Doctor enters, pricks his finger, and with the blood signs a contract;
it thunders; and a Devil, riding on a fiery dragon, flies swiftly cross
the stage: the Devil alights, receives the contract, and embraces Dr.
Faustus, delivers him a wand, and vanishes. Two Countrymen and women
enter to be told their fortunes; the Doctor waves his wand, and four
pictures turn out of the scenes opposite to these country people,
representing a Judge, a Soldier, a dressed Lady, and a Lady in a riding
habit: Dr. Faustus, by his action, shews them they are to be what is
represented in those pictures. The scene changes, and discovers the
outside of a handsome house; the two men and women enter, as returning
home; as they are going off the Doctor seizes the two women; the
Countrymen return to rescue their wives; the Doctor waves his wand,
four Devils enter, the men are frighted, run up the steps of the house,
clap their backs against the door, the front of the house immediately
turns, and the husbands are thrown out of the stage; the wives remain
with the Doctor; and at the same instant the machine turns, a supper
ready dressed rises swiftly up, and a Devil is transformed into
an agreeable shape, who dances whilst they are regaling, and then
vanishes. The husbands appear at the window, threatening the Doctor,
who by art magic have large horns fixed to their heads, that they can
neither get out nor in. Dr. Faustus and the women go out; he beckons
the table, and it follows him off. The scene changes to the street.
Punch, Scaramouch, and Pierro enter in Scholars gowns and caps; they
are invited into the Doctor's house by a Devil: they enter, and the
scene changes to the inside of the house: the Doctor receives them
kindly, and invites them to sit down to a bottle of wine; as they are
drinking, the table rises, upon which they start back affrighted: then
the spirit of Helen rises in a chair of state, with a canopy over her;
she entertains them with a dance, goes to her seat again, and sinks.
While the Scholars are drinking, the Doctor waves his wand, and large
asses ears appear, at once, upon each of their heads: they join in a
dance, each pointing and laughing at the others; the Doctor follows
them out, pointing and laughing at them all. The scene being changed
to the street, a Usurer crosses the stage with a bag of money, goes
into the Doctor's house; the scene opens, and discovers the Doctor at
a table; the Usurer enters, lends the Doctor the money, but refuses
his bond, and demands a limb of him; the Doctor suffers him to cut
off his leg, and carry it away. Several legs appear upon the scene,
and the Doctor strikes a woman's leg with his wand, which immediately
flies from the rest, and fixes to the Doctor's stump, who dances with
it ridiculously. A bawd next enters with a courtezan; she presents her
to the Doctor, for whom he gives the bawd the bag of money; they all
join in a dance, and the Doctor is going off; the bawd stops him, to
demand more money; he hangs his hat against the scene, and points to
that, and goes out with his mistress. The bawd holds her apron under
the hat, from whence a considerable quantity of silver drops; she
advances to the front of the stage with a great deal of pleasure, but
going to review her money, finds she has none, and runs off. The scene
changes to the street, four watchmen enter, and join in a dance adapted
to their character. The scene opens, and discovers the Doctor's study,
he enters affrighted, the clock strikes one, the figures of Time and
Death appear, and in a short piece of recitative declare his latest
minute is come. Several Devils enter, tear him in pieces, some fly up,
others sink, each bearing a limb of him away; flashes of fire arise,
and thunder is heard.
"The last, which is the grand scene, whether proper or not I shall
not pretend to determine, is the most magnificent that ever appeared
upon the English stage. The Gods and Goddesses discovered there are,
Apollo, Mars, Mercury, Bacchus, Ceres, Iris, Flora, and Pales. Apollo
advances and sings, inviting the Gods to revel, the power of Faustus
being at an end. The rest of the deities (Pales excepted) advance, and
dance, agreeable to their several characters, in the greatest order
and exactness. Apollo again advances, and invites Diana to appear;
upon which a machine flies up and discovers Diana in her chariot, the
crescent in an azure sky hanging over her head; she descends, beckons
two nymphs who take her bow and quiver; which done, she dances. They
then all join in a chorus of singing and dancing; which concludes the
entertainment."
The London Journal says, that the Managers received 260_l._
entrance-money the first night, from which we may judge of the size of
the Theatre when greatly crowded.
The Universal Journal of December 18, 1723, has the following article:
"On Thursday last a new play-house was opened in the Haymarket. The
company, we are informed, consists of persons who never appeared in
public before. The first play they entertained the town with was a
comedy, intituled, 'The Female Fop, or the False one Fitted,' whose
author has not yet reached his sixteenth year."
