Colley Cibber's
famous acting version was for once discarded, and Richard and Richmond
on the eve of their great battle quietly retired to rest in the
presence of each other, and of their audience. However to be
commended on the score of its fidelity to the author's intentions, the
scene had assuredly its ludicrous side. The rival tents wore the
aspect of opposition shower-baths. It was exceedingly difficult to
humour the idea that the figures occupying the stage could neither see
nor hear one another. Why, if they but outstretched their arms they
could have touched each other; and they were supposed to be mutually
eager for combat to the death! It became manifest, indeed, that the
spectators had lost greatly their ancestors' old power of "making
believe." They could no longer hold their reason in suspense for the
sake of enhancing the effect of a theatrical performance, though
prepared to be indulgent in that respect. What is called "realism" had
invaded the stage since Shakespeare's time, and could not now be
repelled or denied. Hints and suggestions did not suffice; the
positive and the actual had become indispensable.
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