Had I known as much then as I do now or had my youthful obduracy been less pronounced the sudden rise to heights of fame which marked Richard Mansfield's career might never have happened—in any event it would have been postponed.

It was while I was rehearsing in "The Black Flag," a melodrama which won much success later, that a gifted journalist, A. R. Cazauran, who was then acting in the capacity of play reader, adapter and general factotum for Shook and Palmer, the lessees of the Union Square Theatre, came to see me. After watching the rehearsal Cazauran decided that I was sacrificing my time and talent with "such drivel as 'The Black Flag.'" When the rehearsal was finished he insisted upon my accompanying him to Mr. Palmer's office, as he had something of great importance to communicate to me. After seating ourselves at Mr. Palmer's desk, he said,

"Goodwin, I am now going to give you the opportunity of your life. We are going to produce a play called 'A Parisian Romance.' J. H. Stoddard has been rehearsing the part of the Baron, but he has decided not to play it, feeling that he does not suit the character."

Cazauran then continued in his delightfully broken English that that was the part he had in mind for me and it would suit me "down to the ground." The character of Baron Chevreal was that of a man of middle age; but a young man, with virility, was necessary to act the death scene which required tremendous force. He brought out the manuscript and read me the entire play. When he had finished, I said,

"For the love of heaven, Cazauran, why did you select me to play that gruesome tragedy rÔle?"

"Because I think you can play it," he replied.

I was dumbfounded. "Why, I am a comedian, and it looks to me as though that part were made to order for Stoddard."

Cazauran shrugged his shoulders and, placing both hands on mine, observed in a most impressive manner:

"Goodwin, you are a comedian and, I grant, a fine one. So was Garrick, but no one remembers Garrick in comedy."

How true that was, and how often that expression has come back to me in after life! They seldom remember those who make them laugh.

"You accept this part of the Baron," Cazauran continued, "give me three hours of your time each day for three weeks and I will guarantee that you will never play a comedy part again. I and the Baron will make you famous."

I sincerely thanked him, but firmly declined to be made famous in that particular line. We adjourned to his favorite restaurant, Solari's, in University Place, where for three hours he endeavored to persuade me to play the part. I was obdurate and would not listen to any of his suggestions.

"Well," he said at parting, "Stoddard cannot and will not play the part and I have resolved to try a young man we have in our company, selected from the Standard Theatre Company, where he was playing in a comic opera 'The Black Cloak.' He is now rehearsing the part of the ambassador in 'A Parisian Romance.' He shall play the Baron. He is intelligent, knows French and I am convinced that I can coach him into a success."

In four weeks from that time the young man who was taken from the ranks to play the Baron awoke to find himself famous. His name was Richard Mansfield.

Philosophy, Thou Liest!

One night several years ago at the Garrick Club in London, Joseph Knight and I were discussing the American invasion of England by American artists. During the course of our conversation, Knight said:—

"My dear Goodwin, we had an extraordinary chap over here from your country some years ago. I can't recall him by name, but he was a most uncomfortable person to meet and an awful actor! He endeavored to play Richard the III and gave an awful performance! He followed this with a play, written by Robert Louis Stevenson in which he scratched the carpet and was somebody else! He was a boss-eyed chap, spoke several languages and was remarkably adept at the piano. I can't for the life of me recall his name."

From Knight's description I knew that he meant Mansfield and ventured to suggest that that might be the man to whom he referred.

"Mansfield! Yes, that's the chap! Is he still going strong in America?"

"Going strong!" I replied. "Why, he makes more money than all of us combined. He is called America's greatest player!"

"Really!" exclaimed the illustrious Knight. "What an extraordinary country!"

Mr. Knight unconsciously echoed my sentiments. We are an extraordinary people.

Think—and be called a fool. 'Tis better to realize a fact than agree with the majority.

Only a few weeks ago I was reading a biography of the late Mr. Mansfield, written by one of his managers; another, by a notorious critic; and, believe me, Edmund Kean's biographers were amateurs compared with Mansfield's in their shamelessly abject adulation of that "genius." The fulsome flattery of the senile, undersized critic who pens his truckling screeds at so much a column (but never again in the paper from which he was dropped) and has been doing so to my certain knowledge for over thirty years, is but the vaporing of his infinitesimal soul.

For years this critic held the position of reviewer on one of the leading New York daily papers and was the recipient of a stipulated salary from the late Augustin Daly. He was also on the payroll of many of the successful stars of America and the recipient of many bounties at their hands. Thirty years ago I was standing in the lobby of the Tremont House in Boston talking with John McCullough, "the noblest Roman of them all," when this drunken critic, an "authority" on plays and players, reeled into our presence and in a thick voice asked John the number of his room. I shall never forget the look of disgust which McCullough bestowed upon this leech of the drama. As he shuffled to the elevator, mumbling incoherently, McCullough turned to Billy Conners, his manager, and in stentorian tones that could be heard a block away cried, "For God's sake, Billy how long am I to be annoyed by this drunken incubus?"

Years after this same critic came to my opening performance of "The Merchant of Venice" at the Knickerbocker Theatre, in New York, long after the curtain had been up. In fact my first scene was finished before he staggered down the center aisle to criticise my efforts. I knew that he contemplated treating me severely, irrespective of what I might be able to achieve. He did not consider it worthy of his attention and left before the play was finished. The following morning his "criticism" appeared, containing over two columns of vituperative abuse of my work, deservedly, no doubt; but as the paper went to press at eleven thirty and our performance was finished precisely at that hour I wondered how so beautifully a worded review could have been composed or even dictated in so short a time. The article was evidently inspired by an imaginary production which he was privileged to witness before it was seen or heard.

