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regions of pure comedy, where no cold moral reigns. The highly artificial manner of Palmer in this character counteracted every disagreeable impression which you might have received from the contrast, supposing them real, between the two brothers. You did not believe in Joseph with the same faith with which you believed in Charles. The latter was a pleasant reality, the former a no less pleasant poetical foil to it. The comedy, I have said, is incongruous; a mixture of Congreve with sentimental incompatibilities; the gaiety upon the whole is buoyant; but it required the consummate art of Palmer to reconcile the discordant elements.
A player with Jack's talents, if we had one now, would not dare to do the part in the same manner. He would instinctively avoid every turn which might tend to unrealise, and so to make the character fascinating. He must take his cue from his spectators, who would expect a bad man and good man as rigidly opposed to each other as the deathbeds of those geniuses are contrasted in the prints, which I am sorry to say have disappeared from the windows of my old friend Carrington Bowles, of St. Paul's Churchyard memory—(an exhibition as venerable as the adjacent cathedral, and almost coeval) of the bad and good man at the hour of death; where the ghastly apprehensions of the former,—and truly the grim phantom with his reality of a toasting-fork is not to be despised,—so finely contrast with the meek complacent kissing of the rod,-taking it in like honey and butter, - with which the latter submits to the scythe of the gentle bleeder, Time, who wields his lancet with the apprehensive finger of a popular young ladies' surgeon. What flesh, like loving grass, would not covet to meet half-way the stroke of such a delicate mower ? -John Palmer was twice an actor in this exquisite part. He was playing to you all the while that he was playing upon Sir Peter and his lady. You had the first intimation of a sentiment before it was on his lips. His altered voice was meant to you, and you were to suppose that his fictitious co-flutterers on the stage perceived nothing at all of it. What was it to you if that half reality, the husband, was overreached by the puppetry-or the thin thing (Lady Teazle's reputation) was persuaded it was dying of a plethory ? The fortunes of Othello and Desdemona were not concerned in it. Poor Jack has passed from the stage
in good time, that he did not live to this our age of serious
The pleasant old Teazle King, too, is gone in good time. His manner would scarce have passed current in our day. We must love or hate-acquit or condemncensure or pity-exert our detestable coxcombry of moral judgment upon everything. Joseph Surface, to go down now, must be a downright revolting villain-no compromise -his first appearance must shock and give horror-his specious plausibilities, which the pleasurable faculties of our fathers welcomed with such hearty greetings, knowing that no harm (dramatic harm even) could come, or was meant to come, of them, must inspire a cold and killing aversion. Charles (the real canting person of the scene for the hypocrisy of Joseph has its ulterior legitimate ends, but his brother's professions of a good heart centre in downright self-satisfaction) must be loved, and Joseph hated. To balance one disagreeable reality with another, Sir Peter Teazle must be no longer the comic idea of a fretful old bachelor bridegroom, whose teasings (while King acted it) were evidently as much played off at you, as they were meant to concern anybody on the stage,-he must be a real person, capable in law of sustaining an injury—a person towards whom duties are to be acknowledged—the genuine crim. con. antagonist of the villanous seducer Joseph. To realise him more, his sufferings under his unfortunate match must have the downright pungency of life—must (or should) make you not mirthful but uncomfortable, just as the same predicament would move you in a neighbour or old friend.
The delicious scenes which give the play its name and zest, must affect you in the same serious manner as if you heard the reputation of a dear female friend attacked in your real presence. Crabtree and Sir Benjamin-those poor snakes that live but in the sunshine of your mirthmust be ripened by this hot-bed process of realisation into asps or amphisbænas; and Mrs. Candour-01 frightful ! become a hooded serpent. 01 who that remembers Parsons and Dodd—the wasp and butterfly of the School for Scandal -in those two characters ; and charming natural Miss Pope, the perfect gentlewoman as distinguished from the fine lady of comedy, in this latter part-would forego the true scenic delight—the escape from life-the oblivion of consequences—the holiday barring out of the pedant
'Reflection—those Saturnalia of two or three brief hours, well won from the world—to sit instead at one of our modern plays-to have his coward conscience (that forsooth must not be left for a moment) stimulated with perpetual appeals-dulled rather, and blunted, as a faculty without repose must bemand his moral vanity pampered with images of notional justice, notional beneficence, lives saved without the spectator's risk, and fortunes given away that cost the author nothing ?
