by Jane Austen
Theatre Royal, Covent Garden, the other main theater. The picture shows the pit and the boxes on the side; it also indicates the elaborate scenery standard onstage.
[From Fiona St. Aubyn, Ackermann’s Illustrated London, illustrations by Augustus Pugin and Thomas Rowlandson (Ware, 1985), p. 133]
Maria gave Edmund a glance, which meant, “What say you now? Can we be wrong if Mary Crawford feels the same?” And Edmund silenced, was obliged to acknowledge that the charm of acting might well carry fascination to the mind of genius;60 and with the ingenuity of love, to dwell more on the obliging, accommodating purport of the message than on any thing else.61
The scheme advanced. Opposition was vain; and as to Mrs. Norris, he was mistaken in supposing she would wish to make any. She started no difficulties that were not talked down in five minutes by her eldest nephew and niece, who were all-powerful with her; and, as the whole arrangement was to bring very little expense to any body, and none at all to herself, as she foresaw in it all the comforts of hurry, bustle and importance, and derived the immediate advantage of fancying herself obliged to leave her own house, where she had been living a month at her own cost,62 and take up her abode in their’s, that every hour might be spent in their service; she was, in fact, exceedingly delighted with the project.
Billiards.
[From William Combe, The Dance of Life (London, 1817; 1903 reprint), p. 234]
Chapter Fourteen
Fanny seemed nearer being right than Edmund had supposed. The business1 of finding a play that would suit every body, proved to be no trifle; and the carpenter had received his orders and taken his measurements, had suggested and removed at least two sets of difficulties, and having made the necessity of an enlargement of plan and expense fully evident, was already at work, while a play was still to seek. Other preparations were also in hand. An enormous roll of green baize had arrived from Northampton, and been cut out by Mrs. Norris (with a saving, by her good management, of full three quarters of a yard), and was actually forming2 into a curtain by the housemaids, and still the play was wanting;3 and as two or three days passed away in this manner, Edmund began almost to hope that none might ever be found.
There were, in fact, so many things to be attended to, so many people to be pleased, so many best characters required, and above all, such a need that the play should be at once both tragedy and comedy, that there did seem as little chance of a decision, as any thing pursued by youth and zeal could hold out.
On the tragic side were the Miss Bertrams, Henry Crawford, and Mr. Yates; on the comic, Tom Bertram, not quite alone, because it was evident that Mary Crawford’s wishes, though politely kept back, inclined the same way; but his determinateness4 and his power, seemed to make allies unnecessary; and independent of this great irreconcileable difference, they wanted a piece containing very few characters in the whole, but every character first-rate, and three principal women. All the best plays were run over in vain.5 Neither Hamlet, nor Macbeth, nor Othello, nor Douglas, nor the Gamester,6 presented any thing that could satisfy even the tragedians; and the Rivals, the School for Scandal, Wheel of Fortune, Heir at Law,7 and a long etcetera, were successively dismissed with yet warmer objections. No piece could be proposed that did not supply somebody with a difficulty, and on one side or the other it was a continual repetition of, “Oh! no, that will never do. Let us have no ranting tragedies. Too many characters—Not a tolerable woman’s part in the play—Any thing but that, my dear Tom. It would be impossible to fill it up—One could not expect any body to take such a part—Nothing but buffoonery from beginning to end. That might do, perhaps, but for the low parts8—If I must give my opinion, I have always thought it the most insipid play in the English language—I do not wish to make objections, I shall be happy to be of any use, but I think we could not choose worse.”
A contemporary picture of gambling, a popular pastime, especially among the wealthy, and a subject of various literary works, including The Gamester.
[From Joseph Grego, Rowlandson the Caricaturist, Vol. I (London, 1880), p. 46]
Fanny looked on and listened, not unamused to observe the selfishness which, more or less disguised, seemed to govern them all, and wondering how it would end. For her own gratification she could have wished that something might be acted, for she had never seen even half a play, but every thing of higher consequence was against it.
