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ON SOME OF THE OLD ACTORS.

The casual sight of an old play-bill, which I picked up the other day—I know not by what chance it was preserved so long-tempts me to call to mind a few of the players who make the principal figure in it. It presents the cast of parts in the Twelfth Night, at the old Drury-Lane Theatre, two-andthirty years ago. There is something very touching in these old remembrances. They make us think how we once used to read a play-bill—not, as now, peradventure, singling out a favourite performer, and casting a negligent eye over the rest; but spelling out every name, down to the very mutes and servants of the scene ; when it was a matter of no small moment to us whether Whitfield or Packer took the part of Fabian; when Benson, and Burton, and Phillimore-names of small account—had an importance beyond what we can be content to attribute now to the time's best actors. Orsino, by Mr. Barrymore.” What a full Shakspearian sound it carries! how fresh to memory arise the image and the manner of the gentle actor!

Those who have only seen Mrs. Jordan within the last ten or fifteen years, can have no adequate notion of her performance of such parts as Ophelia; Helena, in All's Well that Ends Well ; and Viola in this play. Her voice had latterly acquired a coarseness, which suited well enough with her Nells and Hoydens, but in those days it sank, with her steady melting eye, into the heart. Her joyous parts—in which her memory now chiefly lives—in her youth were outdone by her plaintive ones. There is no giving an account how she delivered the disguised story of her love for Orsino. It was no set speech, that she had foreseen, so as to weave it into an harmonious period, line necessarily following line, to make up the music-yet I have heard it so spoken, or rather read, not without its grace and beauty—but, when she had declared her sister's history to be a “ blank,” and that she “

never told her love," there was a pause, as if the story had ended—and then the image of the “worm in the bud” came up as a new suggestion—and the heightened image of “ Patience” still followed after that, aş by some growing (and not mechanical) process, thought springing up after thought, I would almost say, as they were watered by her tears. So in those fine

“ Write royal cantos of contemned love

Hallow your name to the reverberate hills" there was no preparation made in the foregoing image for that which was to follow. She used no rhetoric in her passion; or it was nature's own rhetoric, most legitimate then, when it seemed altogether without rule or law.

Mrs. Powel, (now Mrs. Renard,) then in the pride of her beauty, made an admirable Olivia. She was particularly excellent in her unbending scenes in conversation with the clown. I have seen some Olivias—and those very sensible actresses too—who in these interlocutions have seemed to set their wits at the jester, and to vie conceits with him in downright emulation. But she used him for her sport, like what he was, to trifle a leisure sentence or two with, and then to be dismissed, and she to be the great lady still. She touched the imperious fantastic humour of the character with nicety. Her fine spacious person filled the scene.

The part of Malvolio has in my judgment been so often misunderstood, and the general merits of the actor who then played it so unduly appreciated, that I shall hope for pardon if I am a little prolix upon these points.

Of all the actors who flourished in my time—a melancholy phrase if taken aright, reader-Bensley had most of the sweil of soul, was greatest in the delivery of heroic conceptions, the emotions consequent upon the presentment of a great idea to the fancy. He had the true poetical enthusiasm—the rarest faculty among players. None that I remember possessed even a portion of that fine madness which he threw out in Hotspur's famous rant about glory, or the transports of the Venetian incendiary at the vision of the fired city. His voice had the dissonance, and at times the inspiriting effect, of the trumpet. His gait was uncouth and stiff, but no way embarrassed by affectation ; and the thorough-bred gentleman was uppermost in every movement. He seized the moment of passion with the greatest truth; like a faithful clock, never striking before the time ; never anticipating, or leading you to anticipate. He was totally destitute of trick and artifice. He seemed come upon the stage to do the poet's message simply, and he did it with as genuine fidelity as the nuncio: in Homer deliver the errands of the gods. He let the pas sion or the sentiment do its own work without prop or bol stering. He would have scorned to mountebank it; and be trayed none of that cleverness which is the bane of serious acting. For this reason, his lago was the only endurable one which I remember to have seen. No spectator from his action could divine more of his artifice than Othello was supposed to do. His confessions in soliloquy alone put you in possession of the mystery. There were no by-intimations to make the audience fancy their own discernment so mucb greater than that of the Moor—who commonly stands like a great helpless mark set up for mine ancient and a quantity of barren spectators to shoot their bolts at. The lago of Bensley did not go to work so grossly. There was a trium phant tone about the character, natural to a general consciousness of power : but none of that petty vanity which chuckles and cannot contain itself upon any little successful stroke of its knavery—as is common with your small villains and green probationers in mischief. It did not clap or crow before its time. It was not a man setting his wits at a child, and winking all the while at other children who are mightily pleased at being let into the secret; but a consummate villain entrapping a noble nature into toils, against which no discernment was available, where the manner was as fathomless as the purpose seemed dark, and without motive. The part of Malvolio, in the Twelfth Night, was performed by Bensley with a richness and a dignity, of which (to judge from some recent castings of that character) the very tradition must be worn out from the stage. No manager in those days would have dreamed of giving it to Mr. Baddeley, or Mr. Parsons : when Bensley was occasionally absent from the theatre, John Kemble thought it no derogation to succeed to the part. Malvolio is not essentially ludicrous. He becomes comic but by accident. He is cold, austere, repelling ; but dignified, consistent, and, for what appears, rather of an overstretched morality. Maria describes him as a sort of Puritan; and he might have worn his gold chain with honour in one of our old roundhead families, in the service of a Lambert or a Lady Fairfax. But his morality and his manners are misplaced in Illyria. He is opposed to the proper levities of the piece, and falls in the unequal contest. Still his pride, or his gravity, (call it which you will,) is inherent, and native to the man, not mock or affected, which latter only are the fit objects to excite laughter. His quality is at the best unlovely, but neither buffoon nor contemptible. His bearing is lofty, a little above his station, but probably not much above his deserts.

