The Early History of Play in Eighteenth Century
Jacob Tonson was the first publisher to adapt
successfully the French practice of including engraved frontispieces to
editions of plays, his success largely dependent upon the assemblage of expert foreign
engravers which he lured to England
with offers of employment. The first illustrated collections of plays published
by Tonson were those of Shakespeare, edited by Nicholas Rowe and released to
the world in 1709. The
choice of Shakespeare may seem rather natural to a modern mind, but, in fact,
no complete English edition of Shakespeare had been published since the first
folio.
Thus the novelty of Tonson's edition lay first
in the very fact of its publication and secondly in -his inclusion of engraved
frontispieces - a practice then unfamiliar in England . More than one art
historian has pointed out the logistical problem Tonson must have had of how to
illustrate a set of plays which had rarely been illustrated before, and
thus had no iconographical precedent. The anonymous designers of the Tonson
frontispieces solved this problem by recourse to the theatre where an
established visual tradition existed. Another explanation for the use of
theatrical motifs in the Tonson Shakespeare was tendered in 1916 by M.
Salaman who suggested:
The day of the book-illustration in England had
not arrived, and the readers of Shakespeare
cannot,
up to the publication of Rowe's edition, •
have been exceedingly numerous. The popular
conceptions of the scenes of the plays were,
therefore, inseperable from the
stage-representations
and the personalities of the players.
Salaman's explanation is compelling, but not
entirely accurate in relation to the illustrations themselves. The Tonson
frontispieces include such theatrical motifs as obvious backcloths (Henry V)
(Figure 120) and stage curtains (Twelfth Night) (Figure 121), but these motifs 103
are general, and related to all plays, rather than to specific ones. The one
confirmable contemporary theatrical motif in the Rowe/Tonson edition is the
fallen chair in the ghost scene of Hamlet- a stage trick practised by
Betterton- which, by itself, hardly substantiates Salaman's theory that all the
illustrations represent "popular conceptions". Furthermore, Salaman's
suggestion that "the personalities of the players" can be discerned
in the Tonson frontispieces is not confirmed by the parade of anonymous
cardboard cut-outs of Falstaff, Hamlet, Rosalind, et al, in the illustrations
themselves. Portraiture, and other forms of theatrical specificity, therefore, play
very little part. It is significant that even these theatrical allusions began
to disappear in Tonson's second edition of Shakespeare (1714) when du Guernier
took over the programme of illustration and rid the series of many of its more
obvious stage props.
This depletion of theatrical formula in the 1714
edition is symptomatic and precursive of the gradual infiltration of the rococo
into English illustration, largely through the agents of expatriate French illustrators.
The very artifice of the rococo necessarily led book illustration on a course
away from the naive theatrical realism of Tonson's first edition of
Shakespeare. The movement gained momentum in England
when the Prince of Wales began to patronise its artists, and, in 1732, at the
height of Prince Frederick's enthusiasm, Hubert Franiois Gravelot came to England , and
within a few years was called upon to illustrate Theobald's new edition
of Shakespeare. Whether or not England
had any influence on Gravelot is a moot point, but it is certain that
Gravelot had a profound effect on English illustration at that time. His
illustrations for Theobald's (1740) and Hanmer's (1744) editions of Shakespeare
did much to crystallise the fanciful, non theatrical portrayal of Shakespearian
scenes in England
for many years. However, Gravelot's rococo delicacy was particularly
inappropriate for representation of the more robust Shakespearian characters, as
a glimpse at his portrayal of Falstaff or Henry VIII (Figure 123) will
reveal.
Not only are these figures alienated from
Shakespeare's text, but they reveal that Gravelot was oblivious to the standard
characterisation of such figures perpetuated by actors on the English stage. Gravelot's
mannerisms were, to an extent, adopted by Hayman when the two worked together
on Hanmer's Shakespeare in 1744. 14 Hayman's choice of scene for this edition was
substantially limited by his contract with Hanmer, which stated:
The said Francis Hayman is to design and
delineate
a drawing to be prefix'd to
each play of Shakespear
taking the subject of such scenes as Sr Thomas
Hanmer shall direct —15
A reading of Hanmer's instructions to Hayman
indicate that the artists deviated in only minor detail from Hanmer's
description for each scene, possibly out of a timid fear of not receiving the
three guineas per drawing promised him should be diverge from the accepted
formula. However, another possibility presents itself. Within the limitations
of Hanmer's instructions, Hayman could express fully his rococo style largely
because Hanmer's instructions were concerned almost exclusively with costume
and characterisation. The focus of Hanmer's emphasis suggests that he not only
knew the texts of the plays, but that he derived some of his more decisive
ideas from contemporary stage practice. This is particularly true of costume.
