Note.—In the Introduction to the present volume, p. 42, it is stated that Dickens’s “First Reading” in public was given at Birmingham in the Christmas of 1853. The offer to read on this public occasion was certainly the First which the great novelist made, but before the Christmas had come around he thought proper to give a trial Reading before a much smaller audience, in the quiet little city of Peterborough.—Ed. It must be sixteen or seventeen years ago—I cannot fix the date exactly, though the affair made a strong impression on me at the time—that I witnessed Charles Dickens’s dÉbÛt as a public reader. The circumstances surrounding this event were so singular that I am tempted to recall them. Scene, the City of Peterborough—dreamy and quiet enough then, though now a flourishing railroad terminus—a silent city, with a grand old Norman cathedral, round which the rooks cawed lazily all day, straggling narrow streets of brick-built houses, a large Corn Exchange, a Mechanics’ Institute, and about seven thousand inhabitants. The Mechanics’ Institute brought it all about. That well-meaning but weak-kneed organization was, I need hardly say, in debt. Mechanics’ Institutes always are in debt. That is their chief What an excitement it caused in the little city! Mr. Dickens at that time had made no public appearance as a reader. He had occasionally been heard of as giving selections from his works to small coteries of friends or in the private saloon of some distinguished patron of art. But he had nervously shrunk from any public dÉbÛt, unwilling, so it seemed, to weaken his reputation as a writer by any possible failure as a reader. This diffidence had taken so strong a hold of him that it might never have been overcome but for the insidious persuasions of “our member.” “Here was an opportunity,” he argued, “for testing the matter without risk: an antediluvian country town; an audience of farmers’ sons and daughters, rural shop-keepers, and a few country parsons—if interest could be excited in the stolid minds of such a Boeotian assemblage, the success of the reader would be assured wherever the English tongue was spoken. On the other hand, if failure resulted, none would be the wiser outside this Sleepy-Hollow circle.” The bait took, and Mr. Dickens consented to deliver a public reading in aid of the Peterborough Mechanics’ Institute. He only stipulated that the prices of admission should be such that every mechanic, if he chose, might come to hear him, and named two shillings, a shilling, and sixpence as the limit of charge. Vain limitation!—a fortnight before the reading every place was taken, and half a guinea and a guinea were the current rates for front seat tickets. Dickens himself came down and superintended the arrangements, so anxious was he as to the result. At one end of the large Corn Exchange before spoken of he had caused to be erected a tall pulpit of red baize, as much like a Punch and Judy show with the top taken off as anything. It was the Christmas Carol that Mr. Dickens read; the night was Christmas Eve. As the clock struck the appointed hour, a red, jovial face, unrelieved by the heavy moustache which the novelist has since assumed, a broad, high forehead, and a perfectly Micawber-like expanse of shirt-collar and front appeared above the red baize box, and a full, sonorous voice rang out the words, “Marley-was-dead-to-begin-with”—then paused, as if to take in the character of the audience. No need of further hesitation. The voice held all spellbound. Its depth of quiet feeling when the ghost of past Christmases led the dreamer through the long-forgotten scenes of his boyhood—its embodiment of burly good nature when old Fezziwig’s calves were twinkling in the dance—its tearful suggestiveness when the spirit of Christmases to come pointed to the nettle-grown, neglected grave of the unloved man—its exquisite pathos by the death-bed of Tiny Tim, dwell yet in memory like a long-known tune. That one night’s reading in the quaint little city, so curiously brought about, so ludicrous almost in its surroundings, committed Mr. Dickens to the career of a public reader; and he has since derived nearly as large an income from his readings as from the copyright of his novels. Only he signally failed to One other incident suggests itself in this connection. Somewhere about this time three notable men stood together in a print-shop in this same city—a singular three-cornered shop, with three fiddles dangling forlorn and dusty from the ceiling, and everything from piano-fortes to hair-brushes comprised in its stock-in-trade. They stood there one whole morning, laughing heartily at the perplexities of the little shopwoman, who in her nervousness continually transposed the first letters of words, sometimes with very comical effect. Thus, instead of saying, “Put the bottle in the cupboard,” she would remark, “Put the cottle in the bupboard.” The laughing trio were Dickens, Albert Smith, and Layard the traveller, now our minister to the court of Madrid. I strongly suspect that the eccentricity of the medical student in Albert Smith’s Adventures of Mr. Ledbury—the student who invites his friends to “poke