Page images
PDF
EPUB

back Julius Cæsar to tlie stage, and raised from his ashes the living Brutus. But in 1812, deeming he had done his part, desirous of some repose-and not unwilling, perhaps, to make the public sensible what the theatre might suffer by his absence-he withdrew himself from London for nearly two years. In the same year, and just before his departure, the stage lost its brightest ornament by the retirement of Mrs. Siddons.

I

Mr. Kemble's return to the British capital and stage was triumphant. The pit rose to receive him, and the boxes poured laurels upon the stage. He ascended to the very height of popularity, and was acknowledged as, without dispute, the first actor in Britain, probably in the world, until Kean arose to dispute the crown. The youth, activity and energy of this new performers the originality of his manner, which was in reality a revival of the school of Garrick, above all, the effects of novelty, had a great influence on the public mind, although the opinion of the more sound critics remained decidedly partial to that performer who relied for his success on deep and accurate study of the dramatic art, of the poet's words, and of the human mind, rather than vehement and forcible action; which, though it surprizes the first or second time it is witnessed, is apt, when repeated, to have the resemblance of stage-trick. Perhaps Mr. Kemble's resolution to retire, even while his powers seemed to others in their full vigour, was hastened by the toil which he foresaw it must cost him to maintain at his age-and with health that was fast breaking a contest with a rival in all the vigour of youth. However this was, Mr. Kemble took leave of the audience, 23d June, 1847, after acting, with unabated powers, the character of Coriolanus, which he probably chose, because in that he could neither have rival nor successor.

[ocr errors]

We add, with regret, that neither his health, nor perhaps his finances, although easy, permitted him with convenience to close his days in his native country. Lamented by numerous friends of the first distinction for character, literature, and rank, John Kemble retreated to Lausanne, and there finally fixed his residence.

...He made over his share in the theatre to his brother Charles, and disposed of his dramatic collection (which some public library should have purchased) for £2000 to the Duke of Devonshire. He died, 26th February, 1823, in the arms of the excellent person to whom he had been united for many years spent in domestic happiness. Few men of milder, calmer, gentler disposition, steeled at the same time with a high sense of honour, and the nice-timed feelings of a gentleman, are probably left behind him. Two instances may be selected from the works before usi A wrong

A wrong-headed actor, having chailenge aim on account of some
supposed injustice, Kemite wake the jet af a sheaval,
took his post, and recevet ne ire as unes as the eZA
acting the same on the stage but refused a sum he that ma
ing, the gentleman vilo viset eat.staction nat, de amgreet, qu
it-he himself desiret anne. Ce mother serasion when defend-
ing Miss Philips aganst a body of militar“ gatlemen whose
drunkenness centeret her galant atentions touhur tissagezable,
one of them arie a um vil us trawn stre: i naud-men sk
parried the how.ad Lennie iniy aving, well tone Jayanara
drew his swort, and wing he young lady inder 12 am, sin
ducted her tome 11 zier,*
Is a nord characte

[ocr errors]
[ocr errors]

resistibly remiten of te attor Mermaid or the mi

We have alrear

performance, but we at

accuracy of his eratze critical remarks. The

[ocr errors]
[ocr errors]

times so Gibbonara ater 1

what happened.

present to the potran

library; not only a

eminent actor wi

much curious infan

together, concern

On one of his i
with delighted recom
brated Le Texier, m
clothes, read Frea

such exquisite pom: ta
from that of the the
listening to a first
account given by Mr:
that when it come
personæ,s
,with the
each name, using

1

VOL. XXXIV. N1

read the part. And so accurately was the key note given, that he had no need to name afterwards the person who spoke; the stupidest of the audience could not miss to recognize him.

We now approach Michael Kelly, but the play has taken up so much time that we must curtail the afterpiece, and we are sorry for it, because it would be sure to send our readers home in good humour. All the world knows that Michael Kelly, eminently gifted as a musician, who long, with the assistance of the Storaces and Mrs. Crouch, maintained the Italian Opera in London, and contributed his powers to many other musical departments in the drama, had been educated for five years in Italy, and had appeared as a singer at most of the courts on the Continent with good approbation. So that he can tell the reader many a tale of foreign parts, of princes, and archdukes, and emperors, which are well worth listening to. He has his hair-breadth escapes to tell you, and his perils by flood and field. Being born an Irishman, he has some of the reckless humour of his country, with a large share of its good-nature; gets into scrapes, scrambles out of them again, and laughs heartily both at the danger and the escape. The Memoirs, written undoubtedly by a man of far inferior talent, recalled to us nevertheless those of Goldoni; nay, often put us in mind of Gil Blas-not that Mr. Kelly has the least of the picaro, which in some degree attached to him of Santillane, but that hanging, as it were, between the higher and sometimes highest orders, in whose behalf he exercised his talents, and a class eminently exposed to variations of society and alternations of fortune, he has seen the world on both sides, and has told the result of his observation with a good deal of light humour. An adventurous little schooner of this kind skirring the coast in search of its own peculiar objects cannot be expected to bring back a ponderous or bulky cargo of wares; consisting of solid efficient value in the mart of literature. No matter the smart little cruiser is the more likely to collect these light notices of persons and manners in society, which, if they are not grave in themselves, are eminently well calculated to relieve works of a graver description. Not but that Mr. Kelly has added things worthy the notice of the historian. There are, in particular, some curious facts concerning the manners of that well-intentioned but misguided speculator in politics, Joseph II. which, had we time, we would willingly pause to introduce.

