The surest way is first coolly to instruct them in the sense and letter of the play,--if possible, to open their understandings. Whoever has the talent will then, of his own accord, eagerly adopt the spirited feeling and manner of expression; and those who have it not will at least be prevented from acting or reciting altogether falsely. And among actors, as indeed in all cases, there is no worse arrangement than for any one to make pretensions to the spirit of a thing, while the sense and letter of it are not ready and clear to him."

CHAPTER VIII.

Coming to the first stage-rehearsal very early, Wilhelm found himself alone upon the boards. The appearance of the place surprised him, and awoke the strangest recollections. A forest and village scene stood exactly represented as he once had seen it in the theatre of his native town. On that occasion also, a rehearsal was proceeding; and it was the morning when Mariana first confessed her love to him, and promised him a happy interview. The peasants' cottages resembled one another on the two stages, as they did in nature: the true morning sun, beaming through a half-closed window-shutter, fell upon a part of a bench ill joined to a cottage door; but unhappily it did not now enlighten Mariana's waist and bosom. He sat down, reflecting on this strange coincidence: he almost thought that perhaps on this very spot he would soon see her again. And, alas! the truth was nothing more, than that an afterpiece, to which this scene belonged, was at that time very often played upon the German stage.

Out of these meditations he was roused by the other actors, along with whom two amateurs, frequenters of the wardrobe and the stage, came in, and saluted Wilhelm with a show of great enthusiasm. One of these was in some degree attached to Frau Melina, but the other was entirely a lover of the art, and both were of the kind which a good company should always wish to have about it. It was difficult to say whether their love for the stage, or their knowledge of it, was the greater. They loved it too much to know it perfectly: they knew it well enough to prize the good and to discard the bad. But, their inclination being so powerful, they could tolerate the mediocre; and the glorious joy which they experienced from the foretaste and the aftertaste of excellence surpa.s.sed expression. The mechanical department gave them pleasure, the intellectual charmed them; and so strong was their susceptibility, that even a discontinuous rehearsal afforded them a species of illusion.

Deficiencies appeared in their eyes to fade away in distance: the successful touched them like an object near at hand. In a word, they were judges such as every artist wishes in his own department. Their favorite movement was from the side-scenes to the pit, and from the pit to the side-scenes; their happiest place was in the wardrobe; their busiest employment was in trying to improve the dress, position, recitation, gesture, of the actor; their liveliest conversation was on the effect produced by him; their most constant effort was to keep him accurate, active, and attentive, to do him service or kindness, and, without squandering, to procure for the company a series of enjoyments.

The two had obtained the exclusive privilege of being present on the stage at rehearsals as well as exhibitions. In regard to "Hamlet," they had not in all points agreed with Wilhelm: here and there he had yielded; but, for most part, he had stood by his opinion: and, upon the whole, these discussions had been very useful in the forming of his taste. He showed both gentlemen how much he valued them; and they again predicted nothing less, from these combined endeavors, than a new epoch for the German theatre.

The presence of these persons was of great service during the rehearsals. In particular they labored to convince our players, that, throughout the whole of their preparations, the posture and action, as they were intended ultimately to appear, should always be combined with the words, and thus the whole be mechanically united by habit. In rehearsing a tragedy especially, they said, no common movement with the hands should be allowed: a tragic actor that took snuff in the rehearsal always frightened them; for, in all probability, on coming to the same pa.s.sage in the exhibition, he would miss his pinch. Nay, on the same principles, they maintained that no one should rehea.r.s.e in boots, if his part were to be played in shoes. But nothing, they declared, afflicted them so much as when the women, in rehearsing, stuck their hands into the folds of their gowns.

By the persuasion of our friends, another very good effect was brought about: the actors all began to learn the use of arms. Since military parts occur so frequently, said they, can any thing look more absurd than men, without the smallest particle of discipline, trolling about the stage in captains' and majors' uniforms?

