I have had occasion to marvel upon the unreasonable propositions and
expectations of professional people in certain cases, and their total blindness
at such times to everything but self-interest. I remember at this period
a very striking instance of the sort occurred in the personal application
of a Monsieur Alexandre, a gentleman who, during my husband's success in
his first "At Home," was exhibiting specimens of ventriloquy at the Adelphi
Theatre in his own language. This gentleman was one night ushered, unannounced,
into my husband's dressing-room, at the close of the performance, and after
introducing himself by name, proceeded to say that he had been one of the
audience that night, and was much struck with the second act of
Mr. Mathews's entertainment, (that where the characters took a dramatic
shape,) which he thought he could perform himself with great effect. He
then had the singular modesty and good taste to request a copy of it for
his own purpose at the Adelphi! In reply to this, Mr. Mathews with truth
assured him, that he had not studied it from a manuscript, but arranged
the whole in his own mind, and had never written it down. The applicant
was somewhat staggered at this, but soon after remodelled his request,
and proposed that Mr. mathews should write out the piece for him, translating
it, as he proceeded, into French, which would be more desirable for his
immediate study! Mr. Mathews (with some difficulty) convinced Monsieur
Alexandre that he could not oblige him, on the plea that his time was too
much engaged to admit of his employing his pen: and Monsieur finding his
"slight acquaintance" preparing to undress without further remark, reluctantly
took the hint, and bowed himself out, evidently much chagrined, and doubtless
very much disgusted with the English bete.
Monsieur Alexandre was a man of very effective talent; and the following comparative account of his performances with Mr. Mathews's, derived from one of the most competent authorities of the day, is worth perusal. Every age hath its wonders, and this latter age in that respect is certainly not behind-hand. It is, however, some time since we assumed the happy doctrine of nil admirari, &c. or perhaps our admiration might have been tempted to transgress its limits at the admirable powers of Mr. Mathews. We readily conceive, that if anything might justify the transgression, it would be the wonderful combination of talent which centres in that accomplished man.Anne Grant, Memoirs of Charles Mathews, Comedian, 2nd edn., 4 Vols (London: Richard Bentley, 1839), Vol. 2, pp. 465-7 (no source given for quotation). |
Compiled by Steven Connor
as part of The
Dumbstruck Archive, a continuing, online supplement to Dumbstruck:
A Cultural History of Ventriloquism (Oxford: Oxford University Press,
2000).