T. Edgar Pemberton

“ It is more than impressive to watch the faces of the patient and expectant pit; and to listen to the sounds in the eager and impulsive gallery; while as to the stalls and boxes, in them you see the cream of those who are distinguished in the paths of art, science, and literature. It is magnificent to be able to command such an audience; on the other hand it must be formidable to face it.
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It was to such an assemblage as this that Ellen Terry had to make her bow when on the evening of December 30, 1878, she first appeared at the Lyceum, playing Ophelia to the Hamlet of Henry Irving. ”

“ Her acting has revealed her as more a spirit than a mind; as one who reaches conclusions instantly, by divination and not by analysis; as a wonderful, complex creature of nerves and impulses; wayward in fancy, strange and erratic, yet lovely with simplicity; and always, at last—surviving every vicissitude—the authentic image of goodness and truth. Not improbably the actress believes that she has carefully and deftly reasoned her way to every effect of inspiration that she produced in the mad scene of Ophelia, in Margaret's ecstasy of love, and in Olivia's unspeakably pathetic surrender ”

“ Portia, on the stage, had always been didactic and oratorical until Miss Ellen Terry played the part, liberating all its piquant sweetness, alluring loveliness, and passionate ardour; since which time it has been acted as a lover, not as a preacher. More to her than to any one else the stage of to-day owes the benefits accruing from the growth of a natural style in acting—a style which yet does not sacrifice the ideal, nor degrade poetry to the level of prose. ”

“ Never had a young actor so many formidable conditions to face. His first appearance on any stage was at Sunderland, in the September of 1856, and, in representing the small part of the Duke of Orleans in Lord Lytton's "Richelieu," the first words he uttered, behind the footlights, were (surely there was something prophetic about them!) , "Here's to our enterprise!" How little did those who acted with him that night, and looked down upon him as a novice, think that as Richelieu himself he would ultimately win that chorus of applause which forms the world's tribute to genius. ”

“ But to the young playgoer who sits in front these troubles are unknown, and to him the theatre may well appear as the realisation of Fairyland, and a veritable Palace of Fancy.
I believe there is another reason why men, if they would own it, have come to be grateful to the stage. Has it not to many been the scene in which they have first learned what it is to love? They may never have spoken to the divinities who inspired their boyish ardour, but they have been better and purer for it, and cherish the sweet recollection of it to their old age. ”

“ Their absolutely unrestrained appreciation and applause delight them. The intent faces and eager ears, bent on losing neither a movement of the expression nor an inflection of the voice, act as a tonic to them; there is magnetism between the stage and the house, and under such conditions acting is sure to be at its best. There is nothing blasé about the provincial playgoer. He pays for a play that he wants to see, and if he is pleased he expresses his gratitude in no uncertain terms. ”

“ Ellen Terry's Imogen was not only a surprise—it was a revelation. It may not satisfy the old school, but it will certainly delight the new. It is not the reading of Helen Faucit, the best of the Imogens remembered; it may be picked to pieces by schoolmen and students; it was of course un-Shakespearean; but Ellen Terry's Imogen is Ellen Terry with twenty years or more off her merry shoulders. I can only describe Ellen Terry's Imogen as her Beatrice mingled with her Rosalind that might have been. ”

“ It is odd to think of an actor being a Quaker, and yet throughout his long life Howe was a loyal member of the Society of Friends. It was the impression made upon him, when he was a mere boy, by the soul-inspiring acting of Edmund Kean as King Lear, that gave him a passion for the stage. With a cousin of his own age he contrived to take stolen pleasure in the gallery of Drury Lane Theatre, and on his way home, half-choked with enthusiasm and emotion, he said to his comrade, "I am going to be an actor." ”

“ Of the new Letitia Hardy, Clement Scott truly said:—"She is as Georgian in her comedy graces as before she was Pagan in her rites as the priestess Camma. Entering heart and soul into the spirit of the play, she attacks it with a wilfulness and an abandon that are indescribable. She trips and floats through the scenes. There is no effort in anything that she does; and when she assumes the character of the hoyden it is in the finest spirit of refined and disciplined fun. ”

“ I have never seen audiences so agitated and distressed, even to the point of anguish, as were the patrons of the Princess's Theatre on those bygone nights when little Prince Arthur, personated by either of the Terry sisters, clung to Hubert's knees as the heated iron cooled in his hands, pleading passionately for sight, touchingly eloquent of voice and action; a childish simplicity attendant ever upon all the frenzy, the terror, the vehemence, and the despair of the speeches and the situation. ”

“ What a picture Ellen Terry looked in her queenly and exquisitely-designed robes and her long plaits of squirrel-coloured hair! One could understand a man doing anything at the bidding of such a lovely, commanding, yet withal winsome creature. This made her influence over Macbeth very easy of comprehension, and, so far, a great point was gained; but I remember thinking that night that the new Lady Macbeth seemed, as the play advanced, to become an encumbrance rather than a support to her husband, and that she left him to fight his losing battle alone. ”

“ The artistic temperament is always more or less self-tormenting, and it is to be feared that my "little world," which shines so brightly over our great one, where sorrow has daily to be met and borne, is in itself a sorely troubled one.
In that strange French play which has our great English tragedian, Edmund Kean, for its central figure, Alexandre Dumas, who knew everything that could be known about the theatre, caused his actor-hero to respond bitterly to the woman who loved him, and who opined that all his troubles must vanish when he reflects that he is recognised as the King of the Stage. ”

