Page:Dictionary of National Biography volume 48.djvu/428

 14 Jan. 1869. This avowedly owed something to the ‘Aschenbrödel’ of Benedix. Last in the list of Prince of Wales's pieces, on which Robertson's reputation rests, was ‘M.P.,’ given on 23 April 1870.

To other theatres, meanwhile, Robertson contributed ‘Shadow Tree Shaft,’ a three-act drama, unprinted, the scene of which is laid in Staffordshire in the time of the Young Pretender (it was given at the Princess's on 6 Feb. 1867); ‘A Rapid Thaw,’ a comedy in two acts, unprinted, translated from the French, and played at the St. James's on 2 March 1867; ‘For Love,’ a three-act drama, unprinted, given at the Holborn on 5 Oct. 1867; ‘Passion Flowers,’ a three-act drama, unprinted, adapted from the French, and produced at the Theatre Royal, Hull, on 28 Oct. 1868, with his sister, Miss Robertson, in the principal part; ‘Home,’ a three-act adaptation of ‘L'Aventurière’ of M. Augier, produced by Sothern at the Haymarket on 14 Jan. 1869; ‘My Lady Clara,’ a five-act drama, founded on Tennyson's poem, and played at the Alexandra Theatre, Liverpool, on 22 Feb. 1869 (under the altered title of ‘Dreams’ it was given at the Gaiety on 27 March, with Alfred Wigan and Miss Robertson in the principal parts); ‘A Breach of Promise,’ a comic drama, in two acts, Globe, 10 April; ‘Dublin Bay,’ a farce, unprinted, given at the Theatre Royal, Manchester, on 18 May 1869, and in London on 18 Dec. 1875; ‘Progress,’ a three-act version of ‘Les Ganaches’ of M. Victorien Sardou, Globe, 18 Sept. 1869; ‘The Nightingale,’ a drama in five acts, Adelphi, 15 Jan. 1870; ‘Birth,’ a three-act comedy, produced in Bristol on 5 Oct.; ‘War,’ a three-act drama, 16 Jan. 1871, St. James's. The reception of the last piece was unfavourable. In addition to the plays that have been named, Robertson is responsible for ‘A Dream in Venice’ and ‘Up in a Balloon,’ entertainments, unprinted; ‘Down in our Village,’ ‘Over the Way,’ ‘Post Haste,’ unprinted comedies; and ‘Which is it?’ among unprinted farces. The following additional works are to be found in Lacy's ‘Acting Edition of Plays,’ or the collected works of Robertson, consisting of sixteen plays, edited by his son (2 vols. 1889); ‘Birds of Prey,’ ‘Chevalier de Saint George,’ ‘Duke's Daughter,’ ‘Ernestine,’ ‘Faust and Marguerite,’ ‘Half-Caste,’ ‘Jocrisse the Juggler,’ ‘Muleteer of Toledo,’ ‘Noemie,’ ‘Star of the East,’ and ‘Sea of Ice,’ dramas, and ‘Breach of Promise,’ ‘Clockmaker's Hat,’ ‘Not at all Jealous,’ ‘Peace at any Price,’ and ‘Two Gay Deceivers,’ farces. Robertson published, besides ‘David Garrick,’ two other novels—‘Dazzled not Blinded’ and ‘Stephen Caldrick.’ Among schemes or suggestions for plays which are still in existence are those for comedies entitled ‘Passions’ and ‘Political Comedy.’ Of a comedy to succeed ‘M.P.’ at the Prince of Wales's, the title only, ‘Faith,’ survives. Robertson also wrote ‘Constance,’ an opera, with music by F. Clay, produced unsuccessfully at Covent Garden Theatre.

For some years previous to 1870 Robertson's health had been failing, and at the time when ‘M.P.’ was presented, in April 1870, his condition inspired grave alarm. In December 1870 he went, on medical advice, to Torquay, returning without deriving any benefit, and on the evening of 3 Feb. 1871 he died in his chair at his house, 6 Eton Terrace, Haverstock Hill, London. His son, Thomas William Shafto Robertson, a manager and an actor, died 24 May 1895, aged 37. Other members of his family joined the theatrical profession.

Robertson may be credited with the foundation of a school the influence of which survives and is felt. His theory of comedy-writing was to place, amid worldly and cynical surroundings, a tender, youthful, and sentimental interest, which would show the brighter for its entourage. In his best work, such as ‘Caste’—his unmistakable master-piece—and in half a dozen other works, the process produced very satisfactory results. He was the inventor of a system—which, though artificial, was, temporarily at least, effective—of giving, antiphonally, portions of conversations or spoken duets, the one sentimental and the other not seldom worldly. The term ‘Teacup and saucer school,’ applied to him by ‘Q.’ of the ‘Athenæum’ (i.e. Thomas Purnell [q. v.]), suggested perhaps by Robertson's affection for domestic interiors and occupations, stuck to his work and to that of James Albery, to some extent a follower of Robertson, and is not wholly inapt. Robertson's work is healthy throughout, and much of it is original, being the result of his own observation. He caught quickly the manners of his time, and his characters are usually lifelike. His knowledge of French stood him in good stead, and he derived a portion of his inspiration from the writings of Musset and Sand.

Robertson was a brilliant conversationalist, and in his bohemian days widely popular. He was a robustly built man, with reddish hair and beard. Portraits of him from photographs, caricatures in comic journals, and the like are numerous. An etching of him by Norman Macbeth, and a black-and-white drawing by his brother-in-law, Mr. W. H. Kendal, are both in the latter's possession.