous-looking creature, apparently brimful of good nature, was very reluctant to play for the benefit of her colleagues. Subsequently, her revenue from the stage-salary and benefit averaged about £500 a year.

A remark of hers to Cibber, shows how she entered into the spirit of her parts. Cibber had replaced Dicky Norris, who was ill, in the part of Barnaby Brittle, in the "Amorous Widow," in which Mrs. Oldfield played Barnaby's wife. The couple are a sort of George Dandin and his spouse. When the play was over, Cibber asked her, in his familiar way, "Nancy, how did you like your new husband?" "Very well," said she; "but not half so well as Dicky Norris." "How so?" asked Cibber. "You are too important a figure," she answered; "but Dicky is so diminutive, and looks so sneaking, that he seems born to be deceived; and when he plays with me, I make him what a husband most dislikes to be, with hearty good will."

Genest cites Cibber, Chetwood, and Davies, in order to describe her adequately. "After her success in Lady Betty Modish," he says, "all that nature had given her of the actress seemed to have risen to its full perfection; but the variety of her powers could not be known till she was seen in variety of characters which, as fast as they fell to her, she equally excelled in. In the wearing of her person she was particularly fortunate; her figure was always improving, to her thirty-sixth year; but her excellence in acting was never at a stand. And Lady Townley, one of her last new parts, was a proof that she was still able to do more, if more could have been done for her."

Davies, after noticing her figure and expression, says of her "large speaking eyes," that in some particular comic situations she kept them half shut, "especially when she intended to give effect to some brilliant or gay thought. In sprightliness of air and elegance of manner, she excelled all actresses, and was greatly superior in the clear, sonorous, and harmonious tones of her voice."

How are Wilks and the inimitable She photographed for posterity? "Wilks's Copper Captain was esteemed one of his best characters. Mrs. Oldfield was equally happy in Estifania. When she drew the pistol from her pocket, pretending to shoot Perez, Wilks drew back, as if greatly terrified, and in a tremulous voice, uttered, 'What, thine own husband!' To which she replied, with archness of countenance and a half-shut eye, 'Let mine own husband then be in 's own wits,' in a tone of voice in imitation of his, that the theatre was in a tumult of applause."

From Cibber, again, we learn that she was modest and unpresuming; that in all the parts she undertook, she sought enlightenment and instruction from every quarter, "but it was a hard matter to give her a hint that she was not able to improve." With managers she was not exacting; "she lost nothing by her easy conduct; she had everything she asked, which she took care should be always reasonable, because she hated as much to be grudged as to be denied a civility."

Like Mrs. Barry, she entered fully into the character she had to represent, and examined it closely, in order to grasp it effectually. When the "Beaux' Stratagem" was in rehearsal (1707), in which she played Mrs. Sullen, she remarked to Wilks, that she thought the author had dealt too freely with Mrs. Sullen, in giving her to Archer, without such a proper divorce as would be a security to her honour. Wilks communicated this to the author. "Tell her," said poor Farquhar, who was then dying, "that for her peace of mind's sake, I'll get a real divorce, marry her myself, and give her my bond she shall be a real widow in less than a fortnight."

Mrs. Oldfield was the original representative of sixty-five characters. The greater number of these belong to genteel comedy, as it is called, a career which she commenced as peculiarly her own, in 1703, when chance assigned to her the part of Leonora, in "Sir Courtly Nice." Her wonderful success in this, induced Cibber to trust to her the part of Lady Betty Modish, in the "Careless Husband," the comedy which he had put aside in despair of finding a lady equal to his conception of the character. Her mere conversation in that play intoxicated the house. At a later period, her audiences were even more ecstatic at her Lady Townley, – an ecstasy in which the managers must have shared, for they immediately added fifty guineas to her salary. It was just the sum which the benevolent actress gave annually to that most contemptibly helpless personage, Savage. Her highest salary never, I believe, exceeded three hundred guineas; but this was exclusive of benefits, occasions on which gold was showered into her lap.

