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• Authenticity as Performance and the Conventions of Companionship in Fanny Kemble's Poems
• Martin Brooks (bio)

Mrs. Kemble's case would have been an exquisite one for a psychologist interested in studying the constitution of sincerity

Henry James, "Frances Anne Kemble"

This essay discusses how the actress and poet Frances Anne Kemble (1809–1893), best known as Fanny Kemble, worked to achieve authenticity in her collection of lyrics, Poems (1844). As it shows, Poems draws on Kemble's distinctive ideas about how a person's speech can be authentic, that is, can represent "the great deeps of life" within them.¹ In letters and journals dating from her career as a famous Shakespearean actress, Kemble had developed a view that authenticity comes from how rather than why people speak. She disputed the expectation that speech only represents a person's subjectivity, their "self," when it is idiosyncratic or original. Instead, she held that people can use preexisting literary, stage, and social conventions to represent themselves. Kemble generated much of this view from arguing that actors represent themselves by their choice and use of acting techniques for playing their characters. At the same time, though, she had found the same view in poetry, arguing that poets reveal themselves in the ways that they manipulate stock ideas. As this essay establishes, Kemble's view of authenticity runs throughout Poems. Not only does Poems demonstrate how her work as actress and her work as poet were fundamentally linked by her ideas about performance, but it also illustrates how her poetry frames received ideas as able to authenticate speech.

Social conventions provide Poems most of its shape. Kemble published Poems during the collapse of her marriage to the American slaveholder Pierce Butler. Its poems draw on the nineteenth-century idea of companionship to depict the poet responding to lost love and rearranging her life.² As Kemble [End Page 501] had written extolling the relationship to Butler, companionship was a kind of friendship which emphasized closeness, honesty, equality between two friends. Usually they were both women, and their companionship would occur in private or domestic settings. Poems draws on these conventions to establish that the poet's speech represents her core self, and to create a reference point which authenticates that her literary echoes and allusions represent it too. By reading Poems with a focus on companionship, this essay shows how the construction of the poet's voice exemplifies Kemble's theory that she could convey her selfhood by using received ideas.

Authenticity in the Nineteenth-Century Theater

Authenticity underwent major changes in the nineteenth century. People stopped using it to trace their words back to wider social structures and started to weigh if what they said could be traced back to their individual self. As Kerry Sinanan and Tim Milnes write, "the idea of the authentic harden[ed] around a core, internal self, and the social [was] increasingly experienced as 'other.' "³ Yet, a twentieth-century critical focus on the "core, internal self" has largely displaced critical accounts of the transitional views that people held during that change. In particular, it has minimized the attention paid to nineteenth-century views that popular techniques and tropes in a person's writing or speech can be an authentic representation of that self. This view of authenticity has received little comment. Moreover, several critics have suggested that it is fakery. Lionel Trilling, for instance, rejects as an "impersonation" "the personality whose whole being is attuned to catch the signals sent out by the consensus of his fellows and by the institutional agencies of his culture."⁴ Geoffrey Hartman, meanwhile, describes "'Hollywood' and its celebrity culture" as an unreal "parallel universe" where "[m]orality, as [Emmanuel] Levinas points out, becomes role playing."⁵ This critical approach rejects the possibility that a culture might treat people's use of standard ideas as representative of their own selfhood. Certainly, some nineteenth-century writing offered just this type of rejection.⁶ However, that rejection was not ubiquitous. Kemble, especially, questioned it. Her inquiry led to her bridging between her careers on the stage and in poetry.

Nineteenth-century theater critics often focused on how well Kemble used standard acting techniques...