An author mentioned the rehearsal of Dr. Young's tragedy of the
Brothers in 1724, and prognosticated its failure in these words: "I am
credibly informed the manager of the new house has formed a resolution
that it shall be acted to an empty pit and boxes, there being a new
entertainment in grotesque characters preparing there, intituled, 'The
Cruel Uncle, or the Children in the Wood,' so very artfully contrived,
that at the instant Perseus and Demetrius are entering upon that scene,
the ruffians (represented by Harlequin and Scaramouch) will be making
their appearance at the other house. The consequence of this is easily
foreseen: Booth and Cibber will preach to bare walls, whilst Lanyon
and Dupre dance before a full audience; and lest Mrs. Oldfield's name
should sway some few unfashionable wretches, they have contrived a very
musical Robin red-breast, which is to have more melody in its song
than there can possibly be in all the mournful accents of the unhappy
Erixene."
The Police were at length convinced how very improper the exhibitions
of bear-baiting and prize-fighting were in the City of London; and
sent the proper officers to Spital-fields, in June 1724, where a
stage had been erected for the first time for those purposes, which
was immediately pulled down by their orders, and in August they were
vainly employed in concerting measures for the total suppression of the
long established place of resort at Hockley in the Hole.
An expensive tragedy, intituled, "Julius Cæsar in Egypt," was produced
and condemned in 1724, when the following excellent Epigram appeared:
"_The sixth night._
When the pack'd audience from their posts retir'd,
And Julius in a general hiss expir'd,
Sage Booth to Cibber cried: 'Compute our gains;
These dogs of Egypt and their dowdy queans
But ill requite these habits and those scenes,
To rob Corneille for such a motley piece;
His Geese were Swans, but zounds thy Swans are Geese.'
Rubbing his firm invulnerable brow,
The Bard replied, 'The criticks must allow,
'Twas ne'er in Cæsar's destiny to _run_;'
Wilks bow'd, and bless'd the gay pacific pun."
August 1725 produced a conflict for the entertainment of the visitors
of Mr. Figg's amphitheatre, Oxford-road, which is characteristic of
savage ferocity indeed. Sutton the champion of Kent and a courageous
female heroine of that County fought Stokes and _his much admired_
consort of London; 40_l._ was to be given to the male or female
who gave most cuts with the sword, and 20_l._ for most blows at
quarter-staff, besides the collection in the box. A poetical account of
a battle of this kind, was published in the London Journal, and is, I
think, worth preserving, especially as it is said to have been written
by the author of the Pastoral in the Spectator beginning "My time, O ye
Muses, was happily spent:"
"Long was the great Figg by the prize-fighting swains
Sole monarch acknowledg'd of Mary-bon plains;
To the towns far and near did his valour extend,
And swam down the river from Thame to Gravesend.
There liv'd Mr. Sutton, pipe-maker by trade,
Who, hearing that Figg was thought such a stout blade,
Resolv'd to put in for a share of his fame,
And so sent to challenge the Champion of Thame.
With alternate advantage two trials had past,
When they fought out the rubbers Wednesday last.
To see such a contest the house was so full,
There hardly was room left to thrust in your scull.
With a prelude of cudgels we first were saluted,
And two or three shoulders most handsomely fluted;
Till, wearied at last with inferior disasters,
All the company cry'd, "Come, the Masters, the Masters."
Whereupon the bold Sutton first mounted the stage,
Made his honours as usual, and yearn'd to engage;
Then Figg with a visage so fierce and sedate
Came, and enter'd the list with his fresh-shaven pate.
Their arms were encircled by armigers two
With a red ribbon Sutton's, and Figg's with a blue;
Thus adorn'd the two heroes 'twixt shoulder and elbow
Shook hands, and went to 't; and the word it was _bilboe_.
Sure such a concern in the eyes of spectators
Was never yet seen in our Amphitheatres!
Our Commons and Peers from their several places
To half an inch distance all pointed their faces;
While the rays of old Phœbus that shot through the sky-light
Seem'd to make on the stage a new kind of twilight;
And the Gods without doubt, if one could but have seen them,
Were peeping there through to do justice between them.
Figg struck the first stroke, and with such a vast fury,
That he broke his huge weapon in twain I assure you.
And if his brave rival this blow had not warded,
His head from his shoulders had quite been discarded.
