R530601A. Colombe’s Birthday.
The Manchester Examiner and Times, 1 June 1853, p. 5.
As reprinted in The Brownings’ Correspondence, 19, 396–397.
Theatre Royal.—The Name of Robert Browning will be familiar to all those of our readers who take an interest in the poetical literature of their country. But though inspired by noble thoughts, and possessed of the power to give utterance to them in language abounding in imagination and fancy, he has scarcely shown—at least in any sustained effort—the peculiar qualities of a dramatist. In a series of dramatic efforts published some years ago, under the title “Bells and Pomegranates,” there was put forth strong evidence of that feeling for the picturesque, which is a portion of the varied elements demanded; but something even beyond this is requisite in the man who has the courage to enter upon the task of telling a story of passion in five short acts, making each character the agent or victim of circumstances, develope at the same time, scene by scene, its own nature, and motives of action. Mr. Browning has given us rare sketches of beauty—“Pippa Passes” for instance—but they are scarcely adapted to the modern theatre, or to the audiences generally assembling there. They contain too little of the palpable, and demand too much of the reflective faculty on the part of those who go merely to be excited or amused. They are full of charming fancies, but deficient in stirring interest, or of a clear and definite method of illustration, which permits the meaning of the writer to be understood either by force of situation or language. “Colombe’s Birthday,” played here for the first time last evening, is one of this class; possessing many very fine qualities, but too subtle in its beauty, too delicate in its touches, to be appreciated by the crowd of a theatre. Its place is in the closet, where every word can be dwelt upon, every fancy cherished,—referred to again and again; its music is for—
the leafy month of June,
That to the sleeping woods all night
Singeth a quiet tune.
Gas light and entre act music are not in harmony with it.
Here is an outline of the story. “Colombe,” as the reigning duchess of “Juliers,” finds her right disputed under the salique law by “Prince Berthold;” and the document containing this claim the courtiers of the duchess persuade “Valence,” a poor advocate, to lay before her, whilst he seeks to redress the wrongs and sufferings of his countrymen. She feels the weakness of her position, and with the gentleness of her woman’s nature, would retire from the direction of power; but then the stern “Berthold” might not redress these sufferings, even with his more determined character—indeed, might perhaps aggravate them. She resolves, therefore, to be firm and retain her regal position. There is a spirit of chivalry, however, in the character of “Berthold” which gives rise to another difficulty. The prince, struck with her great virtues, proposes to waive all territorial claim, and, in the offer of his hand, opens the way to her becoming an empress. The nobility of intention is admitted; but a new and still more uncompromising impediment has, in the meantime, presented itself. She discovers that “Valence” loves her; he has stood by her, and waved off the crowd of difficulties that gathered around; she had thought his motives were patriotic—she finds them “born of love.” The struggle comes, but its duration is brief. “Berthold” is generous, but “Valence” loves. To the former, she resigns her duchy; to the latter, a still nobler prize—herself, and, with it, her heart. And so the curtain falls on “Colombe’s Birthday.” To those who know Miss Faucit, we need not say how such a character as that of “Colombe” would be represented. We felt, during the performance, that she is the only artist on the stage who could truly delineate such a woman; clothing her with those delicate tints that bring a very perfume with them. Her acting was as perfect in its way as her “Iolanthe” or “Imogen,” and in saying that, we desire to give the most unlimited approval. This passion of her soul, when it first found utterance, hung as gracefully upon her as did the dignity of the duchess; for it is the art of this great actress never to allow even the most warring elements to carry her away from beauty of form. Invective, grief,—passion, deep or fierce in character, still maintains, even in the “whirlwind of its fury,” that indefinable grace of manner so fully understood by the higher schools of poet, painter, or musician. But though mystical to many may be the play in general tone of form and colour—suggestive rather than definite—the acting of Miss Faucit threw over it a stream of sunshine that lighted up the dark recesses where lay the dreamy thoughts of the poet, bidding them come forth and live in the memory of all who had sufficient feeling and good taste to appreciate her interpretation; crowded as it was, from first to last, with so many deep meanings, such noble dignity, such pure sentiment, such delicate yet such passionate expression. None possessing intelligence could witness such a performance without feeling admiration for the poet who could so wake the mental faculties of the artist, whilst forgetting and forgiving the deficiencies of the dramatist. Let us also add, and with no small gratification, that,—as in the instance of an equally delicate subject, that of “King Rene’s Daughter”—a very large portion of those present, both in pit and gallery, evidently felt as if they did not entirely unravel the intricate tracery with which the poem is woven together. Purity has its own power, after all, and what might it not accomplish were opportunity extended! Mr. Swinbourne, who took the part of “Valence,” deserves particular mention. Circumstances gave him but a very limited period for study, and he played the character for the first time on this occasion. Always attentive to his duties, always painstaking and earnest, he deserves much of that favour which his audience generally accords, too often, however, with a lack of judgment in reference to particular efforts. Though he was not all that we should have wished to see in the advocate of Cleves, he yet, in many passages, showed an amount of feeling which gave interest to the part,—sufficient indeed to make the most critical desirous of tendering him (the peculiarity of his position considered) all gracious compliment.
Reviewed:
Colombe’s Birthday (RB), performance, London, 25 April 1853.
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