中文翻译：

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范妮·肯布勒诗歌中的作为表演的真实性和陪伴约定

代替摘要，这里是内容的简要摘录：

• 范妮·肯布勒诗歌中的作为表演的真实性和陪伴约定
• 马丁·布鲁克斯（生物）

肯布尔太太的案子对有兴趣研究真诚构成的心理学家来说可能是一个精妙的案例。

亨利·詹姆斯（Henry James），“弗朗西丝·安妮·肯伯（Frances Anne Kemble）”

本文讨论了女演员和诗人弗朗西斯·安妮·肯布尔（Frances Anne Kemble，1809–1893年），最著名的范妮·肯布尔（Fanny Kemble），如何在她的诗歌集《诗》（Poems，1844年）中实现真实性。正如它所显示的那样，《诗歌》借鉴了肯伯关于人的言语如何真实的独特思想，也就是可以代表其中的“生命的深处”。^1个在她著名莎士比亚女演员职业生涯的信件和日记中，肯布尔（Kemble）提出了一种观点，即真实性来自人们的说话方式而不是为什么说话。她对这样的期望提出异议：当讲话是特质的或原始的时，它仅代表一个人的主观性，即他们的“自我”。相反，她认为人们可以使用预先存在的文学，舞台和社会惯例来代表自己。肯布尔（Kemble）认为，演员通过自己的选择和表演技巧来扮演自己的角色来代表自己，从而产生了这种观点。但是，与此同时，她在诗歌中也发现了相同的观点，并认为诗人以操纵股票思想的方式展现自己。在本文确立之时，肯布尔的真实性观贯穿于《诗篇》。诗歌展示了她作为演员的工作和作为诗人的工作是如何与表演观念从根本上联系在一起的，但同时也说明了她的诗歌框架是如何接受能够验证言语能力的想法的。

社会习俗提供了诗的大部分形式。肯布尔（Kemble）与美国奴隶主皮尔斯·巴特勒（Pierce Butler）婚姻破裂后发表了《诗歌》。它的诗歌借鉴了19世纪的陪伴思想，描绘了诗人对失落的爱情做出的回应并重新安排了她的生活。²正如Kemble [尾页501]赞扬与巴特勒的关系时，陪伴是一种友谊，强调两个朋友之间的亲密，诚实和平等。通常他们都是女性，她们的陪伴将发生在私人或家庭环境中。诗篇利用这些惯例来确定诗人的言语代表了她的核心自我，并创造了一个参照点，证明她的文学回声和典故也代表了她的核心自我。通过阅读以陪伴为重点的诗，这篇文章说明了诗人声音的构造如何体现了肯伯的理论，即她可以通过运用所接受的思想来表达自己的自我。

十九世纪剧院的真实性

真实性在19世纪经历了重大变化。人们不再使用它来回溯到更广泛的社会结构，并开始权衡他们所说的内容是否可以追溯到他们的个人。正如克里·辛南（Kerry Sinanan）和蒂姆·米尔恩斯（Tim Milnes）所写的那样，“地道的观念围绕着核心，内部自我和社会而被强化为'他者'。“ ³然而，二十世纪对“核心，内部自我”的批判焦点在很大程度上取代了人们对变革中人们所持有的过渡观点的批判性描述。尤其是，它使对十九世纪的观点的关注降到了最低，即人们的写作或言语中流行的技术和比喻可以作为该自我的真实表示。这种关于真实性的观点鲜有评论。此外，一些批评家认为这是伪造的。例如，莱昂内尔·特里林（Lionel Trilling）拒绝将其“整个人都调适成能捕捉到他的同伴的共识以及他的文化的机构所发出的信号”作为“假冒”。⁴同时，杰弗里·哈特曼（Geoffrey Hartman）将“好莱坞”及其名人文化描述为一个虚幻的“平行宇宙”，其中“莱维纳斯（Emmanuel）莱维纳斯（Levinas）指出，“性”成为角色扮演。” ⁵这种批判性的方法拒绝了一种文化可能会将人们使用标准观念视为自己的自我代表的可能性。当然，十九世纪的一些著作只是提供了这种拒绝。⁶然而，这种拒绝并不是普遍存在的。尤其是Kemble，对此提出了质疑。她的询问导致她在舞台和诗歌事业之间架起了桥梁。

十九世纪的剧院评论家经常把重点放在肯布尔运用标准表演技巧的方式上...