-

[ocr errors]

There is besides much concerning music, the science in which Mr. Kelly has distinguished himself, which we conceive must be highly interesting to connoisseurs, and which has afforded ourselves entertainment-for which we give the author our hearty thanks--although, like young Pottinger, we can only wave our

hats

hats and join our applause to that of others, obviously without comprehending much of what has been going on.' One thing we do comprehend, which is the advice of the distinguished Mozart to our hero himself. It seems that Mr. Kelly, whose natural talents and taste had been greatly improved by five years residence in Italy, having originally determined on the stage as a profession, became ambitious in his prosecution of musical distinction, and thought of devoting himself to the mysteries of counterpoint. Mozart pointed out to him the disadvantage of engaging in a dry and abstract study, instead of cultivating the powers of melody with which nature had endowed him.

"Melody is the essence of music," continued he; "I compare a good melodist to a fine racer, and counterpointists to hack post-horses: therefore be advised, let well alone, and remember the old Italian proverb -Chi sa più, meno sa—-Who knows most, knows least." The opinion of this great man made on me a lasting impression.'-Kelly, vol. i. p. 225. Now we, being no musicians, have always been of the same opinion.

'Mallem convivis quàm placuisse coquis.'

It is the proper business of the fine arts to delight the world at large by their popular effect, rather than to puzzle and confound them by depth of learning. For our own part, when we are, in spite of our snuff-box, detected with closed eyes during some piece of erudite and complicated harmony, we are determined not to answer, as heretofore, that we shut our eyes to open our ears with less interruption, but boldly to avow with Jeremy in Love for Love, that though we have a reasonable ear for a jig, your solos and sonatas give us the spleen.' We will quote Mozart's authority to silence all reprehension, and,

'We thank thee, Mike, for teaching us that word.'

When Michael Kelly came to England, his musical talent speedily gained him distinction and employment; Mr. Boaden gives the following account of his proficiency:

It often happens in music, that the sweetest organ leads to nothing brilliant, and that truth of tone and flexibility, and compass, achieve perfection in the art. Something like this was true of Kelly. His voice had amazing power and steadiness; his compass was extraordinary. In vigorous passages he never cheated the ear with the feeble wailings of falsetto, but sprung upon the ascending fifth with a sustaining energy, that often electrified an audience. Some of my readers will remember an instance of this in the air, sung only by himself, "Spirit of my sainted Sire," where the fifth was upon the syllable saint.-The Conservatore at Naples, in which he passed five years of his youth, gave him all that science could add to an original love for the art; and Apprili, the best master of any age, completed the studies of the young musician.

He was soon versed in all the intricacies of the Italian conversation pieces and finales, and acquired the reputation upon the continent, of being an excellent tenor.'—Boaden, vol. i. pp. 350, 351.

Thus accomplished he easily came to take a distinguished lead in the musical world, and his line connected him in a like degree with the various theatres. True it is that fortune was humorous and did not always smile upon Michael, though he courted her in every possible shape. He gives a very diverting account of his pursuits and the emoluments which attended them, in a dialogue betwixt him and the Commissioners of the income-tax, a set of gentlemen eminent some years since for the interest they took in prying into the concerns of other folks.

Mr. Kelly, in the pride of his heart, had reported his income as amounting to £500 yearly; but the unreasonable commissioners were not contented, and urged that his various employments must bring him twice or thrice that annual sum. The push and parry are as well maintained as between Tilburina and her father in the Critic.

6.66

Sir," said I, "I am free to confess I have erred in my return; but vanity was the cause, and vanity is the badge of all my tribe. I have returned myself as having 500l. per annum, when, in fact, I have not five hundred pence of certain income."

[ocr errors]

<< 'Pray, sir," said the commissioner, are you not stage-manager of the Opera-house?"

66

Yes, sir," said I; "but there is not even a nominal salary attached to that office; I perform its duties to gratify my love of music."

"Well, but, Mr. Kelly," continued my examiner, "you teach ?" "I do, sir," answered I; "but I have no pupils.'

"I think," observed another gentleman, who had not spoken before, "that you are an oratorio and concert singer?"

66

You are quite right," said I to my new antagonist; "but I have no engagement."

"

"Well, but at all events," observed my first inquisitor, "you have a very good salary at Drury Lane.'

"A very good one, indeed, sir," answered I; paid."

"but then it is never

"But you have always a fine benefit, sir," said the other, who seemed to know something of theatricals.

[ocr errors]

Always, sir," was my reply; "but the expenses attending it are very great, and whatever profit remains after defraying them, is mortgaged to liquidate debts incurred by building my saloon. The fact is, sir, I am at present very like St. George's Hospital, supported by voluntary contributions; and have even less certain income, than I felt sufficiently vain to return."'-Kelly, vol. ii. pp. 189–191.

Well done, Michaela brave, brave et demi-We see the dismayed commissioners gazing on each other with dejected and

embarrassed

« PreviousContinue »