19th Century Actor Autobiographies | Page 3

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Library of Little Masterpieces In Forty-four Volumes
AUTOBIOGRAPHY
Edited by GEORGE ILES
VOLUME XXXVI

PREFACE
A good play gives us in miniature a cross-section of life, heightened by
plot and characterisation, by witty and compact dialogue. Of course we
should honour first the playwright, who has given form to each well
knit act and telling scene. But that worthy man, perhaps at this moment
sipping his coffee at the Authors' Club, gave his drama its form only;
its substance is created by the men and women who, with sympathy,
intelligence and grace, embody with convincing power the hero and
heroine, assassin and accomplice, lover and jilt. For the success of
many a play their writers would be quick to acknowledge a further and
initial debt, both in suggestion and criticism, to the artists who know
from experience on the boards that deeds should he done, not talked
about, that action is cardinal, with no other words than naturally spring
from action. Players, too, not seldom remind authors that every incident
should not only be interesting in itself, but take the play a stride
forward through the entanglement and unravelling of its plot. It is
altogether probable that the heights to which Shakespeare rose as a
dramatist were due in a measure to his knowledge of how a comedy, or

a tragedy, appears behind as well as in front of the footlights, all in an
atmosphere quite other than that surrounding a poet at his desk.
This little volume begins with part of the life story of Joseph Jefferson,
chief of American comedians. Then we are privileged to read a few
personal letters from Edwin Booth, the acknowledged king of the tragic
stage. He is followed by the queen in the same dramatic realm,
Charlotte Cushman. Next are two chapters by the first emotional
actress of her day in America, Clara Morris. When she bows her adieu,
Sir Henry Irving comes upon the platform instead of the stage, and in
the course of his thoughtful discourse makes it plain how he won
renown both as an actor and a manager. He is followed by his son, Mr.
Henry Brodribb Irving, clearly an heir to his father's talents in art and in
observation. Miss Ellen Terry, long Sir Henry Irving's leading lady,
now tells us how she came to join his company, and what she thinks of
Sir Henry Irving in his principal roles. The succeeding word comes
from Richard Mansfield, whose untimely death is mourned by every
lover of the drama. The next pages are from the hand of Tommaso
Salvini, admittedly the greatest Othello and Samson that ever trod the
boards. A few words, in closing, are from Adelaide