Yet this man's adulation of Mansfield, patently written at so much a line, will be handed down to posterity and be believed and respected by the multitude! Truly, "What fools these mortals be!"

Mansfield, to me, was an enigma. Ask any worthy member of my profession to-day his opinion of Mansfield as an actor and he will, I am sure, agree with Joseph Knight. I am one of the few actors who made a study of Mr. Mansfield—for many reasons, the paramount one being that I considered that I was indirectly responsible for his amazing and sensational success in "A Parisian Romance."

I maintain that Mansfield was never a great actor, but a clever and gifted man—a dominant personality which asserted itself even when clothed in mediocrity.

I ask any fair-minded person if Mansfield ever moved him to tears, broke his throat and caused his heart to burst and sob his soul away, as did our beloved Booth. Did he ever cause a ripple of laughter to equal those ripples set running by delightful Willie Collier? Did he ever make you feel like bounding upon the stage and climbing up to Juliet's balcony, as one is prompted to do when witnessing E. H. Sothern pay tribute to Julia Marlowe? Did he ever make you start from your seat and thank God that the performance was over, as when listening to Edwin Booth's appeal to be allowed to enter the banquet hall where his daughter is being held prisoner in "A Fool's Revenge"? Did he ever rivet you to the spot by pure, sweet, untheatric delivery of a speech without effort, as did Charles R. Thorne, in "The Banker's Daughter"? Did he ever hold you enthralled in a spell of reverence, as did Salvini or John McCullough in his address to the Senate in "Othello"? In a word did Mansfield ever make you really laugh or truly sob? Never? Then greatness was denied him.

I argue that if an actor cannot appeal to you through the emotions he should take down his sign. If an actor cannot make you laugh or cry; fails to impress by any method except that of physical force or personality; cannot make love, he fails to qualify. Mansfield's attempts to storm or win any of these emotions were as futile as they were absurd and when he ventured within the realms of Shakespeare he was atrocious or preposterous. With all his unquestionable intelligence, he was never able to master Shakespeare's rhythm or to scan correctly, as those who have witnessed his Richard, Henry the Fifth, and Shylock, will remember.

That is my opinion of his acting.

What he did for the American stage is a far different proposition. There is no denying the fact that he was quite as successful in elevating the drama in America as Irving was in England, but he suffered by comparison, as Irving was superior in knowledge of stage craft. He was not the equal of Irving, either as actor or stage manager. True, he was denied Irving's authorities and the assistance of technicians who lightened Irving's efforts and materially added to his fame. Neither were Mansfield's methods, employed to further his ends, as legitimate as Irving's. Irving never found it necessary to insult his audience for its lack of patronage, or failure of appreciation. Dear benign Henry Irving devoted as much time to beget a friend as Mansfield did to destroy one. Had Mansfield studied his characters with the same amount of reverence which he bestowed upon his productions and attention to "detail" I might have agreed with his biographers; but I conscientiously say that I cannot. The mistakes he perpetrated were often misconstrued into perfections of art.

Mansfield, in my opinion, was an actor who selected the one art in which he was totally unfitted to shine and in which nature never intended him to soar. He did everything wrong, well.

Personally, I liked Mansfield. He was most companionable, full of anecdotes, a fine musician, sculptor, linguist, conversationist and could be most agreeable, particularly to those whom he cared to interest. I had several delightful chats and very often dined with him in his private car and always came away wishing he could be persuaded to send over his charm into some of the plays of his extensive repertoire. But no, his channels were in the deep, dark waters of the uncanny.

I have never left the playhouse, after witnessing one of his performances, with a sweet taste in my mouth or a wholesome thought. The trend of his characterizations was towards the cruelty in mankind. He catered to the morbid. There was little sunshine in his plays. They were as a rule overcast with the clouds of misery, crime, and the "Winter of our discontent!" In the words of Joseph Knight, "How Awful!" Yet what a true disciple of Cazauran he proved to be! No one remembers a laugh provoker, while even third rate "serious" actors win posthumous praise!

Mansfield was considered a great actor by the masses. But do the masses know? No! You will hear them prate about his "detail." I do not agree with the masses and never have agreed with them.

I do not enjoy a visit to the morgue.

I consider Mansfield's detail, as a rule, misapplied. If sitting upon a great piece of scenery resembling an artichoke and stabbing himself with a huge Roman dagger without toppling over, as he did as Brutus, is detail, then I am wrong. When I saw him perform this piece of "business" I marvelled at the vitality of Brutus and the weight of his head for surgeons tell me that when one dies of a self-inflicted wound, particularly when administered by a cleaver, the head falls forward and naturally the body follows. Not so with Mr. Brutus as played by Mansfield! He appeared too busily engaged in counting the people in the gallery to allow any authority on self-inflicted wounds to interfere with his "detail."

Again take the death scene in "A Parisian Romance." He is supposed to die from a stroke of apoplexy, not a stroke of lightning. Mansfield flopped over as if hit on the head with a club. The original, Germaine, who played the part in Paris, received his stroke like a gentleman, sank into his chair, was carried into an ante-room and calmly passed away, a white hand appearing between the curtains as he endeavored to rejoin his disreputable friends. If one were privileged to read the original manuscript one would find that the Baron is supposed to faint as he has fainted many times before. The people carry him off and the party continues its revels until notified that its host has passed away in the adjacent room. Not so with Mansfield, catering to the masses, which enjoy "detail!" He got his stroke, dropped his glass upon the table, fell—tableau! All stand riveted. Someone cries, "The Baron is dead! Stop that music!" Curtain!

The American people not only fancy "detail"; they also want "ginger" and "the punch"! No pousse cafÉ for them! They want "the straight goods"—and Mansfield certainly handed them over!

Chapter XIII