[Footnote 2: think]
[Footnote 3: think]
* * * * *
No. 235. Thursday, November 29, 1711. Addison.
--Populares
Vincentum strepitus
Hor.
There is nothing which lies more within the Province of a Spectator than
publick Shows and Diversions; and as among these there are none which
can pretend to vie with those elegant Entertainments that are exhibited
in our Theatres, I think it particularly incumbent on me to take Notice
of every thing that is remarkable in such numerous and refined
Assemblies.
It is observed, that of late Years there has been a certain Person in
the upper Gallery of the Playhouse, who when he is pleased with any
Thing that is acted upon the Stage, expresses his Approbation by a loud
Knock upon the Benches or the Wainscot, which may be heard over the
whole Theatre. This Person is commonly known by the Name of the
_Trunk-maker in the upper Gallery_. Whether it be, that the Blow he
gives on these Occasions resembles that which is often heard in the
Shops of such Artizans, or that he was supposed to have been a real
Trunk-maker, who after the finishing of his Days Work used to unbend
his Mind at these publick Diversions with his Hammer in his Hand, I
cannot certainly tell. There are some, I know, who have been foolish
enough to imagine it is a Spirit which haunts the upper Gallery, and
from Time to Time makes those strange Noises; and the rather, because he
is observed to be louder than ordinary every Time the Ghost of _Hamlet_
appears. Others have reported, that it is a dumb Man, who has chosen
this Way of uttering himself when he is transported with any Thing he
sees or hears. Others will have it to be the Playhouse Thunderer, that
exerts himself after this Manner in the upper Gallery, when he has
nothing to do upon the Roof.
But having made it my Business to get the best Information I could in a
Matter of this Moment, I find that the Trunk-maker, as he is commonly
called, is a large black Man, whom no body knows. He generally leans
forward on a huge Oaken Plant with great Attention to every thing that
passes upon the Stage. He is never seen to smile; but upon hearing any
thing that pleases him, he takes up his Staff with both Hands, and lays
it upon the next Piece of Timber that stands in his Way with exceeding
Vehemence: After which, he composes himself in his former Posture, till
such Time as something new sets him again at Work.
It has been observed, his Blow is so well timed, that the most judicious
Critick could never except against it. As soon as any shining Thought is
expressed in the Poet, or any uncommon Grace appears in the Actor, he
smites the Bench or Wainscot. If the Audience does not concur with him,
he smites a second Time, and if the Audience is not yet awaked, looks
round him with great Wrath, and repeats the Blow a third Time, which
never fails to produce the Clap. He sometimes lets the Audience begin
the Clap of themselves, and at the Conclusion of their Applause ratifies
it with a single Thwack.
He is of so great Use to the Play-house, that it is said a former
Director of it, upon his not being able to pay his Attendance by reason
of Sickness, kept one in Pay to officiate for him till such time as he
recovered; but the Person so employed, tho he laid about him with
incredible Violence, did it in such wrong Places, that the Audience soon
found out that it was not their old Friend the Trunk-maker.
It has been remarked, that he has not yet exerted himself with Vigour
this Season. He sometimes plies at the Opera; and upon _Nicolini's_
first Appearance, was said to have demolished three Benches in the Fury
of his Applause. He has broken half a dozen Oaken Plants upon _Dogget_
[1] and seldom goes away from a Tragedy of _Shakespear_, without leaving
the Wainscot extremely shattered.
The Players do not only connive at his obstreperous Approbation, but
very cheerfully repair at their own Cost whatever Damages he makes. They
had once a Thought of erecting a kind of Wooden Anvil for his Use that
should be made of a very sounding Plank, in order to render his Stroaks
more deep and mellow; but as this might not have been distinguished from
the Musick of a Kettle-Drum, the Project was laid aside.
In the mean while, I cannot but take notice of the great Use it is to an
Audience, that a Person should thus preside over their Heads like the
Director of a Consort, in order to awaken their Attention, and beat time
to their Applauses; or, to raise my Simile, I have sometimes fancied the
Trunk-maker in the upper Gallery to be like _Virgil's_ Ruler of the
Wind, seated upon the Top of a Mountain, who, when he struck his Sceptre
upon the Side of it, roused an Hurricane, and set the whole Cavern in an
Uproar. [2]
It is certain, the Trunk-maker has saved many a good Play, and brought
many a graceful Actor into Reputation, who would not otherwise have been
taken notice of. It is very visible, as the Audience is not a little
abashed, if they find themselves betrayed into a Clap, when their Friend
in the upper Gallery does not come into it; so the Actors do not value
themselves upon the Clap, but regard it as a meer _Brutum fulmen_, or
empty Noise, when it has not the Sound of the Oaken Plant in it. I know
it has been given out by those who are Enemies to the Trunk-maker, that
he has sometimes been bribed to be in the Interest of a bad Poet, or a
vicious Player; but this is a Surmise which has no Foundation: his
Stroaks are always just, and his Admonitions seasonable; he does not
deal about his Blows at Random, but always hits the right Nail upon the
Head. [The [3]] inexpressible Force wherewith he lays them on,
sufficiently shows the Evidence and Strength of his Conviction. His Zeal
for a good Author is indeed outrageous, and breaks down every Fence and
Partition, every Board and Plank, that stands within the Expression of
his Applause.
As I do not care for terminating my Thoughts in barren Speculations, or
in Reports of pure Matter of Fact, without drawing something from them
for the Advantage of my Countrymen, I shall take the Liberty to make an
humble Proposal, that whenever the Trunk-maker shall depart this Life,
or whenever he shall have lost the Spring of his Arm by Sickness, old
Age, Infirmity, or the like, some able-bodied Critick should be advanced
to this Post, and have a competent Salary settled on him for Life, to be
furnished with Bamboos for Operas, Crabtree-Cudgels for Comedies, and
Oaken Plants for Tragedy, at the publick Expence. And to the End that
this Place should be always disposed of according to Merit, I would have
none preferred to it, who has not given convincing Proofs both of a
sound Judgment and a strong Arm, and who could not, upon Occasion,
either knock down an Ox, or write a Comment upon _Horace's_ Art of
Poetry. In short, I would have him a due Composition of _Hercules_ and
_Apollo_, and so rightly qualified for this important Office, that the
Trunk-maker may not be missed by our Posterity.