appearance of a nameless actor at Goodman's Fields. Of course, the new actor was David Garrick.
CHAPTER V
GARRICK, QUIN, MRS. PORTER
He had selected the part of Richard III., for reasons which now appear singular. "He had often declared," says Davies, "he would never choose a character that was not suitable to his person; for, said he, if I should come forth in a hero, or in any part which is generally acted by a tall fellow, I shall not be offered a larger salary than 40s. a week. In this," adds the biographer, "he glanced at the follies of those managers who used to measure an actor's merit by his size."
On that 19th of October 1741, there was no very great nor excitedly expectant audience at Goodman's Fields. The bill of the day first promises a concert of vocal and instrumental music, to begin exactly at six o'clock; admission by tickets "at 3s., 2s., and 1s." Between the two parts of the concert, it is further announced that the historical play of the "Life and Death of Richard III.," with the ballad-opera of "The Virgin Unmasked," would be "performed gratis by Persons for their Diversion." The part of King Richard, "by a gentleman who never appeared on any stage," is an announcement, not true to the letter; but the select audience were not troubled therewith. From the moment the new actor appeared they were enthralled. They saw a Richard and not an actor of that personage. Of the audience, he seemed unconscious, so thoroughly did he identify himself with the character. He surrendered himself to all its requirements, was ready for every phase of passion, every change of humour, and was as wonderful in quiet sarcasm as he was terrific in the hurricane of the battle-scenes. Above all, his audience were delighted with his "nature." Since Betterton's death, actors had fallen into a rhythmical, mechanical, sing-song cadence. The style still lingers among conservative French tragedians. Garrick spoke not as an orator, but as King Richard himself might have spoken in like circumstances. The chuckling exultation of his "So much for Buckingham!" was long a tradition on the stage. His "points," indeed, occurred in rapid succession. We are told that the rage and rapidity with which he delivered
"Cold friends to me! What do they in the North,
When they should serve their sovereign in the West?"
made a wonderful impression on the audience. Hogarth has shown us how he looked, when starting from his dream; and critics tell us that his cry of "Give me another horse!" was the cry of a gallant, fearless man; but that it fell into one of distress as he said, "Bind up my wounds," while the "Have mercy, Heaven," was moaned piteously, on bended knee. The battle-scene and death excited the utmost enthusiasm of an audience altogether unused to acting like this. The true successor of Betterton had, at last, appeared. Betterton was the great actor of the days of Charles II., James II., William, and of Anne. Powell, Verbruggen,34 Mills, Quin, were unequal to the upholding of such a task as Betterton had left them. Booth was more worthy of the inheritance; but after him came the true heir, David Garrick, the first tragic actor who gave extraordinary lustre to the Georgian Era.
And yet, for seven nights, the receipts averaged but about £30 a night; and Garrick only slowly made his way at first. Then suddenly the town was aroused. The western theatres were abandoned. "Mr. Garrick," says Davies, "drew after him the inhabitants of the most polite parts of the town. Goodman's Fields were full of the splendour of St. James's and Grosvenor Square. The coaches of the nobility filled up the space from Temple Bar to Whitechapel." Among these, even bishops might have been found. Pope came up from Twickenham, and without disparaging Betterton, as some old stagers were disposed to do, only "feared the young man would be spoiled, for he would have no competitor." Quin felt his laurels shaking on his brow, and declared that if this young man was right, he and all the old actors must be wrong. But Quin took courage. Dissent was a-foot, and he compared the attraction of Garrick to the attraction of Whitfield. The sheep would go astray. The throwster's shop-theatre was, in his eyes, a sort of conventicle. It would all come right by-and-bye. The people, he said, who go to chapel will soon come to church again.
Meanwhile let us trace the new actor through his first and only season in the far east. During that season, from the 19th of October 1741, to the 29th of May 1742, Garrick acted more comic than tragic characters; of the latter he played Richard (eighteen times), Chamont, Lothario, the Ghost in "Hamlet" (Giffard, the manager, playing the Dane), Aboan, King Lear, and Pierre. In comedy, he played Clodio ("Love Makes a Man"), Fondlewife, Costar Pearmain, Witwoud, Bayes, Master Johnny ("School Boy"), Lord Foppington ("Careless Husband"), Duretete, Captain Brazen, and two characters in farces, of which he was the original representative; Jack Smatter in "Pamela," and Sharp in the "Lying Valet." This is, at least, a singular selection.
The most important of his comic essays in his first busy season, when he frequently played in tragedy and farce, on the same night, without affecting to be wearied, was in the part of Bayes. His wonderful powers of mimicry, or imitation, were not known till then; and in displaying them, his Bayes was a triumph, although other actors excelled him in that part, as a whole.
His great scene was at the rehearsal of his play, when he corrected the players, and instructing them how to act their parts, he gave imitations of the peculiarities of several contemporary actors. Garrick began with Delane, a comedian of merit, good presence, and agreeable voice, but, we are told, a "declaimer." In taking him off, Garrick retired to the upper part of the stage, and drawing his left arm across his breast, rested his right elbow upon it, raising a finger to his nose; he then came forward in a stately gait, nodding his head as he advanced, and in the exact tone of Delane, spoke the famous simile of the "Boar and the Sow." This imitation is said to have injured Delane in the estimation of the town; but it was enjoyed by no one more than by tall and handsome Hale of Covent Garden, where his melodious voice was nightly used in the character of lover. But when Hale recognised himself in the soft, plaintive accents of a speech delivered without feeling, he was as disgusted as Giffard, who was so nettled by Garrick's close mimicry of his striking peculiarities that he is said to have challenged the mimic, fought with him, and wounded him in the sword-arm. Ryan, more wisely, let Garrick excite what mirth he might from the imitation of the hoarse and tremulous voice of the former; and Quin, always expecting to be "taken off," was left untouched, salient as were his points, on the ground, according to Murphy, of Quin's excellence in characters suited to him.
From a salary of £1 a night, Garrick went up at once to half profits. The patent theatres remained empty when he played at Goodman's Fields, and accordingly the patentees, threatening an application to the law in support of their privileges, shut up the house, made terms with Giffard, and Garrick was brought over to Drury Lane, where his salary was speedily fixed at £600 per annum, being one hundred more than that of Quin, which hitherto had been the highest ever received by any player.
His first appearance at Drury Lane was on May 11, 1742, when he played gratuitously for the benefit of Harper's widow, taking what was then considered the inferior part of Chamont, in the "Orphan," of which he made the principal character in the play. With Bayes, on the 29th,35 Lear and Richard, each part played once, he brought his preliminary performances at Drury to a close. In June, 1742, after playing triumphantly during the brief remainder of the spring season at Drury Lane, Garrick, in company with Mrs. Woffington, crossed, by invitation, to Dublin. During an unusually hot summer he drew such thickly-packed audiences that a distemper became epidemic among those who constantly visited the ill-ventilated theatre, which proved fatal to many, and which received the distinction of being called the Garrick fever. Of course, Garrick had not equally affected all the judges. Neither Gray nor Walpole allowed him to be the transcendent actor which the town generally held him to be, from the first night of his appearance. "Did I tell you about Mr. Garrick, that the town are horn-mad after?" writes Gray to Chute; "There are a dozen dukes of a night at Goodman's Fields, sometimes; and yet I am stiff in the opposition." In May, 1742, Walpole writes in like strain to Mann: – "All the run is now after Garrick, a wine-merchant, who is turned player at Goodman's Fields. He plays all parts, and is a very good mimic. His acting I have seen, and may say to you, who will not tell it again here, I see nothing wonderful
Verbruggen died before Betterton.
Should be on the 26th.
