The thick softness of
gaslight, with the lovely specks and motes in it, so like _natural_
light, gave illusion to many a scene which is now revealed in all its
naked trashiness by electricity.
The artificial is always noticed and recognized as art by the
superficial critic. I think this is what made some people think Irving
was at his best in such parts as Louis XI, Dubosc, and Richard III. He
could have played Louis XI three times a day "on his head," as the
saying is. In "The Lyons Mail," Dubosc the wicked man was easy
enough--strange that the unprofessional looker-on always admires the
actor's art when it is employed on easy things!--but Lesurques, the
_good_ man in the same play ("The Lyons Mail"), was difficult. Any
actor, skillful in the tricks of the business, can play the drunkard;
but to play a good man sincerely, as he did here, to show that double
thing, the look of guilt which an innocent man wears when accused of
crime, requires great acting, for "_the look_" is the outward and
visible sign of the inward and spiritual emotion--and this delicate
emotion can only be perfectly expressed when the actor's heart and mind
and soul and skill are in absolute accord.
In dual parts Irving depended little on make-up.
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