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It may, perhaps, be objected to these last observations, that the most popular of our night-scenes in nature, and those which have been most frequently imitated by the painter, are groupes of figures with strong light thrown up upon them, such as gypsies or banditti round a fire, or villagers in a smith's forge, &c. But the striking and pleasing effect of such scenes is owing to the deep darkness which surrounds them; while the ascending smoke, tinged with flame-colour in the one case, and the rafters or higher parts of the wall catching a partial gleam in the other, connect the brilliant colouring of the figures with the deep darkness behind them, which would else appear hard and abrupt, and thus at the same time produce strong contrast with harmonious gradation. I need scarcely mention, for it is almost too obvious, that the effect of the light so thrown on the faces of those figures abundantly confirm my first observations, regarding the features and expression of individuals' faces. Yet I do not mean to say that light thrown up from the front of a stage, where light is also admitted from many other quarters, can have so strong an effect upon the countenances as in such situations.

Groupes of gypsies, &c. are commonly composed but of one circle of figures; for did they amount to any thing like a deepened groupe or crowd, the figures behind would be almost entirely lost. But those grand night-scenes containing many figures which we admire in nature or in painting,—processions by torch-light or in an illuminated street,—crowds gathered to behold a conflagration, &c. always have the light thrown down upon them.—It may be urged, indeed, that the greater part of our stage-scenes are meant to represent day and not night, so that the observations above are but partially applicable. It is very true that stage-scenes generally are supposed to be seen by day-light; but day-light comes from heaven, not from the earth; even within-doors our whitened ceilings are made to throw down reflected light upon us, while our pavements and carpets are of a darker colour.

In what way this great defect of all our theatres could be rectified, I am not at all competent to say. Yet, I should