“This will never do,” said Tom Bertram at last. “We are wasting time most abominably. Something must be fixed on. No matter what, so that something is chosen. We must not be so nice.9 A few characters too many must not frighten us. We must double them. We must descend a little. If a part is insignificant, the greater our credit in making any thing of it. From this moment I make no difficulties. I take any part you choose to give me, so as it be comic. Let it but be comic, I condition for nothing more.”
For about the fifth time he then proposed the Heir at Law, doubting10 only whether to prefer Lord Duberley or Dr. Pangloss for himself, and very earnestly, but very unsuccessfully, trying to persuade the others that there were some fine tragic parts in the rest of the Dramatis Personæ.11
The pause which followed this fruitless effort was ended by the same speaker, who taking up one of the many volumes of plays that lay on the table, and turning it over, suddenly exclaimed, “Lovers’ Vows! And why should not Lovers’ Vows do for us as well as for the Ravenshaws?12 How came it never to be thought of before? It strikes me as if it would do exactly. What say you all?—Here are two capital tragic parts for Yates and Crawford, and here is the rhyming butler for me13—if nobody else wants it—a trifling part, but the sort of thing I should not dislike, and as I said before, I am determined to take any-thing and do my best. And as for the rest, they may be filled up by any-body. It is only Count Cassel and Anhalt.”14
The suggestion was generally welcome. Every body was growing weary of indecision, and the first idea with every body was, that nothing had been proposed before so likely to suit them all. Mr. Yates was particularly pleased; he had been sighing and longing to do the Baron at Ecclesford, had grudged every rant of Lord Ravenshaw’s, and been forced to re-rant it all in his own room.15 To storm through Baron Wildenhaim was the height of his theatrical ambition, and with the advantage of knowing half the scenes by heart already, he did now with the greatest alacrity offer his services for the part. To do him justice, however, he did not resolve to appropriate it—for remembering that there was some very good ranting ground in Frederick, he professed an equal willingness for that. Henry Crawford was ready to take either. Whichever Mr. Yates did not choose, would perfectly satisfy him, and a short parley16 of compliment ensued. Miss Bertram feeling all the interest of an Agatha in the question,17 took on her to decide it, by observing to Mr. Yates, that this was a point in which height and figure ought to be considered, and that his being the tallest, seemed to fit him peculiarly for the Baron.18 She was acknowledged to be quite right, and the two parts being accepted accordingly, she was certain of the proper Frederick. Three of the characters were now cast, besides Mr. Rushworth, who was always answered for by Maria as willing to do any thing; when Julia, meaning like her sister to be Agatha, began to be scrupulous on Miss Crawford’s account.
“This is not behaving well by the absent,” said she. “Here are not women enough. Amelia and Agatha may do for Maria and me, but here is nothing for your sister, Mr. Crawford.”
Mr. Crawford desired that might not be thought of; he was very sure his sister had no wish of acting, but as she might be useful, and that she would not allow herself to be considered in the present case. But this was immediately opposed by Tom Bertram, who asserted the part of Amelia to be in every respect the property of Miss Crawford if she would accept it. “It falls as naturally, as necessarily to her,” said he, “as Agatha does to one or other of my sisters. It can be no sacrifice on their side, for it is highly comic.”19
A short silence followed. Each sister looked anxious; for each felt the best claim to Agatha
, and was hoping to have it pressed on her by the rest. Henry Crawford, who meanwhile had taken up the play, and with seeming carelessness was turning over the first act,20 soon settled the business. “I must entreat Miss Julia Bertram,” said he, “not to engage in the part of Agatha, or it will be the ruin of all my solemnity. You must not, indeed you must not—(turning to her). I could not stand your countenance dressed up in woe and paleness. The many laughs we have had together would infallibly come across me,21 and Frederick and his knapsack would be obliged to run away.”22
Pleasantly, courteously it was spoken; but the manner was lost in the matter to Julia’s feelings. She saw a glance at Maria, which confirmed the injury to herself; it was a scheme—a trick; she was slighted, Maria was preferred; the smile of triumph which Maria was trying to suppress shewed how well it was understood, and before Julia could command herself enough to speak, her brother gave his weight against her too, by saying, “Oh! yes, Maria must be Agatha. Maria will be the best Agatha. Though Julia fancies she prefers tragedy, I would not trust her in it. There is nothing of tragedy about her. She has not the look of it. Her features are not tragic features, and she walks too quick, and speaks too quick, and would not keep her countenance. She had better do the old countrywoman; the Cottager’s wife;23 you had, indeed, Julia. Cottager’s wife is a very pretty24 part I assure you. The old lady relieves the high-flown benevolence of her husband with a good deal of spirit.25 You shall be Cottager’s wife.”
