73 THE FORMER JUBILEES. GARRICK'S: 1769. THE first jubilee in honour of Shakespeare, which took place at Stratford-upon-Avon, in 1769, is generally called "Garrick's." He originated and carried out that much ridiculed somewhat unfortunate-but, on the whole, successful and praiseworthy celebration. Garrick had been at that time no less than twenty-eight years on the stage, unprecedentedly successful as actor and manager. He was not a profound student of Shakespeare, nor had he unqualified reverence for his genius. In compliment to the greatest if not only detractor of Shakespeare in the literary world -Voltaire-he maimed "Hamlet" by cutting out the 66 grave scene and burking" Osric. The rapidity and intensity of his style enabled him to give a novel and spirited picture of Richard and his wonderful mimetic faculties account to me largely for the effects he created in Lear; but as a tragedian, in the strict sense of the term, he was almost as mentally dwarfed as he was physically stunted, however otherwise his biographers, the Irish dramatist and barrister, Murphy, or "the author," as Johnson said, "engendered from the corruption of a bookseller," Davies, may describe him. He had not the dignity of Quin, the power of Mossop, or the physical endowments of Barry. Certainly he was nowhere with Barry in Othello, and came up to him in only the banishment scene of Romeo. His Hamlet, I feel persuaded, was not equal to that of Betterton or Charles Mayne Young, or his Macbeth to that of William Charles Macready. This, I am aware, is not the traditional opinion of Garrick in tragedy, and acting will, it is true, ever be a matter of opinion, even amongst those who judge from personal knowledge, whilst it is almost impossible from descriptions in books to form a positive notion of what an actor was on the stage; but the authority which fortifies me in the foregoing opinions happily warrants me in believing that Garrick was, nevertheless, beyond all question, the greatest histrionic artist of his time, or perhaps of any time, because the most original and most comprehensive. He was the author of excellent farces and prologues, and acquainted not only with books but men as they are or were in his time. Full of tact and the peculiar cleverness of a showman, he was a thorough man of the world, so that "as deep as Garrick" was a phrase of the times. Although Dr. Johnson affected occasionally to despise both the actor and his art, he lamented Garrick's death as "that stroke which had eclipsed the gaiety of nations and robbed the public stock of harmless pleasure;" and Goldsmith describes him as "a medley of all that is pleasant in man." Take him for all in all, therefore, no one could have been more thoroughly qualified to manage a national jubilee than he who undertook it in Stratford-upon-Avon in 1769. I have thought it well to occupy thus much of the reader's attention with some account of the man whose name is to be seen on the walls of Stratford, whose picture is the handsomest ornament of the principal building in the town, and whose name will ever be remembered in Warwickshire. Happy would it have been for the Stratford Committee, during the late celebration, if an actor so accomplished and generous had been forthcoming and permitted to take full charge of the dramatic portion of the business. They would have been spared vast labour, no end of anxiety, and enormous pecuniary expenditure. The celebration which made him famous in this county (Warwick) is stated to have originated under the following circumstances: Towards the latter end of the year 1768, a jollification took place amongst congenial spirits at the White Lion Hotel, then the principal hostelry in Stratford-upon-Avon. Naturally mixing up the ever recurring Stratfordian topic of Shakespeare with the local events of the day, the conversation turned on the newly erected Town Hall, the then vacant niche in the northern gable, and the desirability of having it filled up by a statue of the immortal dramatistBen Jonson and Jack Milton to the contrary notwithstanding. One of the party, the celebrated George Steevens, who happened to be the chief guest of the evening, suggested an application to the great actor and successful manager, David Garrick, for assistance in giving practical effect to this happy idea. Now nothing could have been more natural than to seek the aid of the English Roscius in carrying out the notion. Accordingly Mr. Steevens was deputed to communicate with him upon the subject, and he did so with more hope of working effectively upon Garrick's love of money and fame, than of Shakespeare's memory. That Roscius did go in for glory there is no doubt, but in such a man a degree of self was natural and pardonable under the circumstances: he was an artist and an author; he had some knowledge and "feeling of his business." Besides, there appears to have been no one ready and willing to share with him the honours and