Figg arm'd him again, and they took t'other tilt,
And then Sutton's blade run away from its hilt;
The weapons were frighted, but as for the men
In truth they ne'er minded, but at it again.
Such a force in their blows you'd have thought it a wonder
Every stroke they receiv'd did not cleave them asunder.
Yet so great was their courage, so equal their skill,
That they both seem'd as safe as a thief in a mill;
While in doubtful attention dame Victory stood,
And which side to take could not tell for her blood,
But remain'd like the Ass 'twixt the two bottles of hay
Without ever moving an inch either way;
Till Jove to the Gods signified his intention
In a speech that he made them too tedious to mention.
But the upshot of it was, that at that very bout
From a wound in Figg's side the hot blood spouted out;
Her ladyship then seem'd to think the case plain,
But Figg stepping forth, with a sullen disdain,
Shew'd the gash, and appeal'd to the company round
If his own broken sword had not given him the wound.
That bruises and wounds a man's spirit should touch,
With danger so little, with honour so much!
Well, they both took a dram, and return'd to the battle,
And with a fresh fury they made the swords rattle;
While Sutton's right arm was observed to bleed
By a touch from his rival, so Jove had decreed;
Just enough for to shew that his blood was not _icor_,
But made up, like Figg's, of the common red liquor.
Again they both rush'd with as equal a fire on,
That the company cried, 'Hold, enough of cold iron;
To the quarter-staff now, lads;' so first having dram'd it,
They took to their wood, and i'faith never shamm'd it.
The first bout they had was so fair and so handsome,
That to make a fair bargain it was worth a King's ransom;
And Sutton such bangs to his neighbour imparted,
Would have made any fibres but Figg's to have smarted.
Then after that bout they went on to another;
But the matter must end in some fashion or other,
So Jove told the Gods he had made a decree,
That Figg should hit Sutton a stroke on the knee;
Though Sutton, disabled as soon as it hit him,
Would still have fought on, but Jove would not permit him.
'Twas his fate, not his fault, that constrain'd him to yield,
And thus the great Figg became lord of the field."
Sir Richard Steele exhibited a bill in the Court of Chancery against
the holders of Drury-lane Theatre for a share in the profits of the
house by virtue of his patent, in October 1725.
The editor of the Flying Post observes in February 1727: "The directors
of the Royal Academy of Musick have resolved, that after the excellent
Opera, composed by Mr. Handel, which is now performing, Signior Attilia
shall compose one; and Signior Bononcini is to compose the next after
that. Thus, as this Theatre can boast of the three best voices in
Europe, and the best instruments, so the town will have the pleasure of
hearing these three different styles of composing."
However flattering these prospects seemed, they ended most
unharmoniously in a fierce contention between the rival female
performers Cuzzoni and Faustina, whose partizans were so vehement in
the operations of hissing and clapping, that they proceeded in them
even in the presence of the Princess of Wales.
After this notice of the _polite_ portion of the community, the
following advertisement, copied literally from the original issued
by the proprietors of the Amphitheatre, will appear less wonderful
and disgusting: "In Islington road, on Monday, being the 17th of
July, 1727, will be performed a trial of skill by the following
combatants. We Robert Barker and Mary Welsh, from Ireland, having often
_contaminated_ our swords in the _abdominous corporations_ of such
antagonists as have had the insolence to dispute our skill, do find
ourselves once more necessitated to challenge, defy, and invite Mr.
Stokes and his bold Amazonian _virago_ to meet us on the stage, where
we hope to give a satisfaction to the _honourable Lord_ of our nation
who has laid a wager of twenty guineas on our heads. They that give the
most cuts to have the whole money, and the benefit of the house; and if
swords, daggers, quarter-staff, _fury_, _rage_, and resolution, will
prevail, our friends shall not meet with a disappointment.'--'We James
and Elizabeth Stokes, of the City of London, having already gained an
universal approbation by our agility of body, dextrous hands, and
courageous hearts, need not _preambulate_ on this occasion, but rather
choose to exercise the sword to their sorrow, and corroborate the
general opinion of the town than to follow the custom of our _repartee_
antagonists. This will be the last time of Mrs. Stokes' performing
on the stage.'--There will be a door on purpose for the reception of
the gentlemen, where coaches may drive up to it, and the company come
in without being crowded. Attendance will be given at three, and the
combatants mount at six precisely. They all fight in the same dresses
as before."