“Cottager’s wife!” cried Mr. Yates. “What are you talking of? The most trivial, paltry, insignificant part; the merest common-place—not a tolerable speech in the whole.26 Your sister do that! It is an insult to propose it. At Ecclesford the governess was to have done it. We all agreed that it could not be offered to any body else.27 A little more justice, Mr. Manager, if you please. You do not deserve the office,28 if you cannot appreciate the talents of your company a little better.”29
“Why as to that, my good friend, till I and my company have really acted there must be some guesswork; but I mean no disparagement to Julia. We cannot have two Agathas, and we must have one Cottager’s wife; and I am sure I set her the example of moderation myself in being satisfied with the old Butler. If the part is trifling she will have more credit in making something of it; and if she is so desperately bent against every thing humorous, let her take Cottager’s speeches instead of Cottager’s wife’s,30 and so change the parts all through; he is solemn and pathetic31 enough I am sure. It could make no difference in the play; and as for Cottager himself, when he has got his wife’s speeches, I would undertake him with all my heart.”
“With all your partiality for Cottager’s wife,” said Henry Crawford, “it will be impossible to make any thing of it fit for your sister, and we must not suffer her good nature to be imposed on. We must not allow her to accept the part. She must not be left to her own complaisance. Her talents will be wanted in Amelia. Amelia is a character more difficult to be well represented than even Agatha. I consider Amelia as the most difficult character in the whole piece. It requires great powers, great nicety,32 to give her playfulness and simplicity without extravagance. I have seen good actresses fail in the part. Simplicity, indeed, is beyond the reach of almost every actress by profession. It requires a delicacy of feeling which they have not.33 It requires a gentlewoman—a Julia Bertram. You will undertake it I hope?” turning to her with a look of anxious entreaty, which softened her a little; but while she hesitated what to say, her brother again interposed with Miss Crawford’s better claim.
“No, no, Julia must not be Amelia. It is not at all the part for her. She would not like it. She would not do well. She is too tall and robust. Amelia should be a small, light, girlish, skipping figure.34 It is fit for Miss Crawford and Miss Crawford only. She looks the part, and I am persuaded will do it admirably.”
Without attending to this, Henry Crawford continued his supplication. “You must oblige us,” said he, “indeed you must. When you have studied the character, I am sure you will feel it suit you. Tragedy may be your choice, but it will certainly appear that comedy chooses you. You will be to35 visit me in prison with a basket of provisions; you will not refuse to visit me in prison? I think I see you coming in with your basket.”36
The influence of his voice was felt. Julia wavered: but was he only trying to soothe and pacify her, and make her overlook the previous affront? She distrusted him. The slight had been most determined. He was, perhaps, but at treacherous play with her. She looked suspiciously at her sister; Maria’s countenance was to decide it; if she were vexed and alarmed—but Maria looked all serenity and satisfaction, and Julia well knew that on this ground Maria could not be happy but at her expense. With hasty indignation therefore, and a tremulous voice, she said to him, “You do not seem afraid of not keeping your countenance when I come in with a basket of provisions—though one might have supposed37—but it is only as Agatha that I was to be so overpowering!”—She stopped—Henry Crawford looked rather foolish, and as if he did not know what to say. Tom Bertram began again,
“Miss Crawford must be Amelia.—She will be an excellent Amelia.”