Humour, grace, vivacity, – all were exuberant on the stage, when she and Wilks were playing against each other. Indeed, one can hardly realise the idea of this supreme queen of comedy wearing the robe and illustrating the sorrows of tragedy. She, for her own part, disliked the latter vocation. She hated, as she said often, to have a page dragging her tail about. "Why do not they give these parts to Porter? She can put on a better tragedy-face than I can." Earnest as she was, however, in these characters before the audience, she was frolicsome at rehearsal. When "Cato" was in preparation, Mrs. Oldfield was cast for Marcia, the philosophical statesman's daughter. Addison attended the rehearsals, and Swift was at Addison's side, making suggestions, and marking the characteristics of the lively people about him. He never had a good word for woman, and consequently he had his usual coarse epithet for Mrs. Oldfield, speaking of her as "the drab that played Cato's daughter;" and railing at her for her hilarity while rehearsing that passionate part, and, in her forgetfulness, calling merrily out to the prompter, "What next? what next?"

Yet this hilarious actress played Cleopatra with dignity, and Calista with feeling. She accepted with great reluctance the part of Semandra, in "Mithridates," when that tragedy was revived in 1708; but Chetwood says she performed the part to perfection, and became reconciled to tragedy by reason of her success. In these characters, however, she could be excelled by others, but in Lady Betty Modish and Lady Townley she was probably never equalled. In the comedy of lower life she was, perhaps, less original; at least, Anthony Aston remarks, that in free comedy she borrowed something from Mrs. Verbruggen's manner. When Wilks, as Lord Townley, exclaimed "Prodigious!" in the famous scene with his lady, played by Mrs. Oldfield, the house applied it to her acting, and broke into repeated rounds of applause.

"Who should act genteel comedy, perfectly," asks Walpole, "but people of fashion that have sense? Actors and actresses can only guess at the tone of high life, and cannot be inspired with it. Why are there so few genteel comedies, but because most comedies are written by men not of that sphere. Etherege, Congreve, Vanbrugh, and Cibber wrote genteel comedy, because they lived in the best company; and Mrs. Oldfield played it so well, because she not only followed, but often set the fashion. General Burgoyne has writ the best modern comedy for the same reason; and Miss Farren is as excellent as Mrs. Oldfield, because she has lived with the best style of men in England. Farquhar's plays talk the language of a marching regiment in country quarters. Wycherley, Dryden, Mrs. Centlivre, &c., wrote as if they had only lived in the Rose Tavern; but then the Court lived in Drury Lane, too, and Lady Dorchester and Nell Gwyn were equally good company."

In this there is some injustice against Mrs. Centlivre, for whose name should be supplied that of Aphra Behn. Walpole judges more correctly of the comic writers of the seventeenth century, when he places Molière "Senor Moleiro," as Downes absurdly calls him, at the head of them all. "Who upon earth," he says, "has written such perfect comedies? for the 'Careless Husband' is but one; the 'Non-juror' was built on the 'Tartuffe,' and if the Man of Mode (Etherege) and Vanbrugh are excellent, they are too indelicate; and Congreve, who beat all for wit, is not always natural, still less, simple."

It has been said of Mrs. Oldfield, that she never troubled the peace of any lady at the head of a household; but I think she may have marred the expectations of some who desired to reach that eminence. She early captivated the heart of Mr. Maynwaring. He was a bachelor, rich, connected with the government, and a hard drinker, according to the prevailing fashion. He was Cymon subdued by Iphigenia. He loved the lady's refinement, and she kept his household as carefully as if she had been his wife, and presided at his table with a grace that charmed him. There was something of Beauty and the Beast in this connection, but the end of the fable was wanting; the animal was never converted to an Azor, and a marriage with Zemira was the one thing wanting.

When Maynwaring died, society almost looked upon her as an honest widow. Indeed, it had never rejected her. The standard of morals was low, and when the quasi widow accepted the proposal of General Churchill to place her at the head of his establishment, as she had been in that of Mr. Maynwaring, no one blamed her. Marriage, indeed, seems to have been thought of, and Queen Caroline, who did not at all disdain to stoop to little matters of gossip, one day remarked to Mrs. Oldfield, who had, I suppose, been reading to a court circle, "I hear, Mrs. Oldfield, that you and the General are married?" "Madam," said the actress, playing her very best, "the General keeps his own secrets!"

