This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1881 edition. Excerpt: ... CHAP1ER VII. "SIR CHARLES COLDSTREAM." Old playgoers are very apt to be wet-blankets: they employ their memories of the past as a means of oppressing present experiences; they insufficiently allow for tare and tret, so to say, in regard to the long voyage from youth to age undergone by their judicial ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1881 edition. Excerpt: ... CHAP1ER VII. "SIR CHARLES COLDSTREAM." Old playgoers are very apt to be wet-blankets: they employ their memories of the past as a means of oppressing present experiences; they insufficiently allow for tare and tret, so to say, in regard to the long voyage from youth to age undergone by their judicial faculties and their powers of enjoyment. Some five and thirty years ago, I remember, it was usual for the elders of the time to disparage "Young Mathews," as they described an actor I was beginning to know and greatly to esteem--an artist whose accomplishments in later days became the theme of general admiration. But in the early part of his career "Young Mathews" suffered from the fact that he was not "Old Mathews," or " The Mathews," as many preferred to designate him. In the unanimous opinion of the senior playgoers of that period, the son was not to be compared with his father. To my thinking, no reason existed why the two actors should ever have been collated in this way, or pitted against each other. Indeed, had they not borne the same name and been sire and son, comparison could hardly have been instituted between them. Let me admit that I never saw the elder Mathews: he died in 1835, and scarcely appeared publicly in London after 1833. But clearly he was almost invariably, as his widow relates, an actor of "old men, countrymen, and quaint low comedy." He now and then undertook whimsical sprightly characters, originally sustained by Lewis, such as Goldfinch in "The Road to Ruin," and Rover in "Wild Oats." His Rover was "very bad," notes Genest in 1816: "his figure and manner totally disqualified him for his part;" but these efforts were departures from his ordinary "line of business" as an actor. At no time could he have been properly...
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