h some very good pieces in
it," writes Pepys, "but generally is but a mean play, and the best
part, Sawny, done by Lacy, hath not half its life by reason of the
words, I suppose, not being understood, at least by me."

VI

It might be profitable to compare Pepys's experiences as a spectator
of Shakespeare's plays on the stage with the opportunities open to
playgoers at the present moment. Modern managers have been producing
Shakespearean drama of late with great liberality, and usually in much
splendour. Neither the points of resemblance between the modern and
the Pepysian methods, nor the points of difference, are flattering to
the esteem of ourselves as a literature-loving people. It is true that
we no longer garble our acting versions of Shakespeare. We are content
with abbreviations of the text, some of which are essential, but many
of which injure the dramatic perspective, and with inversion of scenes
which may or may not be justifiable. But, to my mind, it is in our
large dependence on scenery that we are following too closely that
tradition of the Restoration which won the wholehearted approval of
Pepys. The musico-scenic method of producing Shakespeare can always
count on the applause of the average multitude of playgoers, of which
Pepys is the ever-living spokesman. It is Shakespeare with scenic
machinery, Shakespeare with new songs, Shakespeare with incidental
music, Shakespeare with interpolated ballets, that reaches the heart
of the British public. If the average British playgoer were gifted
with Pepys's frankness, I have little doubt that he would echo the
diarist's condemnation of Shakespeare in his poetic purity, of
Shakespeare as the mere interpreter of human nature, of Shakespeare
without flying machines, of Shakespeare without song and dance; he
would characterise undiluted Shakespearean drama as "a mean thing," or
the most tedious entertainment that ever he was at in his life.

But the situation in Pepys's day had, despite all the perils that
menaced it, a saving grace. Great acting, inspired acting, is an
essential condition to any general appreciation in the theatre of
Shakespeare's dramatic genius. However seductive may be the
musico-scenic ornamentation, Shakespeare will never justly affect the
mind of the average playgoer unless great or inspired actors are at
hand to interpret him. Luckily for Pepys, he was the contemporary of
at least one inspired Shakespearean actor. The exaltation of spi