The Atlantic Monthly, Volume 04, No. 23, September, 1859

It was finally, for Zelma's sake, through the unsolicited influence of Sir Harry Willerton, that "Mr. Lawrence Bury, Tragedian," attained to a high point in a provincial actor's ambition,—a London engagement.

After a disheartening period of waiting and idleness, during which he and his wife made actual face-to-face acquaintance with want, and both came near playing their parts in the high-tragedy of starvation in a garret, he made his first appearance before the audience of Covent Garden, in the part of Mercutio. He was young, shapely, handsome, and clever,—full of flash and dash, and, above all, new. He had chosen well his part,—Mercutio,—that graceful frolic of fancy, which less requires sustained intellectual power than the exaltation of animal spirits,—that brief sunburst of life, that brilliant bubble of character, which reflects, for a moment, a world of beauty and sparkle, and dies in a flash of wit, yet leaves on the mind a want, a tender regret, which follow one through all the storm and woe of the tragedy.

So it was little wonder, perhaps, that he achieved a decided success, though incomparably greater artists had failed where he triumphed, and that, in spite of the doubtful looks and faint praise of the critics, he became at once a public favorite,—the fashion, the rage. Ladies of the highest ton condescended to admire and applaud, and hailed as a benefactor the creator of a new sensation.

Very soon the young actor's aspiring soul rose above all secondary parts, dropped Mercutio and Horatio for Romeo and Hamlet, and had not the sense to see that he was getting utterly out of his element, dashing with silken sails into the tempest of tragedy, soaring on Icarian wings over its profoundest deeps and into the height and heat of its intensest passion.

Yet with the young, the unthinking, the eager, the curious, it was then as it is now and ever shall be,—confidence easily passed for genius, and presumption for power. Tributes of admiration and envy poured in upon him,—anonymous missives, tender and daring, odorous with the atmosphere of luxurious boudoirs, and coarse scrawls, scented with orange-peel and lamp-smoke, and seeming to hiss with the sibilant whisper of green-room spite; and the young actor, valuing alike the sentiments, kindly or malign, which ministered to his egoism, intoxicated with the first foamy draught of fame, grew careless, freakish, and arrogant, as all suddenly adopted pets of the public are likely to do.

At length Mr. Bury played before Royalty, and Royalty was heard to say to Nobility in attendance,—"What!—Who is he? Where did he come from? How old is he? Not quite equal to Garrick yet, but clever,—eh, my Lord?"

This gracious royal criticism, being duly reported and printed, removed the last let to aristocratic favor; fast young bloods of the highest nobility did not acorn to shake off their perfumes and air their profane vocabulary in the green-room, offering snuff and the incense of flattery together to the Tamerlane, the Romeo, or the Lord Hamlet of the night.

Happily, with the actor's fame rose his salary; and as both rose, the actor and his wife descended from their lofty attic-room—into whose one window the stars looked with, it seemed to Zelma, a startling nearness—to respectable lodgings on the second floor.

It was during this first London season that the manager of Covent Garden, himself an actor, remarked the rare capabilities of Zelma's face, voice, and figure for the stage, and in a matter-of-fact business way spoke of them to her husband. The leading actor looked annoyed, and sought to change the subject of conversation; but as the wife's dreamy eyes flashed with sudden splendor, revealing the true dramatic fire, the manager returned upon him with his artistic convictions and practical arguments, and at length wrung from him most reluctant consent that Zelma, after the necessary study, should make a trial of her powers.

Though well over the first summer-warmth of his romantic passion, Lawrence Bury had not yet grown so utterly cold toward his beautiful wife that he could see that trial approach without some slight sympathetic dread; but his miserable egoism forbade him to wish her success; in his secret heart he even hoped that an utter, irretrievable failure would wither at once and forever her pretty artistic aspirations.

Zelma chose for her début the part of Zara in "The Mourning Bride,"—not out of any love for the character, which was too stormy, vicious, and revengeful to engage her sympathies,—but because it was rapid, vehement, sharply defined, and, if realized at all, she said, would put her, by its very fierceness and wickedness, too far out of herself for failure,—sweep her through the play like a whirlwind, and give her no time to droop. It had for her heart, moreover, a peculiar charm of association, as her first play,—as that in which she had first beheld the hero of her dreams, "the god of her idolatry," before whom she yet bowed, but as with eyes cast down or veiled, not in reverence, but from a chill, unavowed fear of beholding the very common clay of which he was fashioned.