“Do not be afraid of my wanting the character,” cried Julia with angry quickness;—“I am not to be Agatha, and I am sure I will do nothing else; and as to Amelia, it is of all parts in the world the most disgusting to me. I quite detest her. An odious, little, pert, unnatural, impudent38 girl.39 I have always protested against comedy, and this is comedy in its worst form.” And so saying, she walked hastily out of the room, leaving awkward feelings to more than one, but exciting small compassion in any except Fanny, who had been a quiet auditor of the whole, and who could not think of her as under the agitations of jealousy, without great pity.40
A short silence succeeded her leaving them; but her brother soon returned to business and Lovers’ Vows, and was eagerly looking over the play, with Mr. Yates’s help, to ascertain what scenery would be necessary—while Maria and Henry Crawford conversed together in an under voice,41 and the declaration with which she began of, “I am sure I would give up the part to Julia most willingly, but that though I shall probably do it very ill, I feel persuaded she would do it worse,” was doubtless receiving all the compliments it called for.
When this had lasted some time, the division of the party was completed by Tom Bertram and Mr. Yates walking off together to consult farther in the room now beginning to be called the Theatre, and Miss Bertram’s resolving to go down to the Parsonage herself with the offer of Amelia to Miss Crawford; and Fanny remained alone.42
The first use she made of her solitude was to take up the volume which had been left on the table, and begin to acquaint herself with the play of which she had heard so much. Her curiosity was all awake, and she ran through it with an eagerness which was suspended only by intervals of astonishment, that it could be chosen in the present instance—that it could be proposed and accepted in a private Theatre! Agatha and Amelia appeared to her in their different ways so totally improper for home representation—the situation of one, and the language of the other, so unfit to be expressed by any woman of modesty,43 that she could hardly suppose her cousins could be aware of what they were engaging in; and longed to have them roused as soon as possible by the remonstrance which Edmund would certainly make.
An ordinary soldier, such as Frederick is in the play.
[From William Alexander, Picturesque Representations of the Dress and Manners of the English (London, 1813), Plate 45]
Chapter Fifteen
Miss Crawford accepted the part very readily, and soon after Miss Bertram’s return from the Parsonage, Mr. Rushworth arrived, and another character was consequently cast. He had the offer of Count Cassel and Anhalt, and at first did not know which to choose, and wanted Miss Bertram to direct him, but upon being made to understand the different style of the characters, and which was which, and recollecting that he had once seen the play in London, and had thought Anhalt a very stupid fellow,1 he soon decided for the C
ount. Miss Bertram approved the decision, for the less he had to learn the better;2 and though she could not sympathize in his wish that the Count and Agatha might be to act together, nor wait very patiently while he was slowly turning over the leaves with the hope of still discovering such a scene, she very kindly took his part in hand,3 and curtailed every speech that admitted being shortened;—besides pointing out the necessity of his being very much dressed,4 and choosing his colours. Mr. Rushworth liked the idea of his finery very well, though affecting to despise it,5 and was too much engaged with what his own appearance would be, to think of the others, or draw any of those conclusions, or feel any of that displeasure, which Maria had been half prepared for.6
Thus much was settled before Edmund, who had been out all the morning, knew any thing of the matter; but when he entered the drawing-room before dinner, the buz of discussion was high between Tom, Maria, and Mr. Yates; and Mr. Rushworth stepped forward with great alacrity to tell him the agreeable news.
“We have got a play,” said he.—“It is to be Lovers’ Vows; and I am to be Count Cassel, and am to come in first with a blue dress,7 and a pink satin cloak, and afterwards am to have another fine fancy suit by way of a shooting dress.8—I do not know how I shall like it.”
Fanny’s eyes followed Edmund, and her heart beat for him as she heard this speech, and saw his look, and felt what his sensations must be.
“Lovers’ Vows!”—in a tone of the greatest amazement, was his only reply to Mr. Rushworth; and he turned towards his brother and sisters as if hardly doubting a contradiction.
