Poetry · Chapter
Impressions de Théâtre explained
This chapter presents a series of poetic tributes to actors and theatrical performances, celebrating the power of drama and the immortal art of the stage.
What happens
This chapter presents a series of poetic tributes to actors and theatrical performances, celebrating the power of drama and the immortal art of the stage. It includes addresses to Henry Irving, Sarah Bernhardt, and Ellen Terry, invoking classical and Shakespearean themes.
Themes in this chapter
Art and Immortality
The poems celebrate the enduring power of theatrical performance and the immortalization of actors through art.
Classical Mythology and Antiquity
References to Attic clay, Phaeacian glade, Artemis, and Goat-foot Pan evoke classical and mythological imagery.
Love and Loss
Themes of love and longing appear, especially in the Portia and Anthony references, and the 'loveless lips with which men kiss in Hell.'
Characters to notice
- Lear
Referenced as 'frenzied Lear' in the tribute to Henry Irving, suggesting a performance of King Lear.
- Romeo
Mentioned in the context of Shakespeare's Romeo, luring his love.
- Bassanio
Appears in the Portia poem as the bold suitor who risks all for the lead casket.
- Queen Henrietta Maria
Subject of the second poem to Ellen Terry, depicted as waiting in a tent for victory.
- Ellen Terry
The actress addressed in three poems, portrayed as Portia, Queen Henrietta Maria, and Camma.
- Anthony
Referenced in the final line of the Camma poem: 'make the world thine Actium, me thine Anthony!'
- Grave Odysseus
Mentioned in the Phèdre poem as 'grave Odysseus wakened from his dream' in a Phaeacian glade.
- Pan
Referenced as 'Goat-foot Pan' in the Phèdre poem, associated with piping and reeds.
Key passages
“How vain and dull this common world must seem / To such a One as thou, who should’st have talked / At Florence with Mirandola, or walked / Through the cool olives of the Academe”
The ordinary world must appear trivial to someone like you, who ought to have conversed with Pico della Mirandola in Florence or strolled through the shaded groves of the Academy.
Addresses Sarah Bernhardt, suggesting her talent belongs in Renaissance or classical settings.
“O Portia! take my heart: it is thy due: / I think I will not quarrel with the Bond.”
Portia, accept my heart as your rightful reward; I will not dispute the terms of the bond.
A tribute to Ellen Terry's portrayal of Portia in The Merchant of Venice.
“I am grown sick of unreal passions, make / The world thine Actium, me thine Anthony!”
I have become weary of artificial emotions; turn the world into your Actium and make me your Anthony.
The speaker desires a grand, real passion like that of Cleopatra and Mark Antony.