Laughing at their empty malice, I publicly maintained that art in the construction of a piece, well-managed conduct of its action, propriety of rhetoric and harmony of diction, were sufficient to invest a puerile fantastic motive, if taken seriously, with the illusion of reality, and to arrest the attention of the whole human race--excepting perhaps some thirty confirmed enemies, who would be sure, when my contention had been proved before their eyes and ears, to accuse a hundred thousand men of ignorance, and to renounce their s.e.x rather than admit the truth.

This proposition was met with new gibes; and I found myself committed to make good my bold a.s.sertion. The fable of _Il Corvo_, extracted from a Neapolitan story-book, _c.u.n.to delle c.u.n.te, trattenemiento pe le piccierelle_, and treated by me in the tone of lofty tragedy, wrought the miracle. I must add that I a.s.signed some humorous pa.s.sages to the four masks, whom I wished to keep upon the stage for the benefit of hypochondriacs, and in contempt of misunderstood and falsely applied rules from Aristotle.

The success of _Il Corvo_ was complete. The public wept and laughed at my bidding. Mult.i.tudes flocked to hear this old wives' tale, as though it had been solemn history. The play had a long run; and the two poets were seriously damaged in their interests, while the newspapers applauded and extolled the allegory as a splendid example of fraternal affection.

I wished to strike while the iron was hot. Accordingly, my third fable, the _Re Cervo_, appeared with similar results of popularity and sympathetic criticism. A thousand beauties were discovered, which I, who wrote it, had not seen. Folk regarded its allegory as a mirror for those monarchs who allow themselves to be blinded by their confidence in Ministers, and are in consequence transformed into the semblance of monsters. Meanwhile, my opponents persisted in ascribing the great success of these three pieces to stage decorations and the marvellous effect of magic metamorphoses, neglecting the writer's art and science, the charm of his verse, and his adroit employment of rhetoric, morality, and allegory. This impelled me to produce two more fables, _Turandotte_ and _I Pitocchi Fortunati_, in which magic marvels were conspicuous by their absence, while the literary art and science remained the same. A like success clinched my argument, without, however, disarming my antagonists.

I had formed the habit of conversing with my family of players in our hours of leisure; and very racy did I find the recreation of their society. In a short s.p.a.ce of time I learned to understand and see into the characters and talents of my soldiers, with insight so perfect that all the parts I wrote for them and fitted, so to speak, upon their mental frames, were represented on the stage as though they issued naturally from their hearts and tempers. This added hugely to the attraction of the spectacle. The gift of writing for particular actors, which does not seem to be possessed or put in use by every dramatist, is almost indispensable while dealing with the comic troupes of Italy. The moderate payments which are customary in our theatres prevent these people from engaging so large a number of actors and actresses as to be able to select the proper representatives of all the varied characters in nature. To the accident of my possessing this gift, and the ability with which I exercised it, must be ascribed a large part of my success.

Goldoni alone devoted himself with patience to the study of the players who put his premeditated pieces on the boards;[27] but I defy Goldoni and all the writers for our stage to compose, as I did, parts differing in character, containing jokes, witticisms, drolleries, moral satire, and discourses in soliloquy or dialogue, adapted to the native genius of my Truffaldino, Tartaglia, Brigh.e.l.la, Pantaloni, and Servette, without lapsing into languor and frigidity, and with the same result of reiterated applause.

Other playwrights, who attempted to put written words into the mouth of extempore actors, only made them unnatural; and obtained, as the reward of their endeavours, the abuse and hisses of the public at the third representation of their insipid pieces. It is possibly on this account that they revenged themselves by a.s.suming comic airs of grave and serious criticism, treating our miracles of native fun and humour as contemptible buffoons, all Italy as drunken and besotted, myself as the bolsterer up of theatrical inept.i.tudes, and my prolusions in a new dramatic style as crumbling relics of the old _Commedia dell'Arte_. So far as the last accusation goes, everybody will allow that the Masks which I supported as a _tour de force_ of art and for the recreation of the public who rejoiced in them, play the least part in my scenic compositions; my works, in fact, depend for their existence and survival on the sound morality and manly pa.s.sion, which formed their real substratum, and which found expression on the lips of serious actors.[28]

For the rest, the players whom I had taken under my wing looked up to me as their tutelary genius. Whenever I appeared, they broke into exclamations of delight, and let the whole world know that I was the propitious planet of their resurrection. They professed themselves indebted to me for benefits which could not be repaid, except by an eternal grat.i.tude.

XL.

_The actors and actresses of Italy in general, considered with regard to their profession, their characters, and their manners; written from the point of view of a philosophical observer._

Among all sorts and conditions of human beings who offer themselves to a philosophical observer, none are so difficult to know in their real nature as actors and actresses.

Educated in deception from the cradle, they learn the art of masking falsehood with an air of candour so completely, that it requires great gifts of penetration to arrive at their true heart and character.

Journeyings from place to place, affairs of business, accidents of all sorts, experience of common life, examples furnished by their commerce with the world, the constant exercise of wit and intellect in rivalry, wake their brains up, and subtilise their comedians' nature.

In another chapter I intend to paint a special picture of Sacchi's company, with whom I fraternised, and whom I helped for about a quarter of a century. At present I shall confine my remarks to Italian players in general, who are, I think, in no essential points of moral quality different from those of other nations.

It may be laid down as an axiom, to be accepted with closed eyes, that the chief idol of all actors is their venal interest. Expressions of politeness, acknowledgments of obligation, terms of praise, humanity, sympathy, courteous welcome, and so forth, have no value among actors, except as parts of a fixed system of deception which they consider necessary in the worship of this idol. If that idol of pecuniary interest is attacked (with justice it may be and the best reasons), you will not find in them a shadow of these fine sentiments. The merest scent of coming profit makes them disregard and blindly sacrifice the persons who have done them good; the reputation of the whole world is as nothing to them then; they take no thought of the damage they may have to suffer in the future, blinded by greediness, lulled into security for the time being, and hoping to avoid impending disasters by address and ingenuity. The present moment is all that actors think of.

Hot and choleric temperaments reveal their true selves more readily among this cla.s.s of people. The cool-headed are more difficult to fathom. Their system of cozenage is not only applied to persons outside the profession, from whom they expect material gains; it is always at work to take in and delude the members of the guild. Of course they find it less easy to checkmate the initiated in their own devices. But if they have attained to the position of being necessary to their comrades in the trade, there is no sort of impropriety, pretence, injustice, swindling, tyranny, which they do not deem it lawful to employ.

These arts, which the progress of our century has extended to many kinds of persons who are not of the profession, have a certain marked character among the tribe of actors. Other people, when detected, show some sense of shame and self-abas.e.m.e.nt. The unmasked comedian, after all his turns and twists have been employed in vain, is so unprejudiced and candid that he laughs good-humouredly in the face of his detective, and seems to exclaim with indescribable effrontery: "You are a great fool if you flatter yourself that you have made a notable discovery."

Such is my experience. But of course it is possible that among the innumerable actors, male and female, whom I have known, conversed with, and studied, some phnix of the one or the other s.e.x may have escaped my observation.

In what concerns the practice of their art, all that these people know is how to read and write; one better, and one worse. Indeed, I have been acquainted with both actors and actresses who have not even had that minimum of education, and yet they carried on their business without flinching. They got their lines read out to them by some friend or some a.s.sociate, whenever a new part had to be impressed in outline on their memory. Keeping their ears open to the prompter, they entered boldly on the stage, and played a hero or a heroine without a touch of truth. The presentation of such characters by actors of the sort I have described abounds in blunders, stops and stays, and harkings back upon the leading motive, which would put to shame the player in his common walk of life.

Barefaced boldness is the prime quality, the chief stock-in-trade, the ground-element of education in these artists. a.s.siduous use of this one talent makes not a few of them both pa.s.sable and even able actors.

These are the reasons why a civil war is always raging in our companies about the first parts in new pieces. The conflict does not start from an honest desire to acquire or to manifest theatrical ability. The players are actuated wholly by ambition, by the hope of attracting favourable notice through the merit of their role, by the wish to keep themselves continually before the public, performing ill or well as their blind rashness prompts them.

Notwithstanding all these disadvantages, Italy would be able to make a good show in comparison with other nations if our theatres were better supported and remunerated. There are not wanting persons of fine presence, of talent, sensibility, and animation. What we do want are the refinements of education, solid protection, and emoluments sufficient to encourage the actor in his profession.

I have observed that the best artists of both s.e.xes are those who have some higher culture; but I have also observed that the support of themselves and their families, and the inevitable expenses of their wardrobe, render their professional salaries inadequate. They make up for these deficiencies by spunging upon credulous tradesmen and besotted lovers; and thus they bring discredit on the whole profession.

I have always laughed at those who depreciate the influences of the pulpit, and think they can instil sound morality into the people by the means of scenic shows. When Rousseau maintained that the precept _Do what I tell you, and not what I do_, is worthless without a good example from the man who gives it forth, he uttered one of the truest things that can be said. I leave people to meditate upon the inverted morality which is being now diffused in our most recent dramas, the dramas of so-called culture, from the lips of players in the place of preachers.

XLI.

_A description of Sacchi's company in particular.--I continue the tone of a philosophical observer._

Having recorded the impression made upon me by Italian actors and actresses in general, I shall now attempt a description of Sacchi's company, which I had good opportunities of studying through some twenty-five years.

Though I read with sufficient ease into the hearts and characters of these my proteges, and could supply them with sentiments, dialogues, and soliloquies adapted to their inmost natures, I found it difficult to penetrate the motives of their moral conduct, which were far more closely fenced about from prying gaze than either their intellectual or their physical peculiarities.

There is no doubt that at least seven members of this troupe were excellent artists in the national _Commedia alla sprovveduta_--a species of comedy which has always afforded innocent recreation to the public when performed with taste and spirit, but which is utterly insufferable when badly executed. This much I concede to the persecutors of the species--little talents, more ridiculous and useless with their ostentation of gravity than are even bad harlequins.

Sacchi's company enjoyed general respect in so far as their personal conduct was concerned. On this point they differed widely from the majority of our actors, who are for the most part very badly looked upon. This excellent reputation weighed strongly with me, when I sought their society, and entered into fraternal relations with them. The way they held together, the harmony which reigned among them, their domesticity, studious habits, severity in moral matters, their rules against visits being paid to women, the abhorrence the women themselves displayed for those who took presents from seducers, the regularity with which they divided their hours between household duties, religious exercises, and charitable attentions to the indigent among their members, gratified my taste. I may incidentally mention that if any of the salaried actresses or actors exceeded the prescribed bounds of decent conduct, they were quickly sent about their business; and such offenders were replaced by others, whose moral character had been subjected to stricter inquiry than even their professional ability.

I am sufficiently unprejudiced and free from scruples; I have never evaded opportunities of studying human nature, which brought me into pa.s.sing contact with all sorts of men; yet it is certain that I should not have entered into familiar relations and daily converse in my hours of recreation with these people, for upwards of the s.p.a.ce of twenty years, if it had not been for their exceptional good character.

I not only composed for them a long series of theatrical pieces, novel in kind and congenial to their talents, but I also furnished them with a new a.r.s.enal of stock pa.s.sages, essential to the _Commedia dell'Arte_, and which they call its _dote_, or endowment.[29] I could not say how many prologues and epilogues in verse I wrote, to be recited on the first and last evenings of the run of some play by the leading lady for the time being; nor how many songs to be inserted in their farces; nor how many thousand pages I filled with soliloquies, sallies of despair, menace, reproach, supplication, paternal reprimand, and such-like matters appropriate to all kinds of scenes in improvised comedy. The players call such fragments of studied rhetoric _generici_, or commonplaces. They are vastly important to comedians who may not be specially gifted for improvisation; and everything of the sort I found in their repertory was vitiated by the turgid mannerisms of the _seicento_.

[Ill.u.s.tration: PANTALONE (1550)

_Ill.u.s.trating the Italian Commedia dell'Arte, or Impromptu Comedy_]

I was G.o.dfather at the christening of their babies, author-in-chief, counsellor, master, and mediator to the whole company; all this without a.s.suming the pretentious airs of a pedant or a claimant on their grat.i.tude; but always at their own entreaty, while I preserved the tone of disinterested, humane, and playful condescension.

Some of the girls of this dramatic family--none of whom were ugly, and none without some apt.i.tude for the profession--begged me to help them with support and teaching. I consented, provided them with parts adapted to their characters, taught them how they ought to act these parts, and put them in the way of winning laurels. At their entreaties I devoted some hours of my leisure to giving them more general instruction. I made them read and translate French books suited to their calling. I wrote them letters upon divers familiar themes, calculated to make them think and develop their sentiments under the necessity of composing some reply or other. I corrected their mistakes, which frequently consisted in the unexpected and uncalled-for use of capital letters, and laughed heartily while doing so. This afforded me sprightly amus.e.m.e.nt and gave them a dash of education.

When they left Venice for the customary six months,[30] I ran no risk of not receiving letters from them, written in rivalry with one another--sometimes real love-letters--arriving by each post from Milan, Turin, Genoa, Parma, Mantua, Bologna, all the cities where they stopped to act. Nor were answers wanting upon my side; playful, affectionate, threatening, derisive; taking any tone which I judged capable of keeping these young creatures wide-awake. It seemed to me that such an active correspondence and exchange of sentiments was the most appropriate and profitable school for a comedian.

Let no man deceive himself by supposing that it is possible to converse with actresses without love-making. You must make it, or pretend to make it. This is the only way to guide them to their own advantage. Love moulds and kneads them in flesh, bones, and marrow. Love begins to be their guiding-star at the age of five or six. In this respect, I soon discovered that the austerity of Sacchi's company was a barren formula; just as I had previously noticed that strictness in private families, beyond a certain point, had ceased to be accounted of utility or value.

Among actresses, the term friendship is something fabulous and visionary. They immediately subst.i.tute the word love, and do not attend to distinctions. Their idea of friendship only serves as the means of mutual deception between women, accompanied by deluges of endearing phrases and Judas kisses.

I ought, however, to declare that the actresses of Sacchi's company carried on their love-affairs with prudence and without indecency. The ideal of severity which prevailed there bore at least these fruits of goodness; and the ideal of honesty produced notably different results from those which other systems in the trade of love elicited elsewhere.

How many actresses lay siege deliberately and in cold blood to their lovers, despoil them of their property, and do their very best to suck them dry! Catching at the locks of what they call their fortune and I call their infamy, these women do not stop to see whether the path before them be clean or filthy. They worship wickedness and abhor good living, if they hope to fill their purse or gratify their cupidity by the former. Though they strive to cloak their baseness with the veil of verbal decency, and do all in their power to preserve external decorum, they trample in their souls on shame and sing this verse:--

"Colla vergogna io gia mi sono avvezza."

("With infamy I long have been at home.")

For the actresses of Sacchi's company, it is only justice to a.s.sert that they were far removed from harbouring such sentiments of vile and degrading venality.

There are two phrases in the slang of the profession; one is _miccheggiare_, which means to cozen folk out of their money by wheedling; the other is _gonzo_, gull or cully, the foolish lover who believes himself an object of affection, and squanders all his fortune under the influence of this impression. I must declare that the women of Sacchi's company never put the arts which these words imply into practice. They made love by instinct, inclination, and hereditary tradition.

This does not mean that they were not eager to get lovers who could support them on the stage, or who would be likely to marry them, and withdraw them from a calling which they always professed, hypocritically I believe, to abhor.

In what concerned myself, I looked upon their love-intrigues as duels of wit and comic pa.s.sages, which furnished me amus.e.m.e.nt. Closely related to each other, and ambitious for advancement in their art, they regarded me as a bright shining star, worshipped by the leading members of the troupe, and capable of securing them success upon the stage. Their mutual rivalry, which I made use of for their own advantage, the profit of the company, and the success of my dramatic works, turned their brains. They would have done anything to gain my heart. Possibly some matrimonial projects entered into their calculations; but on this point I was always careful to disabuse them in the clearest terms. Meanwhile, their attentions, protests, fits of rage, jealousies, and tears on my account had all the scenic illusion of an overwhelming pa.s.sion.

In the cities where they pa.s.sed the spring and summer, the same comedy was re-enacted with a score of lovers. On their return to Venice, the correspondence which they carried on with these admirers, and which they vainly strove to hide from me, betrayed their inconstancy. By cross-examination and adroit suggestive questionings, I always brought them to make a clean breast of it, and their avowals furnished me with matter for exquisite amus.e.m.e.nt. They protested that the letters they received were written by young merchants or rich citizens, sometimes by gentlemen of the Lombard towns, who entertained the liveliest intentions of an honourable kind, and were only waiting for the death of an uncle or a father or a mother, all upon the point of dying of apoplexy or consumption or dropsy, to offer them their hands and fortunes. Finally, in order to reveal the sincerity of their hearts, when lying could no longer help them, they offered me these precious epistles. Probably they hoped to excite jealousy in my own breast. This opened a new chapter of diversion. I read the love-letters, and found that the vaunted admirers were either bombastic lady-killers or romancers or libertines, or sometimes, to my astonishment, dull Lombard hypocrites upon the scent of goatish pleasure.