Contributor: Terry F. Robinson
Location: Westminster Abbey, London, UK
Description: In 1797, a marble monument to David Garrick was erected in Westminster Abbey on the west wall of Poets’ Corner. Charles Lamb encountered the monument in 1811 and became so rankled by it that he authored, in protest, one of the signature critical essays of the Romantic period: “On Garrick, and Acting” (1811), better known by its revised title “On the Tragedies of Shakespeare: Considered with Reference to Their Fitness for Stage Representation” (1818). Lamb’s essay—famous for its claim that to stage Shakespeare’s plays is to alter and diminish them—not only opposes assertions such as Denis Diderot’s that “A play is not so much to be read as to be performed” (Entretiens sur Le Fils naturel, 1757) but also objects to the cultural elevation of the art of acting that the Garrick monument symbolizes. Just years after Garrick monument was installed in the Abbey, Lamb marshaled a set of arguments against it: for book over body, poetic vision over theatrical spectacle, and individual readership over audience membership. Seen through Lamb’s eyes, the Garrick monument appears as a vulgarising throwback, and its monumental continuity actively counter-Romantic.