Chapter I: Part 1

TRANSCRIBER’S NOTE:

—Obvious print and punctuation errors were corrected.

HENRY IRVING’S

IMPRESSIONS OF AMERICA

NARRATED IN A SERIES OF

_SKETCHES, CHRONICLES, AND
CONVERSATIONS_

BY

JOSEPH HATTON

AUTHOR OF
“CLYTIE,” “CRUEL LONDON,” “THREE RECRUITS,” “TO-DAY IN AMERICA,” ETC.

BOSTON
JAMES R. OSGOOD AND COMPANY
1884

Copyright, 1884
JAMES R. OSGOOD AND COMPANY

_All rights reserved_

Press of Rockwell and Churchill, 39 Arch St.

TO THE AMERICAN PUBLIC.

THIS book is the outcome of a desire to chronicle, in a lasting form, some of the events of a tour which your kindness has made a delight to Ellen Terry and myself. Before leaving London I ventured upon a prophecy that in journeying to America we were going amongst friends. That prophecy has been fulfilled.

In the history of the stage the Lyceum Company is the first complete organization which has crossed the Atlantic with the entire equipment of a theatre.

As the tour is, I believe, unique, so also is this record of it; and I particularly desire to emphasize a fact concerning its authorship. I am, myself, only responsible for my share in the conversations and dialogues that are set down, everything else being the work of my friend, Joseph Hatton, well known to you as the author of “To-day in America.”

I can but trust that I have not erred in expressing, for publication, some passing thoughts about a country which has excited my profound admiration, and which has the highest claims upon my gratitude.

HENRY IRVING.

NEW YORK, April 30, 1884.

CONTENTS.

I.—AT HOME.

PAGE
Talking of America—Warned against the Interviewer—
“Travellers’ Tales”—Good-by to London—International Gossip—A
Mythical Palace on the Thames—Reports from “A Little English
Friend”—The Grange—A Grafton Street Interior—Souvenirs
and Portraits—An Actor on His Audiences—Hamlet at the
Lyceum—Critics and Public Opinion—The Final Verdict—First
Nights—Anonymous Letters—Notable Gifts—The Character
of Louis XI.—“A Poor Mother who had Lost Her Son”—Scene
Calls—Stories of a “Dresser”—Behind the Scenes—“Waking
Up”—The Original Beefsteak Club Room—Host and Guests 1

II.—NEW YORK.

Going to Meet the “Britannic”—The “Blackbird”—Skirmishers
of the American Press—The London “Standard’s” Message to New
York, Boston, and Chicago—“Working” America—“Reportorial”
Experiences—Daylight off Staten Island—At Quarantine under
the Stars and Stripes—“God Save the Queen!” and “Hail to the
Chief!”—Received and “Interviewed”—“Portia on a Trip from
the Venetian Seas”—What the Reporters Think and what Irving
Says—The Necessity of Applause—An Anecdote of Forrest—Mr.
Vanderbilt and the Mirror—Miss Terry and the Reporters—“Tell
them I never loved home so well as now”—Landed and
Welcomed—Scenes on the Quay—At the Brevoort 39

III.—FIRST IMPRESSIONS.

Union Square, New York—An Enterprising Chronicler—The
Lambs—The Newspapers and the New-comers—“Art must
Advance with the Times”—“Romeo and Juliet” at the
Lyceum—“Character Parts”—No Real Tradition of Shakespearian
Acting—“Mannerisms”—The Stage as an Educator—Lafayette
Place—A Notable Little Dinner—The Great American Bird,
“Not the Eagle, but the Duck”—A Question of “Appropriate
Music”—Speculators in Tickets and their Enormous
Profits—Middlemen, the Star Theatre, and the Play going Public 65

IV.—AT THE LOTOS CLUB.

The Savage Club of America—Thackeray and Lord Houghton—A
Great Banquet—Mr. Whitelaw Reid on Irving and the Actor’s
Calling—“Welcome to a Country where he may find not Unworthy
Brethren”—An Answer to the Warnings of the English Traveller
of Chapter I.—“Shakespeare’s Charles the First”—A Night of
Wit and Humor—Chauncey M. Depew on Theatrical Evolution—The
Knighting of Sullivan—The Delineator of Romance visiting
the Home of America’s Creator of Romance—After-dinner
Stories—Conspiring against the Peace of a Harmless
Scotchman—A Pleasant Jest 84

V.—THE NIGHT BEFORE THE PLAY.

The Vividness of First Impressions—New York Hotels—On the
Elevated Road with “Charlie”—Trotting Horses—Audiences
on both Sides of the Atlantic—“A Man knows best what
he can do”—“Americanisms,” so called—A Satirical
Sketch, entitled “Bitten by a Dog”—Louis and the Duke of
Stratford-on-Avon—Macready and the Forrest Riots 108

VI.—THE BELLS.

A Stormy Night in New York—Ticket-Speculators at Work—A
First-night Audience—Mathias received with Enthusiasm—Behind
the Scenes—Lighting the Stage—Returning Thanks—Criticism of
the Crowd—John Gilbert’s Opinion—Actor and Audience—English
Playgoers and Londoners—Laughter and Applause—An Artistic
Triumph 123

VII.—“RED LETTER DAYS.”

Miss Ellen Terry’s First Appearance in New York—The Press
on Charles and the Queen—A Professional Matinée—An
Audience of Actors to See Louis XI.—How they Impressed
the Actor, and what they Thought of Him—A Visit to Henry
Ward Beecher—At Church and at Home—Mrs. Beecher and Miss
Terry—Reminiscences—Studies of Death, Physiological and
Idealistic—Louis’ Death and Hamlet’s—A Strange Story 140

VIII.—A QUIET EVENING.

A First Visit behind the Scenes—Cooper and Kean—The
University Club—A very Notable Dinner—Chief Justice Davis and
Lord Chief Justice Coleridge—A Menu worth Discussing—Terrapin
and Canvas-Back Duck—“A Little Family Party”—Florence’s
Romance—Among the Lambs—The Fate of a Manuscript Speech—A
Story of John Kemble—Words of Welcome—Last Night of the New
York Engagement—_Au Revoir!_ 165

IX.—AT PHILADELPHIA AND “IN CLOVER.”

