"The crowded scene will please us then,
And the busy hum of men;
The Thespian throng, and champions bold,
Their jubilee of triumph hold:
With store of wenches, whose bright eyes
Rain influence, and judge the prize
Of hat or shirt,--while all contend
To catch her glance whom all commend.
Come, Sport, that wrinkled Care derides;
And Laughter, holding both his sides;
And puppet-show, and quaint device,
And Troy in flames, and rattling dice:
And Comedy, with wreathed smiles;
And Music, that dull care beguiles;
Here let the droning bagpipe be,
And there the cheerful fiddle see.
Nor be our joys to earth confin'd,--
But, light as air, swift as the wind,
Let Cadman cut the liquid sky,
And on the rope Violante fly.
Our trumpet's loud clangour
Excites not to arms;
No shrill notes of anger,
No horrid alarms,
The double, double, double beat
Of the thundering drum,
Tells--the actors are come;
Let us follow, nor think of retreat.
I'll to the well-trod stage anon,
If Settle's[97] 'cumber'd sock be on;
Or heavy Howard,[98] Folly's child,
In native nonsense soareth wild.
These joys if Southwark Fair can give,
In Southwark Fair a week I'll live."
[Illustration: SOUTHWARK FAIR.]
At a time when martial hardihood was the only accomplishment likely
to confer distinction, when war was thought to be the most honourable
pursuit, and agriculture deemed the only necessary employment, there
was little social intercourse, and so few retail dealers, that
men had no very easy means of procuring those articles which
they occasionally wanted. To remove this inconvenience, it was
found necessary to establish some general mart, where they might
be supplied. Fairs were therefore instituted, as a proper medium
between the buyer and seller, and were at first considered as merely
places of trade.[99] They were generally held on saints' days. Some
of them continued open many weeks, and had peculiar privileges to
encourage the attendance of those who had goods upon sale. The pedlar
travelled from city to city, or from town to town, with his moveable
warehouse, and furnished his customers with what served them until
his periodical return.
As men grew more polished their wants increased, their intercourse
became more general, and the importance of commerce was better
understood. The merchant deposited his goods in a warehouse, and the
trader opened a shop. Fairs, deserted by men of business, gradually
changed their nature, and, instead of being crowded by the active and
the industrious, were the haunts of the idle and the dissolute.[100]
Such were they at the time of this delineation, which was made about
the year 1733, and may be considered as a true picture of the
holiday amusements of that period. At the head of these we must place
what were than called stage-plays,--a most favourite diversion of
your Englishman ever since the time
"When sweetest Shakspeare, Fancy's child,
Warbled his native woodnotes wild."
In these humble representations some of our greatest actors made
their first appearance; and not a few of them, even after they had
attained high eminence, ranted, strutted, and bellowed through all
the days the fairs were kept open, to their own emolument, and the
heartfelt pleasure of the Wapping beaux and the black-eyed beauties
of Saltpetre Bank.
The play now enacting appears to be the _Fall of Bajazet_,[101]--and
it is performed to the life; for the unsure scaffolding, not being
built to bear the terror-working stamps of the furious Turk, tumbles
to the ground. The tyrant's turban is shaken from his head, the
truncheon is dropped from his hand, and with the moralizing Tamerlane
he joins the general crash, and threatens destruction to the china
jars and bowls which are beneath. Not only the heroes and heroine
of the drama, but both band and musical instruments are involved in
the ruin. The band, it is true, consists of--a solitary fiddler;
and the instruments are--a violin and a salt-box. The monkey and the
merry-andrew seem the only two animals likely to evade injury in this
universal wreck. Corporeal dexterity at such a time is more useful
than mental acquirements.
The Amazonian, with a hat, feather, and drum, is a beauty of Mr.
Hogarth's school, belongs to a company of comedians, and is beating
up for an audience. The gaping astonishment of two rustics who are
looking at her is inimitably described. One of them, awe-struck by
her figure, has pulled off his hat in reverence of her charms; the
other "wonders with a foolish face of praise."
A buskined hero, arrayed perhaps for an Alexander, has his career of
glory stopped by a sheriff's officer, who pays no respect
"To Macedonia's madman, or the Swede."
The hero puts his hand to his sword, but the bailiffs follower
secures his other arm, and aims a bludgeon at his head.
A younger branch of the family of the Simples, with a whip in one
hand and the other hooked on a young girl's arm, is so lost in gaping
astonishment at the variety of objects around him, that he neglects
his pockets, which an adroit candidate for Tyburn is clearing of
their contents. While one fellow kisses a girl,[102] another
endeavours to decoy her two companions. A prize-fighter, furrowed
with scars, makes his triumphal entry on a blind horse, and, calling
up a face of terror, and grasping his sword, hurls a proud defiance
to all who dare appear as his competitors.