Wilhelm and Laertes were the first that took lessons of a subaltern: they continued their practising of fence with the greatest zeal.

Such pains did these two men take for perfecting a company which had so fortunately come together. They were thus providing for the future satisfaction of the public, while the public was usually laughing at their taste. People did not know what grat.i.tude they owed our friends, particularly for performing one service,--the service of frequently impressing on the actor the fundamental point, that it was his duty to speak so loud as to be heard. In this simple matter, they experienced more opposition and repugnance than could have been expected. Most part maintained that they were heard well enough already; some laid the blame upon the building; others said, one could not yell and bellow, when one had to speak naturally, secretly, or tenderly.

Our two friends, having an immeasurable stock of patience, tried every means of undoing this delusion, of getting round this obstinate self-will. They spared neither arguments nor flatteries; and at last they reached their object, being aided not a little by the good example of Wilhelm. By him they were requested to sit down in the remotest corners of the house, and, every time they did not hear him perfectly, to rap on the bench with a key. He articulated well, spoke out in a measured manner, raised his tones gradually, and did not overcry himself in the most vehement pa.s.sages. The rapping of the key was heard less and less every new rehearsal: by and by the rest submitted to the same operation, and at last it seemed rational to hope that the piece would be heard by every one in all the nooks of the house.

From this example we may see how desirous people are to reach their object in their own way; what need there often is of enforcing on them truths which are self-evident; and how difficult it may be to reduce the man who aims at effecting something to admit the primary conditions under which alone his enterprise is possible.

CHAPTER IX.

The necessary preparations for scenery and dresses, and whatever else was requisite, were now proceeding. In regard to certain scenes and pa.s.sages, our friend had whims of his own, which Serlo humored, partly in consideration of their bargain, partly from conviction, and because he hoped by these civilities to gain Wilhelm, and to lead him according to his own purposes the more implicitly in time to come.

Thus, for example, the King and Queen were, at the first audience, to appear sitting on the throne, with the courtiers at the sides, and Hamlet standing undistinguished in the crowd. "Hamlet," said he, "must keep himself quiet: his sable dress will sufficiently point him out. He should rather shun remark than seek it. Not till the audience is ended, and the King speaks with him as with a son, should he advance, and allow the scene to take its course."

A formidable obstacle still remained, in regard to the two pictures which Hamlet so pa.s.sionately refers to in the scene with his mother. "We ought," said Wilhelm, "to have both of them visible, at full length, in the bottom of the chamber, near the main door; and the former king must be clad in armor, like the Ghost, and hang at the side where it enters.

I could wish that the figure held its right hand in a commanding att.i.tude, were somewhat turned away, and, as it were, looked over its shoulder, that so it might perfectly resemble the Ghost at the moment when he issues from the door. It will produce a great effect, when at this instant Hamlet looks upon the Ghost, and the Queen upon the picture. The stepfather may be painted in royal ornaments, but not so striking."

There were several other points of this sort, about which we shall, perhaps, elsewhere have opportunity to speak.

"Are you, then, inexorably bent on Hamlet's dying at the end?" inquired Serlo.

"How can I keep him alive," said Wilhelm, "when the whole play is pressing him to death? We have already talked at large on that matter."

"But the public wishes him to live."

"I will show the public any other complaisance; but, as to this, I cannot. We often wish that some gallant, useful man, who is dying of a chronical disease, might yet live longer. The family weep, and conjure the physician; but he cannot stay him: and no more than this physician can withstand the necessity of nature, can we give law to an acknowledged necessity of art. It is a false compliance with the mult.i.tude, to raise in them emotions which they _wish_, when these are not emotions which they _ought_, to feel."

"Whoever pays the cash," said Serlo, "may require the ware according to his liking."

"Doubtless, in some degree," replied our friend; "but a great public should be reverenced, not used as children are, when pedlers wish to hook the money from them. By presenting excellence to the people, you should gradually excite in them a taste and feeling for the excellent; and they will pay their money with double satisfaction when reason itself has nothing to object against this outlay. The public you may flatter, as you do a well-beloved child, to better, to enlighten, it; not as you do a pampered child of quality, to perpetuate the error you profit from."