responsibilities of the undertaking. But however mingled the motives that stimulated Garrick, Steevens received in the course of a few days a favourable answer from him. A correspondence subsequently arose between Garrick and the Stratford Corporation, in which the "wit-if not first, in the very first line" succeeded in raising himself to the highest position in the esteem and admiration of the "potent, grave, and reverend seigniors." They voted him a triumph. In other words presented him with the freedom of the borough in a box made of Shakespeare's mulberry tree. Garrick was delighted, and in turn voted them himself and Shakespeare a national jubilee. He submitted his programme to the Corporation, it was approved of, and he mentally at once commenced operations; and when winding up his season the following summer, announced to his audience the grand work in hand in the following terms: My eyes till then (his next season) no sights like this will see, Unless we meet at Shakespeare's jubilee On Avon's banks, where flowers eternal blow; Like its full stream our gratitude shall flow. There let us revel, show our fond regard; On that loved spot first breathed our matchless bard. To him we owe our all-to him and you." This of course was but another way of saying "be in time, and take your places" in the amphitheatre, subsequently erected on the banks of the Avon. This magnificent octagonal building was erected upon the Bancroft, close to the river Avon, at the expense of the Corporation, assisted by the neighbouring gentry. It was constructed on the model of the Ranelagh Rotunda, and measured 70 feet diameter, and was calculated to hold one thousand persons; the orchestra giving accommodation to one hundred per formers. It was supported by a circular colonnade of Corinthian columns, the capitals and bases of which were richly gilt. From the centre of the dome, which was beautifully painted, was suspended a splendid chandelier, containing eight hundred wax lights; in various compartments of the wainscotting were tasteful and appropriate devices richly executed. The jubilee began at five o'clock on Wednesday morning, the 6th September, 1769, not in a "mighty genteel" tepid indecisive way, but vigorously and heartily amid the roaring of cannon, relieved by the concord of sweet sounds. The leading lady visitors were serenaded by a company of comedians in full professional costume. They sung an appropriate song with full band accompaniment. The Cor poration assembled at eight o'clock, and having appointed Mr. Garrick master of the revels or of ceremonies, or to stick to the text of our authority (Mr. Wheler) "steward," invested him with the insignia of his office, namely, a: medal (on which was carved a bust of Shakespeare, richly set in gold) and a wand, both formed of the celebrated mulberry tree. At nine o'clock a public breakfast was held at Shakespeare's Hall, during which a band played martial and popular music. At half-past ten o'clock the company proceeded in regular order to the church, where the oratorio of "Judith," composed by Dr. Arne, was performed under his direction, in a temporary orchestra erected under the organ. The choruses were full, and the band, which comprised the whole of Drury Lane orchestra, was excellent. A sumptuous dinner, to which upwards of seven hundred ladies and gentlemen sat down, in the amphitheatre, formed the next item of the ample programme. At night there was a brilliant ball, the town was illuminated, and there was a grand display of fireworks, under the management, we are told, of "M. (not Michael, surely) Angelo." Thus the curtain was rung down, amid enthusiastic applause, on the first act of this national three-act melo-drama. On the second day the festive proceedings commenced as before, with the firing of cannon, the ringing of bells, and the serenading of ladies. After another public breakfast the company repaired to the amphitheatre, where an ode on the dedication of the newly-erected Town Hall to the memory of Shakespeare, and the erection of the statue presented by Garrick, was performed. The music was by Dr. Arne. The recitative portions were very effectively delivered by Garrick, so that music it is said was forced to yield the palm to elocution on this occasion. Garrick also delivered a very impressive and eloquent oration. At three o'clock a public dinner was given, which was numerously attended, and in the evening the town was again very brilliantly illuminated. Transparencies were invented for the five front windows in Shakespeare's Hall. In the centre window was a whole-length figure of Shakespeare, turning with animation to a person holding Pegasus, and exclaiming, "O for a muse of fire!" Falstaff and Pistol decorated the windows on his left hand, and in those on his right were Lear in the execration passage, and Caliban drinking from Trinculo's keg. The birth-place of the bard was covered with a curious emblematical transparency, |