Rivalries of American Cities—Boston and Philadelphia—The
Real and the Picturesque—Miss Terry’s Portia—“Three
Kinds of Criticism”—First Appearance as Hamlet—Miss
Terry’s Ophelia—Journalism and the Stage—Critics, Past
and Present—Philadelphia and English Cities—A New Style
of Newspaper—Bogus Reports and Interviews; an Example of
Them—The Clover Club—A Letter from an Eminent American
Tragedian—Presented with Forrest’s Watch—The Macready
Trouble—Hamlet, and an Invitation from Guest to Hosts 187

X.—BOSTON AND SHYLOCK.

Rural Scenes on Both Sides of the Atlantic—First Impressions
of Railway Travel—The Cars—One of the Largest Theatres in
America—The Drama in Boston—Early Struggles to represent
Plays in Public—“Moral Lectures”—Boston Criticisms—Shylock,
Portia, Hamlet, and Ophelia—Different Readings of
Shylock—Dressing-Room Criticism—Shylock considered—A
Reminiscence of Tunis—How Shakespeare should be interpreted on
the Stage—Two Methods illustrated—Shylock before the Court of
Venice—How Actors should be judged 214

XI.—A CITY OF SLEIGHS.

Snow and Sleigh Bells—“Brooks of Sheffield”—In the Boston
Suburbs—Smokeless Coal—At the Somerset Club—Miss Ellen Terry
and the Papyrus—A Ladies’ Night—Club Literature—Curious
Minutes—“Greeting to Ellen Terry”—St. Botolph—Oliver Wendell
Holmes and Charles the First—“Good-by and a Merry Christmas” 237

XII.—LOOKING FORWARD TO CHRISTMAS.

Interviewing in England and America—Rehearsing Richard and
Lady Ann—Reminiscences of a Christmas Dinner—A Homely
Feast—Joe Robins and Guy Fawkes—He would be an Actor—The
Luxury of Warmth—“One Touch of Nature” 254

XIII.—A WILD RAILWAY JOURNEY.

A Great American Railway Station—Platforms and
Waiting-Rooms—A Queer Night—“Snow is as Bad as Fog”—A
Farmer who Suggests Mathias in “The Bells”—A Romance of
the Hudson—Looking for the “Maryland” and Finding “The
Danites”—Fighting a Snow-storm—“A Ministering Angel”—The
Publicity of Private Cars—Mysterious Proceedings—Strange
Lights—Snowed up—Digging out the Railway Points—A Good
Samaritan Locomotive—Trains Ahead of Us, Trains Behind
Us—Railway Lights and Bells—“What’s Going On?” 264

XIV.—CHRISTMAS, AND AN INCIDENT BY THE WAY.

At Baltimore—Street Scenes—Christmas Wares—Pretty Women
in “Rubber Cloaks”—Contrasts—Street Hawkers—Southern
Blondes—Furs and Diamonds—Rehearsing under
Difficulties—Blacks and Whites—Negro Philosophy—Honest
Work—“The Best Company on its Legs I have ever seen”—Our
Christmas Supper—“Absent Friends”—Pictures in the Fire
and Afterwards—An Intercepted Contribution to Magazine
Literature—Correcting a Falsehood—Honesty and Fair Play 285

XV.—FROM BROOKLYN TO CHICAGO.

“Fussy”—The Brooklyn Ferry—Crossing the North River—A
Picturesque Crowd—Brooklyn Bridge at Night—Warned against
Chicago—Conservatism of American Critics—Dangers of
the Road—Railway-Train Bandits—An Early Interviewer—A
Reporter’s Story—Life on a Private Car—Miss Terry and her
“Luck”—American Women 305

XVI.—THE PRAIRIE CITY.

First Impressions of Chicago—A Bitter Winter—Great
Storms—Thirty Degrees below Zero—On the Shores of Lake
Michigan—Street Architecture—Pullman City—Western
Journalism—Chicago Criticism—Notable Entertainments—At
the Press Club—The Club Life of America—What America has
done—Unfair Comparisons between the Great New World and the
Older Civilizations of Europe—Mistaking Notoriety for Fame—A
Speech of Thanks—Facts, Figures, and Tests of Popularity, Past
and to Come 321

XVII.—ST. LOUIS, CINCINNATI, INDIANAPOLIS, COLUMBUS.

Sunshine and Snow—Wintry Landscapes—Fire and
Frost—Picturesque St. Louis—“The Elks”—A Notable
Reception—“Dime Shows”—Under-studies—Germany
in America—“On the Ohio”—Printing under
Difficulties—“Baggage-smashing”—Handsome Negroes and Sunday
Papers—The Wonders of Chicago 344

XVIII.—CHIEFLY CONCERNING A HOLIDAY AT NIAGARA.

The Return Visit to Chicago—Welcomed Back again—Farewell
Speech—Niagara in the Winter—A Sensation at the
Hotel—Requisitioning adjacent Towns for Chickens and
Turkeys—Ira Aldridge and a Colored Dramatic Club—A Blizzard
from the North-west—The Scene of Webb’s Death—“A great
Stage-manager, Nature”—Life and Death of “The Hermit of
Niagara”—A Fatal Picnic—The Lyceum Company at Dinner—Mr.
Howe Proposes a Toast—Terriss meets with an Accident that
recalls a Romantic Tragedy 363

XIX.—FROM TORONTO TO BOSTON.

Lake Ontario—Canadian Pastimes—Tobogganing—On an Ice
Slide—“Shooting Niagara and After”—Toronto Students—Dressing
for the Theatre—“God Save the Queen”—Incidents of
Travel—Locomotive Vagaries—Stopping the Train—“Fined
One Hundred Dollars “—The Hotels and the Poor—Tenement
Houses—The Stage and the Pulpit—Actors, Past and Present—The
Stage and the Bar-room—The Second Visit to Boston—Enormous
Receipts—A Glance at the Financial Results of the Tour 382

XX.—WASHINGTON, NEW ENGLAND, AND SOME “RETURN VISITS.”