For example, Hanmer's choice of the casket scene for the Merchant of Venice
(Figure 124) seems in part an excuse to portray Portia's Moorish suitor in his
national dress:
Towards the other side of the room Morocchus a
Moorish Prince richly habited in the garb of
his Countrey with a turban and scymitar.16
In other passages he refers to Italo-Spanish
costumes, servants' livery, the dress of shepherds and shepherdesses, and, in
his description of the scene from King John, he insists that "the habit of
the times must be consider'd in this and the following designs".
All of these types of costumes were standard
stage dress, and theatrical managers of the period were beginning to attempt to
promote historical accuracy in costume, albeit in a haphazard and
non-archaeological way.
It would be going too far to suggest that
Hanmer's descriptions of character recall specific actors, and such a
supposition would be unprovable in any case. However, his very obsession with
the essential character and physiognomy of Shakespeare's creations was alien to
the work of rococo artists who tended to integrate figure and landscape. Thus,
Hanmer's instructions combined with Hayman's rococo style to create an anomaly
between the theatrically expressive physiognomy of the characters and the
stylistic virtuosity of the scenes. For example, amidst the feathery Athenian
landscape of Hayman's Midsummer Night's Dream illustration (Figure 125),
Quince, Snug, Flute, Snout, and Starvling run away from the metamorphosed
Bottom "with different actions expressing their astonishment and
fear".
Hayman depicts each of these characters with
gestures fully in keeping with John Bell's later dramatic portraits. One cannot
deny that an essentially English obsession with character prevented Hayman from
whole-heartedly adapting the Gravelot idiom, but Esther Gordon Dotson's attempt
to see Hayman's figures for various Shakespeare illustrations as microcosmic
examples of a more general shift of obsession from plot to character in all
eighteenth century thought is simplistic. 19 What is more likely is that Hayman's
expression of character reflected a concern that had long been present in
England with the predominance of portraiture and which began to re-emerge when
Hayman combined rococo fantasy with a more literal interest in human character.
The logical first step in this re-emergence was a recourse to the theatre as
the most accessible visual source for play illustration.
Unlike Tonson's illustrators, Hayman never used
obvious theatrical motifs such as rippling stage curtains or visible proscenium
doors, but in at least two instances, it has been proven that Hayman borrowed ideas
from David Garrick.
In his illustrations for Jennens edition of
Shakespeare (incomplete, published 1770), Hayman follows instructions given to him
in a letter from Garrick even more closely than he had followed
Hanmer's - undoubtedly realising that, with regard to illustration, Garrick's
unscholarly knowledge of the great Shakespeare plays was more useful to him
than Hanmer's erudition. In his letters, Garrick offers suggestions for scenes
in King Lear (Figure 126) and Othello - both of which were in his own acting
repertoire. Not surprisingly, his ideas focus primarily upon character, and one
can assume that his own experience formed the basis for his confident
suggestions:
If you intend altering the scene in Lear ... what
think you of the following one. Suppose Lear mad,
upon the ground, with Edgar by him; his attitude
should be leaning upon one hand & pointing
wildly
towards the Heavens with the other. Kent &
Footman attend him, & Gloster comes to him
with
a torch; the real Madness of Lear, the frantick
affectation of Edgar, & the different looks
of
concern in the three other carracters (sic), will
have a fine effect. Suppose you express Kent 's
particular care & distress by putting him
upon
one knee begging & entreating him to rise
& go
with Gloster.