The awful night of the début arrived, as doomsday will come at last; and after having been elaborately arrayed for her part by a gossiping tire-woman, who would chatter incessantly, relating, for the encouragement of the débutante, tale after tale of stage-fright, swoons, and failure,—after having been plumed, powdered, and most reluctantly rouged, the rose of nineteen summers having suddenly paled on her cheek, Zelma was silently conducted from her dressing-room by her husband, who, as Osmyn, took his stand with her, the guards, and attendants at the left wing, awaiting the summons to the presence of King Manuel. As they were listening to the last tender bleating of Almeria, the same pretty actress whom Zelma had seen as Zara at Arden, and the gruff responses of her sire, an eager whisper ran through the group;—the King and Queen had entered the royal box! This was quite unexpected, and Zelma was aghast. Involuntarily, she stretched out her hand and grasped that of her husband;—as she did so, the rattle of the chains on her wrist betrayed her. The attendants looked round and smiled;—Lawrence frowned and turned away, with a boy's pettishness. He had been more than usually moody that day; but Zelma had believed him troubled for her sake, and even now interpreted his unkindness as nervous anxiety.

The next moment, everything, even he, was forgotten; for she stood, she hardly knew how, upon the stage, receiving and mechanically acknowledging a great burst of generous British applause.

It was a greeting less complaisant and patronizing than is usually given to débutantes. Zelma's youthful charms, heightened by her sumptuous dress, took her audience by surprise, and, while voice and action delayed, made for her friends and favor, and bribed judgment with beauty.

King Manuel receives his captives with a courteous speech,—only a few lines; but, during their reading, through what a lifetime of fear, of pain, of unimaginable horrors passed Zelma! Stage-fright, that waking nightmare of débutantes, clutched her at once, petrifying, while it tortured her. The house seemed to surge around her, the stage to rock under her feet. She fancied she heard low, elfish laughter behind the scenes, and already the hiss of the critics seemed to sing in her reeling brain. A thousand eyes pierced her through and through,—seemed to see how the frightened blood had shrunk away from its mask of rouge and hidden in her heart,—how that poor childish heart fluttered and palpitated,—how near the hot tears were to the glazed eyeballs,—how fast the black, obliterating shadows were creeping over the records of memory,—how the first instinct of fear, a blind impulse to flight, was maddening her.

She raised her eyes to the royal box, where sat a stout, middle-aged man, with a dull, good-humored face, a star and ribbon on his breast, and by his side a woman, ample and motherly, with an ugly tuft of feathers on her head, and a diamond tiara, which lit up her heavy Dutch features like a torch. The King, the Queen!

Just at this moment, his Majesty was in gracious converse with a lady on his right, a foreign princess, of an ancient, unpronounceable title,—a thin, colorless head and form, overloaded with immemorial family-jewels,—a mere frame of a woman, to hang brilliants upon. She was one shine and shiver of diamonds, from head to foot;—she palpitated light, like a glow-worm. Her Majesty, meanwhile, was regaling herself from a jewelled snuff-box, and talking affably over her shoulder to her favorite mistress of the robes, the fearful Schwellenberg.

But Zelma, looking through the transfiguring atmosphere of loyalty, beheld the royal group encompassed by all the ideal splendor and sacredness of majesty;—over their very commonplace heads towered the airy crowns of a hundred regal ancestors, piled round on round, and glimmering away into the clouds.

Ere she turned her fascinated eyes away from the august sight, her cue was given. She started, and struggled to speak, but her lips clung together. There was a dull roar and whirl in her brain, as of a vortex of waters. In piteous appealing she looked into the face of her husband, and caught on his lips a strange, faint smile of mingled pity and exultation. It stung her like a lash! Instantly she was herself, or rather Zara, a captive, but every inch a queen, and delivered herself calmly and proudly, though with a little tremble of her past agitation in her voice,—a thrill of womanly feeling, which felt its way at once to the hearts of her audience.

