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Personal reminiscences of Henry Irving

Chapter 239: LVII ERNEST RENAN
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About This Book

A close friend and colleague offers a portrait of a celebrated actor drawn from decades of intimate acquaintance, combining personal anecdotes, stage recollections, and critical reflection. The author traces early memories and theatrical formation, describes management of a major theatre and landmark productions, and examines the subject's approach to Shakespeare, characterization, make-up, and stage effects. Interspersed are behind-the-curtain scenes—rehearsals, collaborations with designers and musicians, touring episodes, and reactions from audiences and critics—and assessments of artistic method, temperament, and relationships with contemporaries. The work balances reminiscence with practical detail to convey both the working life and private qualities of its subject.

LVII
ERNEST RENAN

On April 3, 1880, when we were playing The Merchant of Venice, Ernest Renan came to the Lyceum; the Rev. H. R. Haweis was with him. At the end of the third act they both came round to Irving’s dressing-room. It was interesting to note the progress through the long Royal passage of that strangely assorted pair. Haweis was diminutive, and had an extraordinary head of black hair. Renan was ponderously fat and bald as a billiard ball. The historian waddled along with an odd rolling gait, whilst the preacher, who was lame, hopped along like a sort of jackdaw. The conversation between Irving and Renan was a strange one to listen to. Neither knew the other’s language; but each kept talking his own with, strange to say, the result that they really understood something of what was said. When I was alone with Irving and remarked on it he said:

“If you don’t know the other person’s language, keep on speaking your own. Do not get hurried or flustered, but keep as natural as you can; your intonation, being natural, will convey something. You have a far better chance of being understood than if you try to talk a language you don’t know!”