In his suggestions for Othello, Garrick offers to
demonstrate the gestures mentioned, and this fact throws an additional light on
Hayman's Lear illustration, and on Garrick's directorial habits as well. However,
these theatrical influences are still sporadic and it was not until Bell issued his
Shakespeare character plates that the scene was dispensed with in favour of an
unquestionably theatrical character portrait. A3 I have mentioned before,
these plates were issued separately; the frontispieces to the editions actually
sold were traditional scenes from the plays designed by E. Edwards. Several of
Edwards' scenes were obviously influenced by Hayman's illustrations for Hanmer,
but Edwards' efforts are more literal. For example, both Hayman and
Edwards illustrated act IV, scene ix from A Comedy of Errors (Figures
127 and 128) in which Antipholus and Dromio are cornered in the street. Hayman
dwarfs his characters in a street which flows off in a recessive diagonal, but
Edwards offers no recession, no strange angles, no virtuosity, only a mere
hint of houses in the background, in effect, a stock theatrical scene. Edwards'
works are, for the most part, minimal and hardly merit Bell 's extravagant advertisements, but in his
careful depiction of theatrical costume, Edwards carried some incipient tendencies
in Hayman's 1744 illustrations a step further.
Before discussing the Bell editions, it is necessary to mention briefly
the nature of the texts of plays in the eighteenth century. Tonson's
editor, Rowe, was one of the first in a long line of scholars 108 who
attempted to establish a definitive text of Shakespeare.
Shakespeare in particular was subjected to a series
of atrocities unlike anything perpetuated on a less notable author. His
plays were re-written, re-organised, made into operas; new characters and
scenes were added, and others were taken away. A large amount of this
manipulation was for the purpose of creating a satisfactory acting text, but
often these adulterated acting versions were advertised erroneously.
in playbills as "by Shakespeare". These
alterations necessitated a series of scholarly editions of Shakespeare, and an
increase in the reading public as the century progressed created a greater
demand for them. Shakespeare was not the only author to have his plays
appearing in multi-volume editions through the century: Johnson, Beaumont and Fletcher, and
the popular French neo-classicists, Miliere and Racine appeared in print
between 1709 and 1780, although
these editions were only rarely illustrated. The ancient classics were also
subjected to translation and published. Bonnel Thornton's translation of
Plautus (1764-5) immediately
preceded Colman the Elder's translation of Terence (1765-6); and
the works of both Sophocles (1759) and Euripides (1781-2) appeared in English versions. However,
despite the fact that plays by Voltaire, Moliere, Euripides, et al appeared in
heavily revised and adapted versions on the English stage through most of the
century, the texts mentioned above were meant to be perused and absorbed
"in the closet" and thus bore only an academic relationship to the theatre.
Popular and contemporary plays were usually published only in cheap un-illustrated
individual editions, possibly for the purpose of being sold at the theatre
where the play was currently being performed.
Aside from the novelty of adorning his editions
with portraits, John 109 Bell was also the first man to publish multi-volume
editions of the current acting versions of plays, thus moving away from the
highly literary and scholarly text to a more popular and accessible one.
Bell 's concession to the more fastidious
litterati was to include "Lines omitted in representation" in
inverted commas, although he almost never indicates which bits and pieces were
added at the whim of the Covent Garden or Drury Lane
managers. Bell 's
edition of Shakespeare's plays could be characterised by a purist as all the
most execrable into one, and, indeed, it has been Shakespeare that ever
appeared.
alterations of Shakespeare rolled dubbed the
worst edition of However, perhaps even a lover of Shakespeare's original
texts might be prepared to recognise the dramatic logic behind many of the
altered and added lines. What was done to Shakespeare in the seventeenth and
eighteenth centuries in the name of entertainment is no worse than what many
modern directors do to his plays in the twentieth century in the name of
artistic expression.
Most of Bell 's
potential clients were men and women of leisure who were undoubtedly delighted
at the prospect of reminding themselves of their favourite play by perusing the
same text that the actors themselves used. In an eighteenth century polemic for
the cause of authors, James Ralph characterises the reasoning behind the
actions of book sellers:
The sagacious Bookseller feels the Pulse of the
Times, and according to the stroke prescribes;
not to cure, but flatter the Disease: As long
as the Patient continues to Swallow, he continues
to administer; and on the first symptom of a
Nausea, he changes the dose.
He had no acquirements, perhaps not even grammar;
but his taste in putting forth a publication,
and
getting the best artists to adorn it, was new in
those
times and may be admired in any.
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