a smipe” when he means them to “smoke a pipe”—was born on that occasion, and that Charles Dickens was robbed by his friend of some thunder which he intended to use himself. But to return to the “Readings.” One glance at the platform is sufficient to convince the audience that Mr. Dickens thoroughly appreciates “stage effect.” A large screen of maroon cloth occupies the background; before it stands a light table of peculiar design, on the inner left-hand corner of which there peers forth a miniature desk, large enough to accommodate the reader’s book. On the right hand of the He comes! A lithe, energetic man, of medium stature, crosses the platform at the brisk gait of five miles an hour, and takes his position behind the table. This is Charles Dickens, whose name has been a household word for thirty years in England. He has a broad, full brow, a fine head,—which, for a man of such power and energy, is singularly small at the base of the brain,—and a cleanly cut profile. There is a slight resemblance between Mr. Dickens and the Emperor of the French in the latter respect, owing mainly to the nose; but it is unnecessary to add that the faces of the two men are totally different. Mr. Dickens’s eyes are light-blue, and his mouth and jaw, without having any claim to beauty, possess a strength that is not concealed by the veil of iron-gray moustache and generous imperial. His head is but slightly graced with iron-gray hair, and his complexion is florid. There is a twinkle in his eye, as he enters, that, like a promissory note, pledges itself to any amount of fun—within sixty minutes. People may think in perusing Mr. Dickens’s books that he must be a man of large humanity, of forgiving nature, of
At the close of this paragraph our first impression is that Mr. Dickens’s voice is limited in power, husky, and naturally monotonous. If he succeeds in overcoming these defects, “Foul weather didn’t know where to leave him. The heaviest rain and snow, and hail, and sleet could boast of the advantage over him in only one respect,—they often ‘came down’ handsomely, and Scrooge never did.” Here the magnetic current between reader and listener sets in, and when Scrooge’s clerk “put on his white comforter, and tried to warm himself at the candle; in which effort, not being a man of strong imagination, he failed;” the connexion is tolerably well established. We see old Scrooge very plainly, growling and snarling at his pleasant nephew; and when that nephew invites that uncle to eat a Christmas dinner with him, and Mr. Dickens goes on to relate that Scrooge said “he would see him—yes, I am sorry to say he did,—he went the whole length of the expression, and said he would see him in that extremity first.” He makes one dive at our sense of humour, and takes it captive. Mr. Dickens is Scrooge; he is the two portly gentlemen on a mission of charity; he is twice Scrooge when, upon one of the portly gentlemen remarking that many poor people would rather die than go to the workhouse, he replies: “If they would rather die, they had better do it, and decrease the surplus population;” and thrice Scrooge, when, turning upon his clerk, he says, “You’ll want all day to-morrow, I suppose?” It is the incarnation of a hard-hearted, hard-fisted, hard-voiced miser. “If quite convenient, sir.” A few words, but they denote Bob Cratchit in three feet of comforter exclusive of fringe, in well-darned, thread-bare clothes, with a mild, frightened voice, so thin that you can see through it! Nothing can be better than the rendering of the Fezziwig party, in Stave Two. You behold Scrooge gradually melting into humanity; Scrooge, as a joyous apprentice; that model of employers, Fezziwig; Mrs. Fezziwig “one vast substantial smile,” and all the Fezziwigs. Mr. Dickens’s expression as he relates how “in came the housemaid with her cousin the baker, and in came the cook with her brother’s particular friend the milkman,” is delightfully comic, while his complete rendering of that dance where “all were top couples at last, and not a bottom one to help them,” is owing to the inimitable action of his hands. They actually perform upon the table, as if it were the floor of Fezziwig’s room, and every finger were a leg belonging to one of the Fezziwig’s family. This feat is only surpassed by Mr. Dickens’s illustration of Sir Roger de Coverley, as interpreted by Mr. and Mrs. Fezziwig, when “a positive light appeared to issue from Fezziwig’s calves,” and he “cut so deftly that he appeared to wink with his legs!” It is a maze of humour. Before the close of the stave, Scrooge’s horror at sight of the young girl once loved by him, and put aside for gold, shows that Mr. Dickens’s power is not purely comic. But the best of all, is Stave Three. We distinctly see that “Cratchit” family. There are the potatoes that Ah, that Christmas dinner! We feel as if we were eating every morsel of it. There are “the two young Cratchits,” who “crammed spoons into their mouths, lest they should shriek for goose before their turn;” there is Tiny Tim, who “beat on the table with the handle of his knife, and feebly cried, ‘Hoorray,’” in such a still, small voice. And there is that