A juggler, in a senatorial wig, displays magic wonders with the
cups and balls; and above him is a fellow with a pair of artificial
legs extended on a board: one of these legs a man beneath is either
attempting to break, or using as a lever to give a summerset to a
tumbler, who kneels upon the other. A hat displayed on the end of a
pole is the prize of the best wrestler on the green; and a holland
chemise will reward the _fair racer_ swiftest of foot.
A quack doctor, in laced hat, long periwig, and embroidered coat,
mounted upon a stage and attended by his merry-andrew, dispenses his
infallible medicines. To attract the notice of a gaping crowd, this
iron-throated descendant of Paracelsus eats fire.
That ancient puppet-show joke of Mr. Punch's horse picking the pocket
of the chequered fool of the farce, is exhibited in a balcony, on one
side of which is a bout at cudgels by puppets all alive!
Under a show-cloth, which announces "The Siege of Troy[103] is
here," are a company rehearsing some part of the play. By a sun
upon the breast of the figure in a mitre, we know him to be the
high-priest of Apollo, the venerable Chryses. While one arm of this
sage of many sorrows is twined round the pole which supports the
wooden horse, the other is stretched out in moving supplication,
entreating the hearers to
"Relieve a wretched parent's pain,
And give Chryseïs to his arms again."
Chryseïs, however, is perfectly satisfied with her situation. Seated
in all the pride of conscious beauty close to the haughty Atrides,
and glorying in his protection, she prefers the lover to the parent.
The inexorable chief nods his plumed crest, grasps his truncheon, and
"looks with threatening brow on all around."
"No tears subdue him, no entreaties move,
He dares avenging Phœbus, son of Jove."
A little fellow with long hair, playing upon the bagpipes,[104]
is attended by a dancing dog, dressed _en militaire_, and with
his foot dances his Fantoccini figures. His Madame Catharina does
not excite the attention she merits: the woman with a dice-box has
superior attractions; and a country fellow, in a coat which seems
to have been the Sunday habiliment of his forefathers for many
generations, is trying his fortune, though earnestly dissuaded by his
more prudent son from putting his pence in so perilous a situation.
The woman, with that energetic eloquence which marks the orators of
Billingsgate, rates the boy for daring to doubt her honesty. On the
other side, a Savoyard music-grinder, with her _galante_ show, is
attended by a dwarf drummer, and collecting pence from the little
people who prefer a wonderful and surprising prospect of every court
in Europe to a pennyworth of gingerbread. In the distance, a set
of figures have been engaged at quarter-staff, then a favourite
amusement; and the conqueror, waving his flag of victory, is hoisted
upon the shoulders of another man; and thus triumphantly exalted, the
air echoes with loud and reiterated acclamations in honour of his
prowess.
Having despatched the herd[105] of characters who people the scene
on earth, I reserved to a class by themselves those who are buoyant
in the air. The figure vaulting on a rope was designed for Signora
Violante, who signalized herself in the reign of George I. She was
followed by some inferior performers; but the science of rope-dancing
and riding has now arrived at its acme, and is rising into such
estimation with the public, that Dr. Johnson's prophecy may, at a
future day, be wholly fulfilled in our royal theatres. In part it has
been already verified:
"Perhaps where Lear has rav'd and Hamlet died,
On flying cars new sorcerers may ride;
Perhaps (for who can guess th' effects of chance?)
Here Hunt may box, or Mahomet may dance."
The man descending from a steeple represents one Cadman, who, in the
memory of some persons now living, performed the same feat at St.
Martin's in the Fields, from the steeple of which he descended into
the Mews. In an experiment of the like nature at Shrewsbury, the rope
breaking, he was dashed to pieces.
A show-cloth over the _Fall of Bajazet_ is almost a direct copy from
a very coarse etching made by John Laguerre, son of Louis Laguerre,
whom Pope has immortalized for his sprawling saints. On the upper
part of the print is inscribed, "The Stage Mutiny." It alludes to
some disputes between the managers of Drury Lane and such of the
actors as were spirited up to rebellion by Theophilus Cibber, and
seceded to the Haymarket in 1733. As this made much noise in its day,
it may not be unentertaining to narrate some of the circumstances
which occasioned it.