Although a Coronation cannot by any means be considered as an amusement
by a serious and reflecting person, there have been, and will be,
numbers who see it in no other light than as a brilliant pageant. The
splendour of that of George II. in October 1727 attracted vast crowds
of strangers to London; and it was generally computed at the time that
full 200,000 seats were provided for their accommodation in every
situation which afforded even a glimpse of part of the ceremony.
In the month of October 1727, a lady, seated in the pit of Drury-lane
Theatre, thought she perceived smoke issuing through the apertures
of the stage, and, fancying she smelt it, declared her apprehensions
aloud, and at the same time endeavoured to leave the Theatre. The
audience were immediately excessively alarmed, and numbers rushing to
the different doors impeded each other's progress; confusion prevailed
for half an hour before her error was perceived, during which time
a pregnant woman was pressed to death, and several persons severely
injured. The Play was that of King Henry VIII. and the house very much
crowded.
The _new_ Theatre, as it was called in 1728, now the _little_ Theatre
in the Haymarket, was opened in that year for the season with the
Beggar's Opera: it was handsomely decorated, and the actors were
described as very respectable.
One of the follies of 1728 was the performance of the Beggar's Opera
at the Theatre in Lincoln's inn-fields by _children_; and that the
childish exhibition might be supported in all its branches, the
Managers contrived to send a book of the songs across the Stage by a
flying Cupid to Prince Frederick of Wales.
The Village Opera was acted, in March 1729, at the Theatre Drury-lane.
The absurd custom of placing seats upon the stage had been much
condemned previous to that period; but the Managers ventured
to introduce one for the Dutchess of Queensberry on the first
representation of the piece; and thus incurring the resentment of the
audience, they hissed incessantly till it was removed, and the wits
wrote epigrams upon the subject:
"Bent on dire work, and kindly rude, the Town
Impatient hiss'd thy seat, dear Dutchess, down;
Conscious that there had thy soft form appear'd,
Lost all in gaze, no vacant ear had heard:
Thy lambent eyes had look'd their rage away,
And the relenting hiss, and sav'd the play.
Thus not in clouds (as father Homer sung)
Such as fair Venus round Æneas flung,
Had our dull Bard escap'd the dreadful fright,
But sunk conceal'd in an excess of light."
Mr. Handel visited Italy in 1729, for the express purpose of collecting
performers for the Opera-house in the Haymarket. Those persons are
thus described in the Evening Post: "Signior Bernachi, who is esteemed
the best singer in Italy; Signiora Merighi, a woman of a very fine
presence, an excellent actress, and a very good singer--a contre-tenor;
Signiora Strada, who hath a very fine treble voice, a person of
singular merit; Signior Annibal Pio Fabri, a most excellent tenor and
a fine voice; his wife, _who performs a man's part exceeding well_;
Signiora Bartoldi, who has a very fine treble voice--she is also a very
genteel actress both in men and women's parts."
The delicately attenuated nerves of my female reader must be shocked
by the transition from the above divine warblers to the horrid Mr.
Figg, who fought his 271st battle in October 1730, with a Mr. Holmes,
whose wrist he cut to the bone in this _amusing_ description of public
entertainment. Master Figg was conqueror in _all_ those conflicts; a
tolerable poet, his contemporary, thus celebrated the exploits of the
modern Gladiator:
"Inspir'd with generous thirst of martial fame
Figg's early years presag'd his future name,
As Hannibal, ere grown to manhood's bloom,
Swore in his blood fell enmity with Rome:
Like ardour did our infant Hero grace;
Like dire aversion to the Hibernian race.
Long in successful fights both champions view'd
Their oath accomplish'd and their foes subdu'd;
But here th'illustrious parallel must end, }
And Afric's warrior to Britannia's bend; }
Events unequal their last fights attend, }
The former _loses_ what he earn'd before,
The _latter_ closes all his past _with one grand triumph more_."
As the following advertisement appears to be the _acme_ of absurdity
and folly, I think it will very properly close those of the
prize-fighting Figgs, &c.
"At Mr. Figg's great room to-morrow, the 20th of this instant
May, by the command of several noblemen and others, will be
shewn in full proof the judgment of the sword in all its
noble branches, offensive and defensive.
"We Mathew Masterson, Serjeant from Gibraltar, and Rowland
Bennet from the city of Dublin in the kingdom of Ireland,
masters of the said science, both having lately tasted
our error by unwarily receiving wounds from Mr. Figg, and
resolving if possible to return the keen rebuke by our
chastising swords, make this challenge the hostility of our
confederate arms, inviting them to the brightest of their
performances, