File:A wanderer in London (1906) (14763367261).jpg

Identifier: wandererinlondon00luca (find matches)
Title: A wanderer in London
Year: 1906 (1900s)
Authors: Lucas, E. V. (Edward Verrall), 1868-1938
Subjects: Art -- England London London (England) -- Description and travel
Publisher: New York : The Macmillan company London, Methuen & co.

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have been to the Hippodrome for half an hour againand again just to see Marceline making the children laugh.I suppose no one has made so many Enghsh children laughas he has, except, perhaps, Dan Leno; but Dan came intochildrens lives only during the three months of the DruryLane pantomime, and was then lost to them, whereasMarceline, I believe, did not miss a performance at theHippodrome, afternoon or evening, every day, for threeyears. To hear children laugh is good enough, but to seethem jump about is better. That is the tragic differencebetween children and ourselves: we all can laugh, but onlychildren can jump up in their seats. For us these spon-taneous, unconscious movements, these abandons, are nomore. I spoke just now of Dan Leno. It was with poor Danthat Marceline shared his greatest gift, his radiance.When all is said in analysis of Dan Lenos fascination Ibelieve that his radiance will remain as his chief possession.He had radiance as a painter has light — Corot, for exam-
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rOKTKAir OK A lAll.oK AKTKR THK PIfTirKK I.V MoHoM IN IMF; NATIONAL <;At.l,KRY MARCELINE 73 pie. Dan Leno used the same words and similes, the samegestures and material, that any other low comedian might;but his radiance was his own. Marcelines radiance washis own too. It can never be acquired ! one has it, or hasit not. The little man was quintessential drollery. Many funnymen are funny only when they are provided with fun; butMarceline was made up of it. His appeal was as a greatdroll: one of those rare visitants from another planetwhere Irresponsibility rules who now and then come tomock our seriousness (and perhaps emphasise it). Onesees but few great drolls in a lifetime. Poor Dan was one,Marcehne another. Some people might include ArthurRoberts, but not I. Roberts is without simplicity; andto be a great droll it is necessary to be simple. PerhapsWilliam Blakeley was the best natural droll that the legiti-mate stage has known in our time: certainly not ArthurRoljcrts. Marcelin

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