The patent for Drury Lane being renewed, Mr. Booth, who found his
health decline, began to think it was time to dispose of his share
and interest in the theatre. The purchaser was John Highmore, Esq.,
a gentleman who had unhappily contracted an attachment to the
stage, from having one night performed the part of Lothario for a
wager.[106] He gave Booth £2500 for half his share in the property,
and his whole right in the management. Mr. Wilkes had previously
appointed Ellis his deputy; and Colley Cibber, extremely displeased
that two strangers should be thus empowered to interfere, authorized
his son to act for him in everything that concerned his share in
the management. The first season ended with some profit to the new
patentees; but Mr. Highmore being disgusted by the impertinence of
young Cibber, determined to exonerate himself from his interference,
and, for the sum of three thousand guineas, purchased the elder
Cibber's right in the theatre. Two years had hardly passed before
the principal actors, encouraged by Theophilus Cibber, determined to
revolt from the patentee; and as the little theatre in the Haymarket
was then unoccupied, agreed to rent it from the proprietor, and
opened their campaign with the comedy of _Love for Love_, at which
they were attended by an elegant and crowded audience. The patentees,
though weakened by this desertion, began to act at the usual time.
To supply the place of those who had left their service, they had
recourse to such actors as could be procured from the itinerant
companies. With all the help they could obtain, their performances
were inferior to those exhibited at the Haymarket, and losses came so
heavy upon Mr. Highmore, that he was under the necessity of giving up
the contest, and sold the whole property to Mr. Charles Fleetwood for
about half the sum he had originally paid for it.'
Upon this circumstance is built the print from which the show-cloth
was copied; it probably announces the performance of a farce
entitled "_The Stage Mutineers_, a tragi-comic farcical ballad opera,
acted at Covent Garden in 1733;" which is a burlesque on the whole
contest. Theophilus Cibber, who was the leader of the malcontents,
is in this farce characterized by the name of Ancient Pistol, all
his speeches being in that high-flown mock-heroic style with which
Shakspeare has marked that boasting coward. The scene is supposed to
be in the playhouse, and the time, during a rehearsal.
In 1740, a pamphlet was published for J. Mechell, at the King's Arms,
Fleet Street, entitled, "_An Apology for the Life of T---- C----_,
Comedian; being a proper sequel to the Apology for the Life of Mr.
Colley Cibber; with an historical view of the stage to the present
year. Supposed to be written by himself, in the style and manner
of the poet-laureate:" but in reality the work of Harry Fielding.
The following passage, relative to this subject, occurs in page 16,
etc:--"In that year, when the stage fell into great commotions, and
the Drury Lane company, asserting the glorious cause of liberty and
property, made a stand against the oppressions of the patentees;--in
that memorable year, when the theatric dominions fell in labour of a
revolution, under the conduct of myself; that revolt gave occasion to
several pieces of wit and satirical flirts at the conductor of the
enterprise. I was attacked, as my father had been before me, in the
public papers and journals; and the burlesque character of Pistol was
attributed to me as a real one. Out came a print of Jack Laguerre's,
representing, in most vile designing, this expedition of ours, under
the name of 'The Stage Mutiny;' in which, gentle reader, your humble
servant, in the Pistol character, was the principal figure. This I
laughed at, knowing it only a proper embellishment for one of those
necessary structures to which persons out of necessity repair."
Again, p. 88: "At the fair of Bartholomew we gained some recruits;
but, besides those advantages over the enemy, I myself went there in
person, and publicly exposed myself. This was done to fling defiance
in the patentees' teeth; for, on the booth where I exhibited, I hung
out 'The Stage Mutiny,' with Pistol at the head of his troop; our
standard bearing the motto, 'We eat.'" Whether this account which
Cibber is made to give of his own conduct is entirely jocular, or
contains a mixture of truth and falsehood, cannot now be ascertained.
Hogarth may have transferred a circumstance from Bartholomew to
Southwark Fair; or Fielding, by design, may have misrepresented it,
alluding at the same time to Hogarth's print.
To return to the show-cloth. The figure seated in the corner, with
his head bound with laurel, is intended to represented old Cibber,
then poet-laureate. With a bag of money upon his knee, he rejoices
in the sum he has realized, and laughs at those who are enduring
the storm. Under his feet is inscribed "Quiet and snug." The tall,
thin figure, stooping, is meant for Mr. Highmore. He holds in his
hand a scroll, on which is written, "It cost 6000 pounds." He is
again characterized in the figure of a monkey astride the sign-iron
of the Rose Tavern, with a label, on which is written, "I am a
gentleman."[107]--The man in his shirt, with a paint-pot and brushes
at his feet, who takes up the cudgels for the new patentees, is
John Ellis the painter. He was the pupil of Sir James Thornhill,
deputy-manager for Mr. Wilkes, and principal scene painter to
the theatre. By the favour of the Duke of Montagu and Sir Robert
Walpole, he was appointed to be great master of the wardrobe, and
keeper of the lions in the Tower. He was much happier in attending
a pugilistic exhibition at Broughton's academy than in the exercise
of his profession. His figure appears muscular, but hardly leads
one to suppose, what is yet certainly a fact, that Rysbrack--when
he produced what Mr. Walpole very emphatically calls that exquisite
summary of his skill, knowledge, and judgment, the "Hercules,"
now in Mr. Hoare's temple at Stourhead--modelled the legs of the
god from those of Ellis.--The figure in the background, with a
tremendous plume of feathers, and a flowing periwig, grasping his
truncheon in a style of defiance, may be Mills, in the character of
Bajazet. On the flag which is borne between Mr. Highmore and Ellis,
is inscribed, "We'll starve them out." On that borne in the rear
of the seceders, on the opposite side, is written, "We eat." The
figure near it is probably intended to represent Johnson, in Sir
Hugh Evans; as that with a truncheon in his hand, who stands next
him, may be intended for Bardolph; but who the performer was, I am
not well enough versed in dramatic history to determine: it would
probably be known at that time, by the ends of two cudgels, which
rise in parallel lines immediately behind his head, and may perhaps
intimate that this gentleman, as well as Theophilus Cibber, was under
some obligations to his wife for giving him a title he was not born
with.--The Sir John Falstaff was certainly intended for Harper,[108]
who was eminent in that character; as Pistol, with the inscription,
"Pistol's alive," was indisputably meant for the younger Cibber. The
masculine gentlewoman, waving a flag on which is inscribed "Liberty
and Property," is, I think, clearly intended as a portraiture of
the notorious Mistress Doll Tearsheet; but who was the actress that
personated this fair friend of the fat knight, I really do not
know.[109]
The show-cloth underneath, with the tall figure and two spectators,
is a representation of Maximilian, a giant from Upper Saxony. That
with the wooden horse is explained by the inscription above it, "The
Siege of Troy is here." Mr. Victor, in an eulogium upon Boheme the
actor, says that "his first appearance was at a booth in Southwark
Fair, which in those days lasted two weeks, and was much frequented
by persons of all ranks and both sexes. He acted the part of
Menelaus, in the best droll I ever saw, called _The Siege of Troy_."
The Adam and Eve upon another show-cloth may probably allude to the
representation of somewhat compiled from an old mystery called _The
Creation_.[110]
The old puppet-show joke of Punch wheeling his wife into the jaws
of destruction, which is underneath, is well known. By the paper
lantern, dwarf drummer, and little figure at a temporary door, it
appears that the royal waxwork and whole Court of France are at the
Royal Oak.
It is a little remarkable, that in this almost endless variety of
holiday amusements there should be no exhibition of wild beasts[111]
or wonderful quadrupeds. A roaring lion, raging tiger, and fierce cat
a-mountain, would have had a large audience; and a learned pig or an
overgrown Lincolnshire ox might have made the proprietors' fortunes
at that time, as they have done at this.
The amusements of the fair at this period continued a fortnight,[112]
and were unquestionably attended with much loss of time, and
productive of some habits of dissipation among the lower ranks
of people who attended them. A visit to a family in the vicinity
must have been a delightful entertainment, and the pleasure much
heightened if the lady of the mansion happened to be fond of dumb
creatures. A whistle, drum, and trumpet, in the possession of three
little masters, with a barking lap-dog, screaming parrot, and canary
bird in full song, must form a concert of such heavenly harmony, as
"Would bring an angel down!"
For those who delight in pointing out examples of Hogarth's bad
spelling, this print affords a fine field. The name of Cibber is
spelt with only one _b_. In the _Fall of Bajazet_, the _z_ appears to
have been originally an _s_. "We'l starve them out." The _e_ final in
waxworke, these syllable dissectors may perhaps deign to acknowledge
was then customary.
In my enumeration of some of the actors who appear on the show-cloth,
etc., I may sometimes be wrong: let it be received as conjecture
founded on the best information I could obtain; and let it be
remembered, that to procure positive information of circumstances
which happened near fifty years ago is not easy. The memoranda to
be found in magazines, and other perishable prints of the day, are
not always to be depended upon. Even now these authentic documents
sometimes lead those who implicitly believe them into error.[113]
[Illustration: (end of chapter floral icon)]