The first act, however, afforded her so little scope for acting, that she left the stage unassured of her own success. There was doubt before and behind the curtain. The critics had given no certain sign,—the general applause might have been merely an involuntary tribute to youth and beauty. Actors and actresses hung back,—even the friendly manager was guarded in his congratulations. But in the second act the débutante put an end to this dubious state of things,—at least, so far as her audience was concerned. "The Captive Queen" took captive all, save that stern row of critics,—the indomitable, the incorruptible. Their awful judgment still hung suspended over her head.

In a scene with Osmyn Zelma first revealed her tragic power. In her fitful tenderness, in the passionate reproaches which she stormed upon him, in her entreaties and imprecations, she was the poet's ideal, and more. She dashed into the crude and sketchy character bold strokes of Nature and illuminative gleams of genius, all her own.

Mr. Bury, as Osmyn, was cold and unsympathetic, avoided the eye of Zara, and was even more tender than was "set down in the book" to Almeria.

"How well he acts his part!" said to herself the generous Zelma.

"How anxiety for his wife dashes his spirit!" said the charitable audience.

At the close of this act the manager grasped Zelma's hand, and spoke of her success as certain. She thanked him with an absent air, and gazed about her wistfully. Surely her husband should have been the first to give her joy. But he did not come forward. She shrank away to her dressing-room, and waited for him vainly till she knew he was on the stage, where she next met him in the great prison-scene.

In this scene, some bitterness of feeling—the first sharp pangs of jealousy—gave, unconsciously to herself, a terrible vitality and reality to her acting. She filled the stage with the electrical atmosphere of her genius. Waxen Almeria, who was to have gone out as she entered, received a shock of it, and stood for a moment transfixed. Even Osmyn kindled out of his stony coldness, and gazed with awe and irrepressible admiration at this new revelation of that strange, profound creature he had called "wife." She, so late a shy woodland nymph, stealing to his embrace,—now an angered goddess, blazing before him, calling down upon him the lightnings of Olympus, with all the world to see him shrink and shrivel into nothingness! And all this power and passion, overtopping his utmost reach of art, outsoaring his wildest aspirations, he had wooed, fondled, and protected! At first he was overwhelmed with amazement; he could hardly have been more so, had a volcano broken out through his hearth-stone; but soon, under the fierce storm of Zara's taunts and reproaches, a sullen rage took possession of him. He could not separate the actress from the wife,—and the wife seemed in open, disloyal revolt. Every burst of applause from the audience was an insult to him; and he felt a mad desire to oppose, to defy them all, to assert a master's right over that frenzied woman, to grasp her by the arm and drag her from the stage before their eyes!

This scene closes with a memorable speech:—"Vile and ingrate! too late thou shalt repentThe base injustice thou hast done my love!Ay, thou shalt know, spite of thy past distress,And all the evils thou so long hast mourned,Heaven has no rage like love to hatred turned,Nor hell a fury like a woman scorned!"

Zelma gave these lines as no pre-Siddonian actress had ever given them,—with a certain sublimity of rage, the ire of an immortal,—and swept off the scene before a wild tumult of applause, led by the vanquished critics. It followed her, surge on surge, to her dressing-room, whither she hastily retreated through a crowd of players and green-room habitués.

That sudden tempest shook even the royal box. The King, who a short time before had been observed to nod, not shaking his "ambrosial locks" in Jove-like approval, but somnolently, started up, exclaiming, "What! what! what's that?"—and the Queen—took snuff.

In her dressing-room Zelma waited for her husband. "Surely he will come now," she said.

She had already put off the tragedy-queen; she was again the loving wife, yearning for one proud smile, one tender word, one straining embrace. The tempest outside the curtain still rolled in upon her, as she sat alone, drooping and sad, a spent thunder-cloud. The sound brought her no sense of triumph; she only looked around her drearily, like a frightened child, and called, "Lawrence!"

Instead of him came the manager. She must go before the curtain; the audience would not be denied.

Lawrence led her out,—holding her hot, trembling fingers in his cold, nerveless hand, a moody frown on his brow, and his lips writhing with a forced smile.

As Zelma bent and smiled in modest acknowledgment of renewed applause, led by royalty itself,—her aspirations so speedily fulfilled, her genius so early crowned,—even at that supreme moment, the grief of the woman would have outweighed the triumph of the artist, and saddened all those plaudits into knell-like sounds, could she have known that the miserable fiends of envy and jealousy had grasped her husband's heart and torn it out of her possession forever.