We see no reason why he should not have been brave, honourable, accomplished. His careless committal of the ring to the ground (which he was commissioned to restore to Cesario) bespeaks a generosity of birth and feeling. His dialect on all occasions is that of a gentleman, and a man of education. We must not confound him with the eternal old, low steward of comedy. He is master of the household to a great princess; a dignity probably conferred upon him for other respects than age or length of service. Olivia, at the first indication of his supposed madness, declares that she “would not have him miscarry for half of her dowry." Does this look as if the character was meant to appear little or insignificant ? Once, indeed, she accuses him to his face-of what ?-of being “sick of self-love,”—but with a gentleness and considerateness which could not have been, if she had not thought that this particular infirmity shaded some. virtues. His rebuke to the knight and his sottish revellers is sensible and spirited ; and when we take into consideration the unprotected condition of his mistress, and the strict regard with which her state of real or dissembled mourning would draw the eyes of the world upon her house-affairs, Malvolio might feel the honour of the family in some sort in his keeping; as it appears not that Olivia had any more brothers or kinsmen to look to it--for Sir Toby had dropped all such nice respects at the buttery-hatch. That Malvolio was meant to be represented as possessing estimable qualities, the expression of the duke, in his anxiety to have him reconciled, almost infers. “ Pursue him, and entreat him to a peace.” Even in his abused state of chains and darkness, a sort of greatness seems never to desert him. He argues highly and well with the supposed Sir Topas, and philosophizes gallantly upon his straw.* There must have been some shadow of worth about the man ; he must have been something more than a mere vapour--a thing of straw, or Jack in office—before Fabian and Maria could have ventured sending him upon a courting errand to Olivia. There was some consonancy (as he would say) in the undertaking, or the jest would have been too bold even for that house of misrule.

Bensley, accordingly, threw over the part an air of Spanish loftiness. He looked, spake, and moved like an old Castilian. He was starch, spruce, opinionated, but his superstructure of pride seemed bottomed upon a sense of worth. There was something in it beyond the coxcomb. It was big and swelling, but you could not be sure that it was hollow. You might wish to see it taken down, but you felt that it was upon an elevation. He was magnificent from the outset ; but when the decent sobrieties of the character began to give way, and

noison of self-love, in his conceit of the countess's affec

radually to work, you would have thought that the hero

[graphic]

of La Mancha in person stood before you. How he went smiling to himself! with what ineffable carelessness would he twirl his gold chain! what a dream it was! you were in'ected with the illusion, and did not wish that it should be removed ! you had no room for laughter! if an unseasonable reflection of morality obtruded itself, it was a deep sense of the pitiable infirmity of man's nature, that can lay him open to such phrensies: but, in truth, you rather admired than pitied the lunacy while it lasted-you felt that an hour of such mistake was worth an age with the eyes open. Who would not wish to live but for a day in the conceit of such a lady's love as Olivia ? Why, the duke would have given his principality but for a quarter of a minute, sleeping or waking, to have been so deluded. The man seemed to tread upon air, to taste manna, to walk with his head in the clouds, to mate Hyperion. Oh! shake not the castles of his pride-endure yet for a season, bright moments of confidence—“ stand still, ye watchers of the element,” that Malvolio may be still in fancy fair Olivia's lord—but fate and retribution say no--I hear the mischievous titter of Maria—the witty taunts of Sir Tobythe still more insupportable triumph of the foolish knight--the counterfeit Sir Topas is unmasked, and "thus the whirligig of time,” as the true clown hath it, “ brings in his revenges. I confess that I never saw the catastrophe of this character, while Bensley played it, without a kind of tragic interest. There was good foolery too. Few now remember Dodd. What an Aguecheek the stage lost in him! Lovegrove, who came nearest to the old actors, revived the character some few seasons ago, and made it sufficiently grotesque, but Dodd was it, as it came out of nature's hands. It might be said to remain in puris naturalibus. In expressing slowness of apprehension this actor surpassed all others. You could see the first dawn of an idea stealing slowly over his countenance, climbing up by little and little, with a painful process, till it cleared up at last to the fulness of'a twilight conception—its highest meridian. He seemed to keep back his intellect, as some have had the power to retard their pulsation. The balloon takes less time in filling, than it took to cover the expansion of his broad moony face over all its quarters with expression. A glimmer of understanding would appear in a corner of his eye, and for lack of fuel go out again. A part of his forehead would catch a little intelligence, and be a long time in communicating it to the remainder.

I am ill at dates, but I think it is now better than five-and twenty years ago that, walking in the gardens of Gray's Inn --they were then far finer than they are now-the accursed

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