No piece was, perhaps, ever so completely cast in all its parts as this manager's comedy. Miss Farren had succeeded to Mrs. Abington in Lady Teazle ; and Smith, the original Charles, had retired when I first saw it. The rest of the characters, with very slight exceptions, remained. I remember it was then the fashion to cry down John Kemble, who took the part of Charles after Smith; but, I thought, very unjustly. Smith, I fancy, was more airy, and took the eye with a certain gaiety of person. He brought with him no sombre recollections of tragedy. He had not to expiate the fault of having pleased beforehand in lofty declamation. He had no sins of Hamlet or of Richard to atone for. His failure in these parts was a passport to success in one of so opposite a tendency. But, as far as I could judge, the weighty sense of Kemble made up for more personal incapacity than he had to answer for. His harshest tones in this part came steeped and dulcified in good humour. He made his defects a grace. His exact declamatory manner, as he managed it, only served to convey the points of his dialogue with more precision. It seemed to head the shafts to carry them deeper. Not one of his sparkling sentences was lost. I remember minutely how he delivered each in succession, and cannot by any effort imagine how any of them could be altered for the better. No man could deliver brilliant dialoguethe dialogue of Congreve or of Wycherley-because none understood it-half so well as John Kemble. His Valentine in Love for Love, was, to my recollection, faultless. He flagged sometimes in the intervals of tragic passion. He would slumber over the level parts of an heroic character. His Macbeth has been known to nod. But he always seemed to me to be particularly alive to pointed and witty dialogue. The relaxing levities of tragedy have not been touched by any since him—the playful court-bred spirit
in which he condescended to the players in Hamlet—the sportive relief which he threw into the darker shades of Richard-disappeared with him. He had his sluggish moods, his torpors—but they were the halting-stones and resting-place of his tragedy-politic savings, and fetches of the breath-husbandry of the lungs, where nature pointed him to be an economist-rather, I think than errors of the judgment. They were, at worst, less painful than the eternal tormenting unappeasable vigilance,-the “ lidless dragon eyes,” of present fashionable tragedy.
ON THE ACTING OF MUNDEN
Not many nights ago I had come home from seeing this extraordinary performer in Cockletop; and when I retired to my pillow, his whimsical image still stuck by me, in a manner as to threaten sleep. In vain I tried to divest myself of it, by conjuring up the most opposite associations. I resolved to be serious. I raised up the gravest topics of life; private misery, public calamity. All would not do:
-Thero the antic sate
Mocking our state--his queer visnomy-his bewildering costume-all his strange things which he had raked together—his serpentine rod swagging about in his pocket-Cleopatra's tear, and the rest of his relics-O'Keefe's wild farce, and his wilder commentary-till the passion of laughter, like grief in excess, relieved itself by its own weight, inviting the sleep which in the first instance it had driven away.
But I was not to escape so easily. No sooner did I fall into slumbers, than the same image, only more perplexing, assailed me in the shape of dreams. Not one Munden, but five hundred, were dancing before me, like the faces which, whether you will or no, come when you have been taking opium-all the strange combinations, which this strangest of all strange mortals ever shot his proper countenance into, from the day he came commissioned to dry up the tears of the town for the loss of the now almost forgotten Edwin. O for the power of the pencil to have fixed them when I awoke ! A season or two since, there was exhibited
a Hogarth gallery. I do not see why there should not be a Munden gallery. In richness and variety, the latter would not fall far short of the former.
There is one face of Farley, one face of Knight, one (but what a one it is !) of Liston; but Munden has none that you can properly pin down, and call his. When you think he has exhausted his battery of looks, in unaccountable warfare with your gravity, suddenly he sprouts out an entirely new set of features, like Hydra. He is not one, but legion ; not so much a comedian, as a company. If his name could be multiplied like his countenance, it might fill a playbill. He, and he alone, literally makes faces; applied to any other person, the phrase is a mere figure, denoting certain modifications of the human countenance. Out of some invisible wardrobe he dips for faces, as his friend Suett used for wigs, and fetches them out as easily. I should not be surprised to see him some day put out the head of a river-horse ; or come forth a pewitt, or lapwing, some feathered metamorphosis.
I have seen this gifted actor in Sir Christopher Curryin old Dornton-diffuse a glow of sentiment which has made the pulse of a crowded theatre beat like that of one man; when he has come in aid of the pulpit, doing good to the moral heart of a people. I have seen some faint approaches to this sort of excellence in other players. But in the grand grotesque of farce, Munden stands out as single and unaccompanied as Hogarth. Hogarth, strange to tell, had no followers. The school of Munden began, and must end, with himself.
Can any man wonder, like him ? can any man see ghosts, like him ? or fight with his own shadow—“ SESSA -as he does in that strangely-neglected thing, the Cobbler of Preston—where his alternations from the Cobbler to the Magnifico, and from the Magnifico to the Cobbler, keep the brain of the spectator in as wild a ferment, as if some Arabian Night were being acted before him. Who like him can throw, or ever attempted to throw, a preternatural interest over the commonest daily-life objects ? A table or a joint-stool, in his conception, rises into a dignity equivalent to Cassiopeia's chair. It is invested with constellatory importance. You could not speak of it with more deference, if it were mounted into the firmament. A beggar in the hands of Michael Angelo, says Fuseli, rose