In the death-scene, where the full tide of womanly feeling, which has been driven out of Zara's heart by the volcanic shocks of fierce passions, comes pouring back with whelming force, Zelma lost none of her power, but won new laurels, bedewed with tears from "eyes unused to weep."

Zara dies by her own hand, clinging to the headless body of King Manuel, believing it to be Osmyn's. Zelma gave the concluding lines of her part brokenly, in a tone of almost childlike lamenting, with piteous murmurs and penitent caresses:—

"Cold, cold!—my veins are icicles and frost!Cover us close, or I shall chill his breast,And fright him from my arms!—See! see! he slidesStill farther from me! Look! he hides his face!I cannot feel it!—quite beyond my reach!—Ah,now he's gone, and all is dark!"

With that last desolate moan of a proud and stormy spirit, sobbing itself into the death-quiet, a visible shudder crept through the house. Even the King threw himself back in his royal chair with an uncomfortable sort of "ahem!" as though choking with an emotion of common humanity; and the Queen—forgot to take snuff.

From the night of her triumphant début, the life of the actress ran in the full sunlight of public favor; but the life of the woman crept away into the shadow,—not of that quiet and repose so grateful to the true artist, but of domestic discomfort and jealous estrangement.

Nobly self-forgetful always, Zelma, in the first hour of success, feeling, in spite of herself, the pettiness and egoism of her husband's nature, with a sense of humiliation in which it seemed her very soul blushed, offered to renounce forever the career on which she had just entered. Mr. Bury, however, angrily refused to accept the sacrifice, though she pressed it upon him, at last, as a "peace-offering," on her knees, and weeping like a penitent. "It is too late," he said, bitterly. "The deed is done. You are mine no longer,—you belong to the public;—I wish you joy of your fickle master."

From that time Zelma went her own ways, calm and self-reliant outwardly, but inwardly tortured with a host of womanly griefs and regrets, a helpless sense of wrong and desolation. She flew to her beautiful art for consolation, flinging herself, with a sort of desperate abandonment, out of her own life of monotonous misery into the varied sorrows of the characters she personated. For her the cup of fame was not mantling with the wine of delight which reddens the lips and "maketh glad the heart." The costly pearl she had dissolved in it had not sweetened the draught; but it was intoxicating, and she drank it with feverish avidity.

But for Lawrence Bury, his powers flagged and failed in the unnatural rivalship; his acting grew more and more cold and mechanical. He became more than ever subject to moods and caprices, and rapidly lost favor with the public, till at last he was regarded only as the husband of the popular actress,—then, merely tolerated for her sake. He fell, or rather flung himself, into a life of reckless dissipation and profligacy, and sunk so low that he scrupled not to accept from his wife, and squander on base pleasures, money won by the genius for which he hated her. Many were the nights when Zelma returned from the playhouse to her cheerless lodgings, exhausted, dispirited, and alone, to walk her chamber till the morning, wrestling with real terrors and sorrows, the homely distresses of the heart, hard, absolute, unrelieved,—to which the tragic agonies she had been representing seemed but child's play.

At length, finding himself at the lowest ebb of theatrical favor, and hating horribly the scene of his humiliating defeat, Mr. Bury resolved to return to his old strolling life in the provinces. Making at the same moment the first announcement of his going and his hurried adieux to Zelma, who heard his last cold words in dumb dismay, with little show of emotion, but with heavy grief and dread presentiments at her heart, he departed. He was accompanied by the fair actress with whom he played first parts at Arden,—but now, green-room gossip said, not in a merely professional association. This story was brought to Zelma; but her bitter cup was full without it. With a noble blindness, the fanaticism of wifely faith, she rejected it utterly. "He is weak, misguided, mad," she said, "but not so basely false as that. He must run his wild, wretched course awhile longer,—it seems necessary for him; but he will return at last,—surely he will,—sorrowful, repentant, 'in his right mind,' himself and mine once more. He cannot weary out God's patience and my love."