From Rail to River—Once More on Board the
“Maryland”—Recollections of President Arthur—At the
White House—Washington Society—An Apt Shakespearian
Quotation—Distinguished People—“Hamlet”—A Council of
War—Making Out the Route of a New Tour—A Week in New England
Cities—Brooklyn and Philadelphia Revisited 399

XXI.—“BY THE WAY.”

“My Name is Mulldoon, I live in the Twenty-fourth
Ward”—Protective Duties and the Fine Arts—“The General
Muster”—A Message from Kansas City—American Cabmen—Alarming
Notices in Hotels—The Chicago Fire Service—What a Fire
Patrol can Do in a few Seconds—Marshalling the Fire
Brigades—William Winter—“Office Rules”—The Reform Club and
Politics—Enterprising Reporters—International Satire—How
a Man of “Simple and Regular Habits” Lives—Secretaries
in Waiting—The Bisbee Murders—“Hunted Down”—Outside
Civilization—“The Bazoo”—The Story of a Failure—A Texan
Tragedy—Shooting in a Theatre—Evolutions of Towns 423

XXII.—“THE LONGEST JOURNEY COMES TO AN END.”

“Our Closing Month in New York”—Lent—At Rehearsal—Finishing
Touches—Behind the Scenes at the Lyceum and the Star—The
Story of the Production of “Much Ado” in New York—Scenery
and Properties on the Tour—Tone—Surprise for Agents
in Advance—Interesting Technicalities—An Incident of
the Mounting of “Much Ado”—The Tomb Scene—A Great
Achievement—The End 463

IMPRESSIONS OF AMERICA.

I.

AT HOME.

Talking of America—Warned against the Interviewer—“Travellers’ Tales”—Good-by to London—International Gossip—A Mythical Palace on the Thames—Reports from “A Little English Friend”—The Grange—A Grafton-Street Interior—Souvenirs and Portraits—An Actor on His Audiences—Hamlet at the Lyceum—Critics and Public Opinion—The Final Verdict—First Nights—Anonymous Letters—Notable Gifts—The Character of Louis XI.—“A Poor Mother who had Lost Her Son”—Scene Calls—Stories of a “Dresser”—Behind the Scenes—“Waking Up”—The Original Beefsteak Club Boom—Host and Guests.

I.

“AND I don’t think he believes a word I have said,” was Mr. John T. Raymond’s own commentary upon a series of romances of “the wild West” which he had related to Mr. Henry Irving[1] with an intensity that was worthy of Col. Sellers himself.

The comedian’s reminiscences were graphic narratives of theatrical and frontier life, with six-shooters and bowie-knives in them, and narrow escapes enough to have made the fortunes of what the Americans call a ten-cent novel.

“Oh, yes, I believe it is the duty of the door-keeper at a Western theatre to collect the weapons of the audience before admitting the people to the house; that what we call the cloak-room in London, you might call the armory out West; and that the bowie-knife of a Texan critic never weighs less than fourteen pounds. But I am not going as far as Texas, though one might do worse if one were merely crossing the Atlantic in search of adventures.”

America was at this time a far-off country, about which travellers told Irving strange stories. I recall many a pleasant evening in the Beefsteak Club room, of the Lyceum Theatre, when famous citizens of the United States, actors more particularly, have sat at his round table, and smoked the Havannah of peace and pleasant memories: Booth, Barrett, Boucicault, McCullough, Raymond, Florence, and others of their craft; Generals Horace Porter, Fairchild, Merritt, Mr. Sam. Ward, Mr. Rufus Hatch, Mr. James R. Osgood, Mr. Hurlbert, Mr. Crawford, Col. Buck, Mr. Dan Dougherty, and many others. They all promised him a kindly reception and a great success.

“I question, however,” said an English guest, taking the other side, as Englishmen love to do, if only for the sake of argument, “if America will quite care for the naturalness of your effects, the neutral tones of some of your stage pictures, the peaceful character, if I may so style it, of your representations. They like breadth and color and show; they are accustomed to the marvellous and the gigantic in nature; they expect on the stage some sort of interpretation of these things,—great rivers, lofty mountains, and the startling colors of their fall tints. Your gentle meads of Hampton, the poetic grace of “Charles the First,” the simplicity of your loveliest sets, and the quiet dignity of your Shylock, will, I fear, seem tame to them.”

“Human nature, I fancy,” Irving responded, “is the same all the world over, and I have played to many Americans in this very theatre. You will say, perhaps, that they will accept here in London what they would not care for on the other side of the Atlantic. You would say we are an old country, with fairly settled tastes in art, a calm atmosphere, a cultivated knowledge; and that possibly what we, in our narrower ways, regard as a subtilty of art, they may not see. That may be so, though some of their humor is subtle enough, and the best of it leaves a great deal to the imagination. I know many persons, American and English, have talked to me in your strain; yet I never saw quieter or more delicate acting than in Jefferson’s Rip Van Winkle. As I said before, human nature is ever the same: it loves and hates, it quarrels and murders, it honors valor, sympathizes with the unfortunate, and delights in seeing human passions delineated on the stage. Moreover, are not the Americans, after all, our own flesh and blood? I never think of them in the sense of foreigners, as one does of the French and Germans, and the other European nations who do not speak our language; and I have yet to learn that there is any difference between us so marked that the jangle of “The Bells,” shall not stir their imagination as much as the sorrows of Charles shall move their hearts, and the story of Louis heighten their pulses. We shall see. I cannot exactly say that my soul’s in arms and eager for the fray, but I have no doubt about the result. That love of breadth, of largeness, of color, you talk of, should go hand in hand with a catholic taste, devoid of littleness and combined with a liberal criticism that is not always looking for spots on the sun.”

“You are not nervous, then, as to your reception?”

“No, I am sure it will be kindly; and, for their criticism, I think it will be just. There is the same honesty of purpose and intention in American as in English criticism, and, above all, there is the great play-going public, which is very much the same frank, generous, candid audience all over the world.”