The two love passages in the life of Anne Oldfield were, in short, founded on sentiment and not on interest. The Duke of Bedford offered her more brilliant advantages than the General or the Squire; but the disinterested actress spurned them, and kept sisterhood with duchesses. She was to be seen on the terrace at Windsor, walking with the consorts of dukes, and with countesses, and wives of English barons, and the whole gay group might be heard calling one another by their Christian names. In later days, Kitty Clive called such fine folk "damaged quality;" and later still, the second Mrs. Barry did not value such companionship at a "pin's fee;" but Anne Oldfield drew from it many an illustration, which she transported to the stage.

During her last season, her sufferings were often so acute that when the applause was loudest, the poor actress turned aside to hide the tears forced from her by pain. She never gave up till the agony was too great to be endured, and then she refused to receive a salary which, according to her articles, was not to be discontinued in illness. She lingered a few months in her house in Lower Grosvenor Street; the details of her last moments, as given by Pope, mingle a little truth with much error and exaggeration: —

Betty was the ex-actress, Mrs. Saunders, who resided with Narcissa. She had quitted the stage in 1720, and, says Mr. Urban, "attended Mrs. Oldfield constantly, and did the office of priest to the last." Poor Narcissa, after death, was attired in a Holland night-dress, with tucker and double ruffles of Brussels lace, of which latter material she also wore a head-dress, and a pair of "new kid gloves." This, another writer calls being "buried in full dress." The report seems to have been founded on Mrs. Oldfield's natural good taste in costume. Flavia, such is her name in the Tatler, "is ever well drest, and always the genteelest woman you meet; her clothes are so exactly fitted that they appear part of her person."

It was in the above described dress that the deceased actress received such honour as actress never received before, nor has ever received since. The lady lay in state in the Jerusalem Chamber, a distinction not unfrequently, indeed, conceded to persons of high rank and small merit, but which, nevertheless, seemed out of place in the case of Anne Oldfield; but had she been really a queen, the public could not have thronged more eagerly to the spectacle.

The solemn lying in state of an English actress in the Jerusalem Chamber, the sorrow of the public over their lost favourite, and the regret of friends in noble, or humble, but virtuous homes, where Mrs. Oldfield had been ever welcome, contrast strongly with the French sentiment towards French players. It has been already said, that as long as Clairon exercised the power, when she advanced to the footlights, to make the (then standing) pit recoil several feet, by the mere magic of her eyes, the pit, who enjoyed the terror as a luxury, flung crowns to her, and wept at the thought of losing her; but Clairon infirm was Clairon forgotten, and to a decaying actor or actress a French audience is the most merciless in the world. The brightest and best of them, as with us, died in the service of the public. Monfleury, Mondory, and Bricourt, died of apoplexy, brought on by excess of zeal. Molière, who fell in harness, was buried with less ceremony than some favourite dog. The charming Lecouvreur, that Oldfield of the French stage, whose beauty and intellect were the double charm which rendered theatrical France ecstatic, was hurriedly interred within a saw-pit. Bishops might be exceedingly interested in, and unepiscopally generous to, living actresses of wit and beauty, but the prelates smote them with a "Maranatha!" and an "Avaunt ye!" when dead. Even Bossuet would attend the theatre to learn grace and elocution from them and their brethren: but when he had profited by the instruction, he denounced them all as "children of the devil!" Louis XVIII., however, put an effectual check on the unseemly practice of treating as dead dogs the geniuses who had been idolised when living. When the priests of the Church of St. Roch closed its doors against the body of Rancourt, brought there for a prayer and a blessing, Paris rose against the insulters; and the King, moved by Christian charity, or dread of a Paris riot, sent his own chaplain to recite the prayer, give the benediction, and to show that an honest player was not a something less than a fellow-creature.

After the lying in state of Mrs. Oldfield, there was a funeral of as much ceremony as has been observed at the obsequies of many a queen. Among the supporters of the pall were Lord Hervey, Lord Delawarr, and Bubb Dodington, afterwards Lord Melcombe. The first used to ride abroad with Mrs. Oldfield, as Mrs. Delaney has recorded. Lord Delawarr was a soldier who became a great "beau," and went a philandering. His wife and the Countess of Burlington headed the Faustina party at the opera against the faction which supported Cuzzoni. There were anthems, and prayers, and sermon; and Dr. Parker, who officiated, remarked, when all was over, to a few particular friends, and with some equivocation, as it seems to me, that he "buried her very willingly, and with much satisfaction." Her sons Maynwaring and Churchill were present, and the contemporary notices say that she had no other children. Her friends were apt to express a different opinion; and Mrs. Delaney, in one of the very first passages in her Autobiography says: – "At six years old I was placed under the care of Mdlle. Puelle, a refugee of a very respectable character, and well qualified for her business. She undertook but twenty scholars at a time, among whom were Lady Catherine Knollys, daughter to the" (self-styled) "Earl of Banbury, and great aunt to the present Lord; Miss Halsey, daughter to a very considerable brewer, and afterwards married to Lord Temple, Earl of Cobham; Lady Jane Douglas, daughter of the Duke of Douglas, and Miss Dye Bertie, a daughter of Mrs. Oldfield the actress, who, after leaving school, was the pink of fashion in the beau monde, and married a nobleman." Whom did this mysterious Diana marry?2

This daughter is not mentioned in Mrs. Oldfield's will; but to the two sons Mrs. Oldfield bequeathed the bulk of a fortune which she had amassed more by her exertions than by the generosity of their respective fathers. She was liberal, too, in leaving memorials to numerous friends; less so in her bequests to old relations of her sempstress and coffee-house days. A very small annuity was Narcissa's parting gift to her mother, who long survived her.

In such wise went her money; but whither has the blood of Oldfield gone? When Winnifred, the dairymaid, married into the family of the Bickerstaffes, she is said to have spoilt their blood, while she mended their constitutions. The great actress herself was at least an honest man's daughter, a man of fair descent. Her son, Colonel Churchill, once, unconsciously, saved Sir Robert Walpole from assassination, through the latter riding home, from the House, in the Colonel's chariot instead of alone in his own. Unstable Churchill married a natural daughter of Sir Robert, and their daughter Mary married, in 1777, Charles Sloane, first Earl of Cadogan. The son of this Mary is the present Earl, the great grandson of charming Anne Oldfield. When Churchill and his wife were travelling in France, a Frenchman, knowing he was connected with poets or players, asked him if he was Churchill the famous poet. "I am not," said Mrs. Oldfield's son. "Ma foi!" rejoined the polite Frenchman, "so much the worse for you!"

I have seen many epitaphs to her memory, but there is not one which is so complete and beautiful as the following, which tells the reader that she lies amid great poets, not less worthy of praise than they, whose works she has illustrated and ennobled. It records the apt universality of her talent, which made her seem not made, but born for whatever she undertook. In tragedy, the glory of her form, the dignity of her countenance, the majesty of her walk, touched the rudest spectator. In comedy, her power, her graceful hilarity, her singular felicity, were so irresistible, that the eyes never wearied of gazing at her, nor the hands of applauding her.

"Hic juxta requiescit

Tot inter poetarum laudata nomina,

ANNA OLDFIELD

Nec ipsa minore laude digna,

Quippe quæ eorum opera

In scenam quotidies prodivit,

Illustravit semper et nobilitavit

Nunquam ingenium idem ad parties diversissimas

Habilius fuit

Ita tamen ut ad singulas

Non facta sed nata esse videretur,

In tragœdiis

Formæ splendor, oris dignitas, incessus majestas,

Tanta vocis suavitate temperabantur

Ut nemo esset tam agrestis, tam durus spectator,

Quin in admirationem totus raperetur

In comœdia autem

Tanta vis, tam venusta hilaritas, tam curiosa felicitas

Ut neque sufficerent spectando oculi,

Neque plaudendo manus."

I have said that her last original part was Sophonisba. Among the last words she uttered in it, when mortal illness was upon her, were these: —

These words were first spoken by her, on the last day of February 1730. On the 23rd of the following October she died, in her forty-seventh year. A week later, Dr. Parker "buried her very willingly, and with much satisfaction!"