After the first shock of her desertion was past, Zelma was conscious of a sense of relief from a weight of daily recurring care and humiliation, the torture of an unloving presence, chill and ungenial as arctic sunlight. Even in the cold blank of his absence there was something grateful to her bruised heart, like the balm of darkness to suffering eyes. Her art was now all in all to her,—the strong-winged passion, which lifted her out of herself and her sorrows. She was studying Juliet for the first time. She had been playing for more than a year before she could be prevailed upon to attempt a Shakspearian character, restrained by a profound modesty from exercising her crude powers upon one of those grand creations.

When, at length, she made choice of Juliet, what study was hers!—how reverent! how loving! how glad!—the perfect service of the spirit! She shut out the world of London from her sight, from her thoughts, till it seemed lost in one of its own fogs. The air, the sky, the passion, the poetry of Italy were above and around her. Again she revelled in that wondrous garden of love and poesy, with a background of graves, solemnizing joy. Now her fancy flitted, on swift, unresting wing, from beauty to beauty,—now settled, bee-like, on some rich, half-hidden thought, and hung upon it, sucking out its most sweet and secret heart of meaning. She steeped her soul in the delicious romance, the summer warmth, the moonlight, the sighs and tears of the play. She went from the closet to the stage, not brain-weary and pale with thought, but fresh, tender, and virginal,—not like one who had committed the part of Juliet, but one whom Juliet possessed in every part. She seemed to bear about her an atmosphere of poetry and love, the subtile spirit of that marvellous play. There was no air of study, not the faintest taint of the midnight oil;—like a gatherer of roses from some garden of Cashmere, or a peasant-girl from the vintage, she brought only odors from her toil,—the sweets of the fancy, a flavor of the passion she had made her own.

On her first night in this play, Zelma was startled by recognizing among the audience the once familiar faces of her uncle Roger, her cousin Bessie, and Sir Harry Willerton. They had all come up to London to draw up the papers and purchase the trousseau for the wedding, which would have taken place a year sooner, but for the death of Bessie's mother.

Squire Burleigh had been entrapped by his daughter and her lover into coming to the play,—he being in utter ignorance as to whom he was to see in the part of Juliet. When he recognized his niece in the ball-room scene, he was shocked, and even angry. He started up, impetuously, to leave the house; and it was only by the united entreaties of Bessie and Sir Harry that he was persuaded to stay. As the play went on, however, his sympathies became enlisted, in spite of his prejudices. Gradually his heart melted toward the fair offender, and irrepressible tears of admiration and pity welled up to his kindly blue eyes. He watched the progress of the drama with an almost breathless interest while she was before him, but grew listless and indifferent whenever she left the stage. The passion of Romeo, the philosophy of the Friar, the quaint garrulousness of the Nurse, the trenchant wit of Mercutio were alike without charm for him.

But though thus lost in the fortunes and sorrows of the heroine of the play, the dramatic illusion was far from complete for him. It was not Juliet,—it was Zelma, the wild, misguided, lost, but still beloved child of his poor brother; and in his bewildered brain her sad story was strangely complicated with that of the hapless girl of Verona. When she swallowed the sleeping-draught, he shrank and shuddered at the horrible pictures conjured up by her frenzied fancy; and in the last woful scene, he forgot himself, the play, the audience, everything but her, the forlorn gypsy child, the shy and lonely little girl whom long years ago he had taken on his knee, and smoothed down her tangled black hair, as he might have smoothed the plumage of an eaglet, struggling and palpitating under his hand, and glancing up sideways, with fierce and frightened eyes,—and now, when he saw her about to plunge the cruel blade into her breast, he leaped to his feet and electrified the house by calling out, in a tone of agonized entreaty,—"Don't, Zelle! for God's sake, don't! Leave this, and come home with us,—home to the Grange!"

It was a great proof of Mrs. Bury's presence of mind and command over her emotions, that she was not visibly discomposed by this strange and touching appeal, or by the laughter and applause it called forth, but finished her sad part, and was Juliet to the last.

When, obeying the stormy summons of the audience, the lovers arose from the dead, and glided ghost-like before the curtain, Zelma, really pale with the passion and woe of her part, glanced eagerly at the box in which she had beheld her friends;—it was empty. The worthy Squire, overcome with confusion at the exposure he had made of his weakness and simplicity, had hurried from the theatre, willingly accompanied by his daughter and Sir Harry.