In this manner various other topics were discussed relating to the question, What might still be changed in the play, and what must of necessity remain untouched? We shall not enter farther on those points at present; but, perhaps, at some future time we may submit this altered "Hamlet" itself to such of our readers as feel any interest in the subject.

CHAPTER X.

The main rehearsal was at length concluded: it had lasted very long.

Serlo and Wilhelm still found much to care for: notwithstanding all the time which had already been consumed in preparation, some highly necessary matters had been left to the very last moment.

Thus, the pictures of the kings, for instance, were not ready: and the scene between Hamlet and his mother, from which so powerful an effect was looked for, had a very helpless aspect, as the business stood; for neither Ghost nor painted image of him was at present forthcoming. Serlo made a jest of this perplexity: "We should be in a pretty sc.r.a.pe," said he, "if the Ghost were to decline appearing, and the guard had nothing to fight with but the air, and our prompter were obliged to speak the spirit's part from the side-scenes."

"We will not scare away our strange friend by unbelief," said Wilhelm: "doubtless at the proper season he will come, and astonish us as much as the spectators."

"Well, certainly," said Serlo, "I shall be a happy man to-morrow night, when once the play will have been acted. It costs us more arrangement than I dreamed of."

"But none of you," exclaimed Philina, "will be happier than I, little as my part disturbs me. Really, to hear a single subject talked of forever and forever, when, after all, there is nothing to come of it beyond an exhibition, which will be forgotten like so many hundred others, this is what I have not patience for. In Heaven's name, not so many _pros_ and _cons_! The guests you entertain have always something to object against the dinner; nay, if you could hear them talk of it at home, they cannot understand how it was possible to undergo so sad a business."

"Let me turn your ill.u.s.tration, pretty one, to my own advantage,"

answered Wilhelm. "Consider how much must be done by art and nature, by traffickers and tradesmen, before an entertainment can be given. How many years the stag must wander in the forest, the fish in the river or the sea, before they can deserve to grace our table! And what cares and consultations with her cooks and servants has the lady of the house submitted to! Observe with what indifference the people swallow the production of the distant vintager, the seaman, and the vintner, as if it were a thing of course. And ought these men to cease from laboring, providing, and preparing; ought the master of the house to cease from purchasing and laying up the fruit of their exertions,--because at last the enjoyment it affords is transitory? But no enjoyment can be transitory; the impression which it leaves is permanent: and what is done with diligence and effort communicates to the spectator a hidden force, of which we cannot say how far its influence may reach."

"'Tis all one to me," replied Philina: "only here again I must observe, that you men are constantly at variance with yourselves. With all this conscientious horror at curtailing Shakspeare, you have missed the finest thought there was in 'Hamlet'!"

"The finest?" cried our friend.

"Certainly the finest," said Philina: "the prince himself takes pleasure in it."

"And it is?" inquired Serlo.

"If you wore a wig," replied Philina, "I would pluck it very coolly off you; for I think you need to have your understanding opened."

The rest began to think what she could mean: the conversation paused.

The party arose; it was now grown late; they seemed about to separate.

While they were standing in this undetermined mood, Philina all at once struck up a song, with a very graceful, pleasing tune:--

"Sing me not with such emotion, How the night so lonesome is: Pretty maids, I've got a notion It is the reverse of this.

For as wife and man are plighted, And the better half the wife; So is night to day united: Night's the better half of life.

Can you joy in bustling daytime, Day when none can get his will?

It is good for work, for haytime; For much other it is ill.

But when, in the nightly glooming, Social lamp on table glows, Face for faces dear illuming, And such jest and joyance goes;

When the fiery, pert young fellow, Wont by day to run or ride, Whispering now some tale would tell O, All so gentle by your side;