goose! I see it with my naked eye. And O the pudding! “A smell like a washing-day! That was the cloth. A smell like an eating-house and a pastry-cook’s next door to each other, with a laundress’s next door to that! That was the pudding.” Mr. Dickens’s sniffing and smelling of that pudding would make a starving family What Mr. Dickens does is very frequently infinitely better than anything he says, or the way he says it; yet the doing is as delicate and intangible as the odour of violets, and can be no better described. Nothing of its kind can be more touchingly beautiful than the manner in which Bob Cratchit—previous to proposing “a merry Christmas to us all, my dears, God bless us”—stoops down, with tears in his eyes and places Tiny Tim’s withered little hand in his, “as if he loved the child, and wished to keep him by his side, and dreaded that he might be taken from him.” It is pantomime worthy of the finest actor. Admirable is Mrs. Cratchit’s ungracious drinking to Scrooge’s health, and Martha’s telling how she had seen a lord, and how he “was much about as tall as Peter!” It is a charming cabinet picture, and so likewise is the glimpse of Christmas at Scrooge’s nephew’s. The plump sister is “satisfactory, O perfectly satisfactory,” and Topper is a magnificent fraud on the understanding; a side-splitting fraud. We see Fred get off the sofa, and stamp at his own fun, and we hear the plump sister’s voice when she guesses the wonderful riddle, “It’s your uncle Scro-o-o-o-oge!” Altogether, Mr. Dickens is better than any comedy. What a change in Stave Four! There sit the gray-haired rascal “Old Joe,” with his crooning voice; Mr. Dilber, and those robbers of dead men’s shrouds; there lies the body of the plundered, unknown man; there sit the Cratchits weeping over Tiny Tim’s death, a scene that would be beyond all praise were Bob’s cry, “My little, little child!” a shade less dramatic. Here, and only here, Mr. Dickens forgets the nature of Bob’s voice, and employs all the power of his own, carried away apparently by the situation. Bob would not It is difficult to see how the “Christmas Carol” can be read and acted better. The only improvement possible is in the ghosts, who are, perhaps, too monotonous; a way ghosts have when they return to earth. Solemnity and monotony are not synonymous terms, yet every theatrical ghost insists that they are, and Mr. Dickens is no exception to the rule. If monotony is excusable in anyone, however, it is in him; for, when one actor is obliged to represent twenty-three different characters, giving to everyone an individual tone, he may be pardoned if his ghosts are not colloquial. Talk of sermons and churches! There never was a more beautiful sermon than this of “The Christmas Carol.” Sacred names do not necessarily mean sacred things.
“Although amongst his friends, and such of the outside world as had been admitted to the private performances of the Tavistock House theatricals, Mr. Dickens was known to possess much dramatic power, it was not until within the last few weeks “Grandest of all the characters stands out Fagin, the Jew. The voice is husky and with a slight lisp, but there is no nasal intonation; a bent back, but no shoulder shrug; the conventional attributes are omitted, the conventional words are never spoken; and the Jew fence, crafty and cunning even in his bitter vengeance, is there before us, to the life. “Next comes Nancy. Readers of the old editions of ‘Oliver Twist’ will doubtless recollect how desperately “Artistically speaking, the story of Sikes and Nancy ends at the point here indicated. Throughout the entire scene of the murder, from the entrance of Sikes into the house until the catastrophe, the silence was intense—the old phrase ‘a pin might have been heard to drop,’ could have been legitimately employed. It was a great study to watch the faces of the people—eager, excited, intent—permitted for once in a life-time to be natural, forgetting to be British, and cynical, and unimpassioned. The great strength of this feeling did not last into the concluding five minutes. The people were earnest and attentive; but the wild excitement so seldom seen amongst us died as Nancy died, and the rest was somewhat of an anti-climax. “No one who appreciates great acting should miss this scene. It will be a treat such as they have not had for a long time, such as, from all appearances, they are not likely to have soon again. To them the earnestness and force, the subtlety, the nuances, the delicate lights and shades of the great dramatic art, will be exhibited by one of the first—if not the first—of its living masters; while those of Mr. Dickens, as a reader, is an artist of the very first rank; and to say that his reading of the choicest portions of his own works is actually as fine in its way as the works themselves in theirs, is a compliment at once exceedingly high and richly deserved. During his late visit to America, the great men of the land travelled from far and near to be present at the readings; the poet Longfellow went three nights in succession, and he afterwards declared to a friend that they were “the most delightful evenings of his life.” |