“ To the true artist such truths as these strike home, and I fear they often throw their cloud over the apparently ever sunny-minded Ellen Terry. It is a fact that she often feels she has failed where enthusiastic audiences, and even the most captious critics, testify to the fact that she has triumphed. But she knows that any seeming victory in human life is not final achievement, but a spur (often a cruel one) to endless endeavour. The artistic temperament must be more or less self-tormenting, and those who desire mere personal comfort should never attempt to cultivate it. ”

“ In my own mind I am convinced that if we will we can always, to our great advantage and delight, keep up the enthusiasm of David Copperfield;—that to some of us the theatre, even when we know all about the fret and turmoil of the actor's life together with the tricks of the stage, may from boyhood to old age remain a Palace of Fancy. ”

“ There are still a little band of your faithful admirers who hate to hear you condemned as you are to-day, as tawdry, cheap, and artificial. They look back fondly on happy and soul-stirring hours spent with you in the past; they know that you can still hold intelligent, if somewhat sentimentally inclined, audiences spellbound; and they believe that if any later-day dramatist could write a play containing as good a character for a stage heroine, he would reap a fortune. ”

“ Men and women endowed with unusual talents are generally prone to have their own way, and it is perhaps well for the full fruition of those great gifts, that are to be a present boon and future memory to mankind, that they should follow it. Who would wantonly put Pegasus in the Pound?
Even in those (to her) unpromising "Georgina" days Ellen Terry had shown real genius. Genius, as William Winter has beautifully put it, is the petrel, and like the petrel it loves the freedom of the winds and the waves. ”

“ My friend, Geneviève Ward, who has taken part with her in several of her memorable Lyceum triumphs, tells me that it is delightful to bear witness to her sweet disposition—a cultivated charm that prompts her to be generous, thoughtful, kind, and considerate to every one, and to make her genuinely anxious that the humblest actresses in the company, as well as the principals, should appear to the best advantage. Thus lovingly thinking of others, Ellen Terry makes herself loved, and by her radiant presence lightens many a weary heart. ”

“ While England lives his fame can never die.
But he who struts his hour upon the stage
Can scarce extend his fame for half an age;
Nor pen nor pencil can the actor save,
The art and artist share one common grave."
The volumes of theatrical history and biography that have been written and become popular since Garrick's day, prove that this is not wholly true, that we are not ungrateful to those who have instructed and amused us on the stage, and that we shall not willingly let their honoured memories die. ”

“ I don't suppose they like such advice, for assuredly they all want to begin as Beatrice, Portia, or Rosalind. Neither, I am sure, are they aware that they lacerate the tender heart of the great actress because she feels she can do nothing for them.
No one knows better than Ellen Terry that life-long devotion to her art is the only way by which a true actress can reach the goal of her ambition, and there maintain her place. She maintains, moreover, that she should be taught to turn her hand to anything. ”

“ With such a loyal following as this, Henry Irving has no cause to fear a rival. The upper parts of the house were packed. Every available seat in circles and gallery was occupied, and the private boxes can only be described as 'boiling over.' But the fifteen rows of densely thronged stalls formed the centre of attraction. From the first it was noticeable that the house was almost as much interested in the house as in the play. Men stood up to see and be seen, and opera-glasses were as plentiful as blackberries in October. ”

“ The general consensus of opinion was that Booth triumphed as Othello, and that Irving eclipsed him as Iago. No doubt Othello is by far the most difficult part to play, and it was better suited to the classical style of Booth than to the methods of Irving, who, while he has reverence for tradition, delights in taking a path of his own making. In some characters this is a distinct advantage, and his Iago was supreme. It will be remembered that Ellen Terry was already familiar with the character of the gentle Desdemona, and she played it with infinite charm and inexpressible pathos. ”

“ Alas! too many of them abjure school, and, with the awkwardness (though very little of the timidity) of half-fledged birds, flutter blindly on to the stage, and blunder under the unwonted glare of footlights, to the bewilderment of the theatrical habitués and the despair of critics, but apparently to the great satisfaction of themselves and their foolishly admiring friends.
I am inclined to think that theatre-lovers who never lived in a large town in the good old stock company days missed one of the joys of life. ”

“ Ellen Terry has, indeed, always found favour, not only with French critics, but with her sisters and brothers of the Parisian stage.
Sarah Bernhardt has said of her: "She is perfectly delightful, and is one of my best friends. The greatest treat I can give myself, and a pleasure to which I can look forward for months, is to see her act. She is as near absolute perfection as any one can be. In her, English dramatic art has a splendid exponent." ”

“ It seems astounding that people should exist who can wantonly deride the failure of anxious authors and actors, who, having honestly sought to conquer, are miserably conscious of their own defeat. No play can be depended upon until it has gone through the ordeal of a public performance. If the piece that has read well and rehearsed well fails to grip the public, the sensitive actors and author are the first to feel it, and surely in their keen disappointment they should be spared the humiliation of rowdyism. ”

“ Pleasure never is at home."
But it must be recorded that Fancy, as let loose and impersonated by Ellen Terry, is taken from the theatre in thousands of hearts, and that it enters into many a home circle where the memory of it gives unbounded and enduring pleasure. Into the simple homes of those who elbow each other in the gallery, as well as into the luxurious mansions of the wealthy folk who sit at their ease in the stalls. ”