[i]
SIR HENRY IRVING
A RECORD OF OVER TWENTY YEARSAT THE LYCEUM
BY
PERCY FITZGERALD, M.A.
AUTHOR OF
“THE LIFE OF GARRICK,” “THE KEMBLES,” “ART OF THE STAGE,” ETC.
A NEW EDITION, REVISED
WITH AN ADDITIONAL CHAPTER
LONDON
CHATTO & WINDUS, PICCADILLY
1895
[iii]
PREFACE.
One attraction in the life of an actor who has fought hisway, and triumphed over many difficulties, in his struggles toeminence, is found in the spirit of adventure which nearly alwaysmarks his course. Such a story must be always gratifying andencouraging to read; and we follow it now with sympathy, nowwith admiration. Nor is it without gratification for the actorhimself, who must look back with complacency to troublessurmounted, and to habits of patience and discipline acquired.In this severe and trying school he may acquire the practicalvirtues of resignation, courage, perseverance, and the art ofconfronting difficulties. Even at the present moment, whenthe stage is presumed to be more flourishing than at any formerperiod, the element of precariousness is more present thanever. Everything seems a lottery—theatres, pieces, actors.A theatre has gained a high reputation with one or two successfulpieces: of a sudden the newest play fails—or “falls,”as the French have it—to be succeeded by another, and yetanother: each failing or “falling,” and seeming to prove that,if nothing succeeds like success, nothing fails like failure.
There is a spectacle often witnessed in the manufacturingcounties, when we may be standing waiting in one of thegreat stations, which leaves a melancholy impression. A huge[iv]theatrical train containing one of the travelling companiescomes up and thunders through. Here is the “Pullman Car,”in which the performers are seen playing cards, or chatting,or lunching. They have their pets with them—parrots, dogs,etc. It suggests luxury and prosperity. But this ease is dearlypurchased, for we know that the performer has bound himselfin a sort of slavery, and has consented to forego all the legitimatemethods of learning his profession. He belongs to someperipatetic company, a “travelling” one, or to one of theinnumerable bands who take round a single play, for years, itmay be; and in it he must play his single character over andover again. Hence, he must learn—nay, is compelled to play—everycharacter in the same fashion, for he knows no othermethod. His wage is modest, but constant; but he can neverrise higher, and if he lose his place it will be difficult for himto find another. It will be interesting to see what a contrastthis system offers to the course of our cultured actors, whohave endured the iron training and discipline of the old school;and in this view we shall follow the adventurous career of thepopular Henry Irving, admittedly the foremost of our performers.In his instance we shall see ho