“But there is the American interviewer! You have not yet encountered that interesting individual.”

“Oh, yes, I have.”

“Has he been here, then?”

“Yes; not in his war-paint, nor with his six-shooter and bowie-knife, as he goes about in Raymond’s Texan country, yet an interviewer still.”

“And you found him not disagreeable?” asked the travelled guest.

“I found him well informed and quite a pleasant fellow.”

“Ah, but he was here under your own control, probably smoking a cigar in your own room. Wait until he boards the steamer off New York. Then you will see the sort of person he is, with his string of questions more personal than the fire of an Old Bailey lawyer at a hostile witness under cross-examination. The Inquisition of old is not in the race with these gentlemen, except that the law, even in America, does not allow them to put you to physical torture, though they make up for that check upon their liberty by the mental pain they can inflict upon you. Apart from the interviewers proper, I have known reporters to disguise themselves as waiters, that they may pry into your secrets and report upon your most trivial actions.”

“You have evidently suffered,” said Irving.

“No, not I; but I have known those who have. Nothing is sacred from the prying eyes and unscrupulous pens of these men. ‘You smile, old friend,’ to quote your ‘Louis the Eleventh,’ but I am not exaggerating nor setting down aught in malice. You will see! The interviewers will turn you inside out.”

“You don’t say so! Well, that will be a new sensation, at all events,” answered Irving; and, when our friend had left, he remarked, “I wonder if Americans, when they visit this country, go home and exaggerate our peculiarities as much as some of our own countrymen, after a first trip across the Atlantic, evidently exaggerate theirs.”

“There are many travellers who, in relating their experiences, think it necessary to accentuate them with exaggerated color; and then we have to make allowances for each man’s individuality.”

“How much certain of our critical friends make of that same ‘individuality,’ by the way, when they choose to call it ‘mannerism’! The interviewers, I suppose, will have a good deal to say on that subject.”

“English papers and American correspondents have given them plenty of points for personal criticism.”

“That is true. They will be clever if they can find anything new to say in that direction. Well, I don’t think it is courage, and I know it is not vanity; yet I feel quite happy about this American tour.”

* * * * *

A week or two later and Irving spoke the sentiments of his heart upon this subject, at the farewell banquet given to him by artistic, literary, legal, social, and journalistic London, under the presidency of Lord Chief Justice Coleridge; and it will be fitting, I trust, to close these preliminary paragraphs with his characteristic and touching good-by:—

“My Lord Chief Justice, my lords and gentlemen,—I cannot conceive a greater honor entering into the life of any man than the honor you have paid me by assembling here to-night. To look around this room and scan the faces of my distinguished hosts would stir to its depths a colder nature than mine. It is not in my power, my lords and gentlemen, to thank you for the compliment you have to-night paid me.

“‘The friends thou hast, and their adoption tried,
Grapple them to thy soul with hooks of steel.’

“Never before have I so strongly felt the magic of those words; but you will remember it is also said, in the same sentence, ‘Give thy thoughts no tongue.’ (Laughter.) And gladly, had it been possible, would I have obeyed that wise injunction to-night. (Renewed laughter.) The actor is profoundly influenced by precedent, and I cannot forget that many of my predecessors have been nerved by farewell banquets for the honor which awaited them on the other side of the Atlantic; but this occasion I regard as much more than a compliment to myself,—I regard it as a tribute to the art which I am proud to serve—(Cheers),—and I believe that feeling will be shared by the profession to which you have assembled to do honor. (Cheers.) The time has long gone by when there was any need to apologize for the actor’s calling. (Hear! Hear!) The world can no more exist without the drama than it can without its sister art,—music. The stage gives the readiest response to the demand of human nature to be transported out of itself into the realms of the ideal,—not that all our ideas on the stage are realized; none but the artist knows how immeasurably he may fall short of his aim or his conception; but to have an ideal in art, and to strive through one’s life to embody it, may be a passion to the actor, as it may be to the poet. (Cheers.) Your lordship has spoken most eloquently of my career. Possessed of a generous mind and a highly judicial faculty, your lordship has been to-night, I fear, more generous than judicial. But, if I have in any way deserved commendation, I am proud that it is as an actor that I have won it. (Cheers.) As the director of a theatre my experience has been short, but as an actor I have been before the London public for seventeen years; and on one thing I am sure you will all agree,—that no actor or manager has ever received from that public more generous and ungrudging encouragement and support. (Cheers.) Concerning our visit to America I need hardly say that I am looking forward to it with no common pleasure. It has often been an ambition with English actors to gain the good-will of the English-speaking race,—a good-will which is right heartily reciprocated towards our American fellow-workers, when they gratify us by sojourning here. (Cheers.) Your God-speed would alone assure me a hearty welcome in any land; but I am not going amongst strangers,—I am going amongst friends (Cheers),—and when I, for the first time, touch American ground, I shall receive many a grip of the hand from men whose friendship I am proud to possess. (Cheers.) Concerning our expedition the American people will no doubt exercise an independent judgment,—a prejudice of theirs and a habit of long-standing,—(Laughter),—as your lordship has reminded us, by the fact that to-day is the fourth of July,—an anniversary rapidly becoming an English institution. Your lordship is doubtless aware, as to-night has so happily proved, that the stage has reckoned amongst its stanchest supporters many great and distinguished lawyers. There are many lawyers, I am told, in America,—(Laughter),—and as I am sure that they all deserve to be judges, I am in hopes that they will materially help me to gain a favorable verdict from the American people. (Cheers and laughter.) I have given but poor expression to my sense of the honor you have conferred upon me, and upon the comrades associated with me in this our enterprise,—an enterprise which, I hope, will favorably show the method and discipline of a company of English actors; on their behalf I thank you, and I also thank you on behalf of the lady who has so adorned the Lyceum stage,—(Cheers),—and to whose rare gifts your lordship has paid so just and gracious a tribute. (Cheers.) The climax of the favor extended to me by my countrymen has been reached to-night. You have set upon me a burden of responsibility,—a burden which I gladly and proudly bear. The memory of to-night will be to me a sacred thing,—a memory which will, throughout my life, be ever treasured; a memory which will stimulate me to further endeavor, and encourage me to loftier aim. (Loud and continued cheers.)

II.

NO man was ever more written of or talked about in America than Henry Irving; probably no man was ever more misrepresented as to his art and his life. A monster, according to his enemies; an angel, if you took the verdict of his friends; he was a mystery to untravelled American journalists, and an enigma to the great play-going public of the American cities. They were told that people either loved or hated him at first sight. American tourists even carried home contradictory reports of him, though the majority were enthusiastic in praise of him as an actor and as a man. The American newspaper correspondent is naturally a trifle more sensational in the style of his work than his English colleague, because his editor favors graphic writing, entertaining chronicles, picturesque descriptions. Then the sub-editor or compiler of news from the foreign exchanges looks out for “English personals,” gossip about the Queen, notes on the Prince of Wales, out-of-the-way criticisms of actors and public persons of all classes; and so every _outre_ thing that has been published about Irving in England has found its way into the ubiquitous press of America. Added to this publicity, private correspondence has also dealt largely with him, his work, his manners, his habits; for every American who travels writes letters home to his family and often to his local paper, and many English people who have visited America keep up a pleasant epistolary communication with their good friends in the New World.

III.

BEING in New York ahead of Mr. Irving’s arrival, I found much of the curious fiction of which gossip had made him the hero, crystallized into definite assertions, that were accepted as undisputed facts. A day’s sail from the Empire city, in a pretty Eastern villa, I discovered the London gossip-monger’s influence rampant. But if a prominent critic in London could publicly credit Mr. Irving’s success as an actor to his hospitable dispensation of “chicken and champagne,” one need not be surprised that ordinary gossips should draw as liberally on their imagination for illustrations of his social popularity. A leading figure in the world of art, and a person of distinction in Vanity Fair, it is not to be wondered at that Jealousy and Mrs. Grundy, standing outside his orbit, should invent many startling stories about him. I have not exaggerated the following conversation, and I am glad to use it here, not only as illustrative of the singular misrepresentations of Irving’s life and habits, but to bind up in this volume a sketch of the actor and the man which has the merit of being eminently true, and at the same time not inappropriate to these pages.

“Lives in chambers!” exclaimed an American lady, during an after-dinner conversation in a pleasant eastern home. “I thought he owned a lovely palace.”

“Indeed; where, madam?” I asked, “in Utopia?”

“No, sir; on the banks of your Thames river. A little English friend of mine told me so, and described the furnishing of it. I understand that it is as splendid as Claude Melnotte’s by the Lake of Como.”

“And as real?”

“I don’t know what you mean; but, if what she says is true, it is wickeder, any way. You do not say that it is all false about his banquets to the aristocracy, his royal receptions? What about the Prince of Wales, then, and Lord Beaconsfield and Mr. Gladstone and the Poet Laureate visiting him? And his garden parties and the illuminations at night, parterres of flowers mixed up with colored lamps, his collections of rhododendrons and his military bands?”

“Were you ever at a Botanical _Fête_ in Regent’s Park?” I asked.

“I have never crossed the Atlantic.”

“Your little English friend evidently knows the Botanical well.”

“She is acquainted with everything and everybody in London. I wish she were here now. Perhaps she knows a little more than some of Mr. Irving’s friends care to admit.”

“Does she know Mr. Irving?”

“She knows his house.”

“By the Lake of Como?”

“No, sir; by the Thames.”

“One comes from home to hear news. Will you not tell us all about it, then?”

“No, I will not. I think you are positively rude; but that is like you English. There, I beg your pardon; you made me say it. But, seriously now, is not Mr. Irving as rich as—”

“Claude Melnotte?”

“No; Cr[oe]sus, or Vanderbilt, or Mackay? And does he not live in that palace, and have crowds of servants, and visit with the court and the aristocracy? Why, I read in the papers myself, quite lately, of an estate he had bought near, let me see,—is there such a place as Hammersmith?”

“Yes.”

“Is that on the Thames?”

“Yes, more or less.”

“Well, then, is that true? More or less, I suppose. You are thinking how inquisitive I am. But you started the subject.”

“Did I?”

“You said he lives in chambers.”

“I answered your own question.”

“Ah!” she said, laughing merrily, “now I know my little English friend spoke the truth, because I remember she said there was a mystery about Mr. Irving’s lovely house; that he only receives a certain princely and lordly set there. How could she have described it if she had not seen it? A baronial castle, a park, lovely gardens, great dogs lying about on the lawns, wainscoted chambers, a library full of scarce books and costly _bric-à-brac_, Oriental rugs, baths, stained-glass windows, suits of armor, and a powerful bell in a turret to call the servants in to meals.”

“Beautiful! But if there is a mystery about it, what of those gorgeous receptions?”

“Oh, don’t ask me questions. It is I who am seeking for information. There is no public person in the world just at this moment in whom I take a deeper interest. If he were not coming to America I should have been obliged to go to London, if only to see what you call a first night at the Lyceum. We read all about these things. We are kept well informed by our newspaper correspondents—”

“And your little English friend.”

“Yes, she writes to me quite often.”

“Well, now I will tell you the truth about that palace on the Thames,” I said.

“Ah! he confesses,” exclaimed the bright little lady, whose friends suspect her of writing more than one of the famous American novels.

An interested and interesting group of ladies and gentlemen brought their chairs closer to the conversational centre of the company.

“A few years ago, Irving and a friend, strolling through the purlieus of Brook Green (a decayed village that has been swallowed up by the progress of West End, London), towards Hammersmith, saw a house to be sold. It was low and dilapidated, but it had an old-fashioned garden, and the lease was offered at a small sum. Irving knew the house, and he had a mind to examine its half-ruined rooms. He did so, and concluded his investigation by buying the lease. It cost him about half the money you would pay for an ordinary house off Fifth avenue, in New York; less than you would pay for a house in Remsen street, Brooklyn; in Michigan avenue, Chicago; or in Commonwealth avenue, Boston. Since then it has been one of his few sources of amusement to lay out its garden, to restore the old house and make it habitable. It is a typical English home, with low red roofs, ancient trees, oaken stairs, and a garden with old-fashioned flowers and fruit in it; but it is the home of a yeoman rather than a prince, the home of a Cincinnatus rather than the palace of an Alcibiades. The staff of servants consists of a gardener and his wife, and I have been present at several of the owner’s receptions. The invitation was given in this wise: ‘I am going to drive to the Grange, on Sunday afternoon,—will you bring your wife, and have a cup of tea?’ And that described the feast; but Irving, looking at his gilliflowers and tulips, watching the gambols of his dogs, and discussing between whiles the relative cost of carpets and India matting, illustrated the truth of the philosophy, that there is real recreation and rest in a mere change of occupation. Those persons who tell you that Irving’s tastes are not simple, his private life an honor to him, and his success the result of earnestness of purpose, clearness of aim, deep study and hard work, neither know him nor understand how great a battle men fight in England, who cut their way upwards from the ranks, to stand with the highest at head-quarters.”

Quite a round of applause greeted this plain story.

“Why, my dear sir,” exclaimed my original interlocutor, “I am right glad to hear the truth. Well, well, and that is Mr. Irving’s real home, is it? But I thought you said he lives in chambers.”

“One day he hopes to furnish and enjoy the simplicity and quiet of that cottage in a garden, four miles from his theatre; but he still lives, where he has lived for a dozen years or more, in very unpretentious rooms in the heart of London.”

And now, courteous reader, come straightway into this little company of the friendly and the curious, and I will show you where Henry Irving lived until he set sail for America, and you shall hear him talk about his art and his work; for my good friend, the editor of “Harper’s Magazine,” commissioned me to describe the famous English actor at home, and here is the result:—

IV.

AT the corner of Grafton street, where the traffic of a famous West End artery ebbs and flows among picture exhibitions and jewelry stores, lives the most popular actor of his time. It is a mysterious-looking house. The basement is occupied by a trunk store. From the first floor to the top are Mr. Henry Irving’s chambers. They present from the outside a series of dingy, half-blind windows that suggest no prospect of warmth or cheer. “Fitting abode of the spirit of tragic gloom!” you might well exclaim, standing on the threshold. You shall enter with me, if you will, to correct your first impressions, and bear testimony to the fact that appearances are often deceptive.

This sombre door, the first on the left as we enter Grafton street from Bond street, leads to his chambers. Two flights of stairs (not bright, as a Paris staircase), not with the sunlight upon the carpet, as in New York, but darkened with the shadows of a London atmosphere,—and we enter his general room. With the hum of the West End buzzing at the windows, the colored glass of which shuts out what little sunlight falls there, the apartment is characteristic of a great artist and a great city. The mantel-piece recalls the ancient fashion of old English mansions. It is practically an oak cabinet, with a silver shield as the centre-piece. On the opposite side of the room is a well-stocked bookcase, surmounted by a raven that carries one’s thoughts to Poe and his sombre story. On tables here and there are materials for letter-writing, and evidence of much correspondence, though one of the actor’s social sins is said to be the tardiness with which he answers letters. The truth is, the many pressing claims on his time do not enable him to act always upon the late Duke of Wellington’s well-known principle of immediately replying to every letter that is addressed to him. A greater philosopher than His Grace said many letters answer themselves if you let them alone, and I should not wonder if Irving finds much truth in the axiom. _Bric-à-brac_, historic relics, theatrical properties, articles of _virtu_, lie about in admired disorder. Here is Edmund Kean’s sword, which was presented to Irving on the first night of his Richard III. by that excellent and much-respected artist Mr. Chippendale, who had acted with Edmund Kean, and was his perpersonal friend. In a glass case near this precious treasure is a ring that belonged to David Garrick. It is an exquisite setting of a miniature of Shakespeare. This was given to Irving by the Baroness Burdett-Coutts. In a cabinet near one of the windows, the order of the George, which Edmund Kean wore in “Richard III.,” and his prompt-book of “Othello.” Close by are three marble busts,—one of Young, with a faded wreath upon its brow; another of Mrs. Harriet Brown, “a most dear and valued friend” (to use his own words); and the third, of Ellen Terry, sculptured by Irving’s friend, Brodie,—a portrait of Rossi (presented by the actor) as Nero; a photograph of Charles Dickens (presented by Miss Mary Dickens),—the one by Gurney, of New York, which the great author himself thought an excellent portrait; medallions of Émile Devrient and John Herchell (the latter a gift from Herchell’s daughter); and a sketch of a favorite Scotch terrier (very well known to his friends as “Charlie”), which during the last year or two has become his most constant companion at home and at the theatre. The adjoining room continues the collection of the actor’s art treasures,—not the mere connoisseur’s museum of articles of _virtu_, but things which have a personal value and a special history associated with the art their owner loves.

It is a frank smile that greets us as the actor enters and extends his long, thin hand. I know no one whose hand is so suggestive of nervous energy and artistic capacity as Irving’s. It is in perfect harmony with the long, expressive face, the notably æsthetic figure!

“You want to talk shop,” he says, striding about the room, with his hands in the pockets of his loose gray coat. “Well, with all my heart, if you think it useful and interesting.”

“I do.”

“May I select the subject?”

“Yes.”

“Then I would like to go back to one we touched upon at your own suggestion some months ago.”

“An actor on his audiences?”

“Yes. The subject is a good one; it interests me, and in that brief anonymous newspaper sketch of a year ago you did little more than indicate the points we discussed. Let us see if we cannot revive and complete it.”

“Agreed. I will ‘interview’ you, then, as they say in America.”

“By all means,” replied my host, handing me a cigar, and settling himself down in an easy-chair by the fire. “I am ready.”

“Well, then, as I think I have said before when on this subject, there has always appeared to me something phenomenal in the mutual understanding that exists between you and your audiences; it argues an active sympathy and confidence on both sides.”

“That is exactly what I think exists. In presence of my audience I feel as safe and contented as when sitting down with an old friend.”

“I have seen Lord Beaconsfield, when he was Mr. Disraeli, rise in the House of Commons, and begin a speech in a vein and manner evidently considered beforehand, which, proving at the moment out of harmony with the feelings of the house, he has entirely altered from his original idea to suit the immediate mood and temper of his audience. Now, sympathetic as you are with _your_ audience, have you, under their influence in the development of a new character, ever altered your first idea during the course of the representation?”

“You open up an interesting train of thought,” he answered. “Except once, I have never altered my original idea under the circumstances you suggest; that was in ‘Vanderdecken,’ and I changed the last scene. I can always tell when the audience is with me. It was not with me in ‘Vanderdecken’; neither was it entirely on the first night of ‘Hamlet,’ which is, perhaps, curious, considering my subsequent success. On the first night I felt that the audience did not go with me until the first meeting with Ophelia, when they changed toward me entirely. But as night succeeded night, my Hamlet grew in their estimation. I could feel it all the time, and now I _know_ that they like it,—that they are with me heart and soul. I will tell you a curious thing about my ‘Hamlet’ audience. It is the most interesting audience I play to. For any other piece there is a difficulty in getting the people seated by half-past eight. For ‘Hamlet’ the house is full and quiet, and waiting for the curtain to go up, by half-past seven. On the first night the curtain dropped at a quarter to one.”

“In what part do you feel most at home with your audience, and most certain of them?”

“Well, in Hamlet,” he replied, thoughtfully.

“Has that been your greatest pecuniary success?”

“Yes.”

“What were the two unprecedented runs of ‘Hamlet’?”

“The first was two hundred nights; the second, one hundred and seven; and in the country I have often played it ten times out of a twelve nights’ engagement. But, as we have moved into this line of thought about audiences, it should be remembered that, with the exception of two or three performances, I had never played Hamlet before that first night at the Lyceum. Indeed, so far as regards what is called the classic and legitimate drama, my successes, such as they were, had been made outside it, really in eccentric comedy. As a rule, actors who have appeared for the first time in London in such parts as Richard III., Macbeth, Hamlet, and Othello, have played them previously for years in the country; and here comes a point about my audiences. They knew this, and I am sure they estimated the performance accordingly, giving me their special sympathy and good wishes. I believe in the justice of audiences. They are sincere and hearty in their approval of what they like, and have the greatest hand in making an actor’s reputation. Journalistic power cannot be overvalued; it is enormous; but, in regard to actors, it is a remarkable fact that their permanent reputations, the final and lasting verdict of their merits, are made chiefly by their audiences. Sometimes the true record comes after the players are dead, and it is sometimes written by men who possibly never saw them. Edmund Kean’s may be called a posthumous reputation. If you read the newspapers of the time you will find that during his acting days he was terribly mauled. Garrick’s impersonations were not much written about in his day. As to Burbage, Betterton, and other famous actors of their time, whose names are familiar to us, when they lived there were practically no newspapers to chronicle their work.”

“You believe, then, that merit eventually makes its mark, in spite of professional criticism, and that, like Masonic rituals, the story of success, its form and pressure, may go down orally to posterity?”

“I believe that what audiences really like they stand by. I believe they hand down the actor’s name to future generations. They are the judge and jury who find the verdict and pronounce sentence. I will give you an example in keeping with the rapid age in which we live. I am quite certain that within twelve hours of the production of a new play of any importance all London knows whether the piece is a success or a failure, no matter whether the journals have criticised it or not. Each person in the audience is the centre of a little community, and the word is passed on from one to the other.”

“What is your feeling in regard to first-night audiences, apart from the regular play-going public? I should imagine that the sensitive nature of a true artist must be considerably jarred by the knowledge that a first-night audience is peculiarly fastidious and sophisticated.”

“I confess I am happier in presence of what you call the regular play-going public. I am apt to become depressed on a first night. Some of my friends and fellow-artists are stimulated and excited by a sense of opposition. I fear it lowers me. I know that while there is a good, hearty crowd who have come to be pleased, there are some who have _not_ come to be pleased. God help us if we were in the hands of the few who, from personal or other motives, come to the theatre in the hope of seeing a failure, and who pour out their malice and spite in anonymous letters!”

“Detraction and malicious opposition are among the penalties of success. To be on a higher platform than your fellows is to be a mark for envy and slander,” I answered, dropping, I fear, into platitude, which my host cut short with a shrug of the shoulders and a rapid stride across the room.

He handed to me a book, handsomely bound and with broad margins, through which ran a ripple of old-faced type, evidently the work of an author and a handicraftsman who love the memories both of Caxton and his immediate successors. It was entitled “Notes on Louis XI.; with some short extracts from Commines’ Memoirs,” and was dated “London, 1878,—printed for the author.”

“That book,” said my host, “was sent to me by a person I had then never seen nor heard of. It came to me anonymously. I wished to have a second copy of it, and sent to the printer with the purpose of obtaining it. He replied by telling me the work was not for sale, and referring me to the author, whose address he sent to me. I made the application as requested; another copy was forwarded, and with it a kindly intimation that if ever I should be near the house of the writer, ‘we should be glad to see you.’ I called in due course, and found the author one of a most agreeable family. ‘You will wonder,’ they said at parting, ‘why we wrote and compiled this book. It was simply for this reason: a public critic in a leading journal had said, as nothing was really known of the character, manners, and habits of Louis XI., an actor might take whatever liberties he pleased with the subject. We prepared this little volume to put on record a refutation of the statement, a protest against it, and a tribute to your impersonation of the character.’ Here is another present that I received soon afterward,—one of the most beautiful works of its kind I ever remember to have seen.”

It was an artistic casket, in which was enshrined what looked like a missal bound in carved ivory and gold. It proved, however, to be a beautifully bound book of poetic and other memorials of Charles the First, printed and illustrated by hand, with exquisite head and tail pieces in water-colors, portraits, coats-of-arms, and vignettes, by Buckman, Castaing, Terrel, Slie, and Phillips. The work was “imprinted for the author at London, 30th January, 1879,” and the title ran: “To the Honor of Henry Irving: to cherish the Memory of Charles the First: these Thoughts, Gold of the Dead, are here devoted.” As a work of art, the book is a treasure. The portraits of the Charleses and several of their generals are in the highest style of water-color painting, with gold borders; and the initial letters and other embellishments are studies of the most finished and delicate character.

“Now these,” said their owner, returning the volumes to the book-shelves over which the raven stretched its wings, “are only two out of scores of proofs that audiences are intellectually active, and that they find many ways of fixing their opinions. These incidents of personal action are evidences of the spirit of the whole. One night, in “Hamlet,” something was thrown upon the stage. It struck a lamp, and fell into the orchestra. It could not be found for some time. An inquiry was made about it by some person in the front,—an aged woman, who was much concerned that I had not received it,—so I was informed at the box-office. A sad-looking woman, evidently very poor, called the next day; and, being informed that the trinket was found, expressed herself greatly pleased. ‘I often come to the gallery of the theatre,’ she said, ‘and I wanted Mr. Irving to have this family heirloom. I wanted him alone in this world to possess it.’ This is the trinket, which I wear on my watch-chain. The theatre was evidently a solace to that poor soul. She had probably some sorrow in her life; and she may have felt a kind of comfort in Hamlet, or myself, perhaps, possessing this little cross.”

As he spoke, the actor’s lithe fingers were busy at his watch-chain, and he seemed to be questioning the secret romance of the trinket thrown to him from the gallery.

“I don’t know why else she let it fall upon the stage; but strange impulses sometimes take hold of people sitting at a play, especially in tragedy.”

The trinket about which he speculated so much is an old-fashioned gold cross. On two sides is engraved, “Faith, Hope, and Charity”; on the front, “I believe in the forgiveness of sins”; and on the reverse, “I scorn to fear or change.”

“They said at the box-office,” went on the actor, musingly, “that she was a poor mother who had lost her son;” and then, rousing himself, he returned brightly to the subject of our conversation. “One example,” he said, “of the generous sympathy of audiences serves to point the moral of what I mean; and in every case the motive is the same, to show an earnest appreciation, and to encourage and give pleasure to the actor. At Sheffield one night, during the grouse season, a man in the gallery threw a brace of birds upon the stage, with a rough note of thanks and compliments; and one of the pit audience sent me round a knife which he had made himself. You see, the people who do these things have nothing to gain; they are under no extraneous influence; they judge for themselves; and they are representative of that great Public Opinion which makes or mars, and which in the end is always right. When they are against you it is hard at the time to be convinced that you are wrong; _but you are_. Take my case. I made my first success at the St. James’s. We were to have opened with ‘Hunted Down.’ We did not. I was cast for Doricourt in ‘The Belle’s Stratagem,’—a part which I had never played before, and which I thought did not suit me. I felt that this was the opinion of the audience soon after the play began. The house appeared to be indifferent, and I believed that failure was conclusively stamped upon my work, when suddenly, on my exit after the mad scene, I was startled by a burst of applause, and so great was the enthusiasm of the audience that I was compelled to reappear on the scene,—a somewhat unusual thing, as you know, except on the operatic stage.”

“And in America,” I said, “where scene-calls are quite usual, and quite destructive of the illusion of the play, I think.”

“You are right; and, by the way, if there must be calls, I like our modern method of taking a call after an act on the scene itself. But to proceed. I next played ‘Hunted Down,’ and they liked me in that; and when they do like, audiences are no niggards of their confessions of pleasure. My next engagement was at the Queen’s Theatre, where I was successful. Then I went to the Gaiety, where I played Chevenex. I followed at Drury Lane in ‘Formosa,’ and nobody noticed me at all.”

“Do you think you always understand the silence of an audience? I mean in this way: on a first night, for example, I have sometimes gone round to speak to an actor, and have been met with the remark, ‘How cold the audience is!’ as if excessive quietness was indicative of displeasure, the idea being that when an audience is really pleased, it always stamps its feet and claps its hands. I have seen an artist making his or her greatest success with an audience that manifested its delight by suppressing every attempt at applause.”

“I know exactly what you mean,” he answered. “I recall a case in point. There was such an absence of applause on the first night of ‘The Two Roses,’ while I was on the stage, that I could not believe my friends when they congratulated me on my success. But with experience one gets to understand the idiosyncrasies and habits of audiences. You spoke of the silence of some audiences. The most wonderful quiet and silence I have ever experienced as an actor, a stillness that is profound, has been in those two great theatres, the one that was burned down at Glasgow, and the Standard, in London, during the court scene of ‘The Bells.’”

V.

GENIUS is rarely without a sense of humor. Mr. Irving has a broad appreciation of fun, though his own humor is subtle and deep down. This is never better shown than in his Richard and Louis. It now and then appears in his conversations; and when he has an anecdote to tell he seems to develop the finer and more delicate motives of the action of the narrative, as if he were dramatizing it as he went along. We dropped our main subject of audiences presently to talk of other things. He related to me a couple of stories of a “dresser” who was his servant in days gone by. The poor man is dead now, and these incidents of his life will not hurt his memory.

“One night,” said Irving, “when I had been playing a new part, the old man said, while dressing me, ‘This is your masterpiece, sir!’ How do you think he had arrived at this opinion? He had seen nothing of the piece, but he noticed that I perspired more than usual. The poor fellow was given over to drink at last; so I told him we must part if he did not mend his ways. ‘I wonder,’ I said to him, ‘that, for the sake of your wife and children, you do not reform; besides, you look so ridiculous.’ Indeed, I never saw a sillier man when he was tipsy; and his very name would set children laughing,—it was Doody. Well, in response to my appeal, with maudlin vanity and with tears in his eyes, he answered, ‘They make so much of me!’ It reminded me of Dean Ramsay’s story of his drunken parishioner. The parson, you remember, admonished the whiskey-drinking Scot, concluding his lecture by offering his own conduct as an example. ‘I can go into the village and come home again without getting drunk.’ ‘Ah, minister, but I’m sae popular!’ was the fuddling parishioner’s apologetic reply.”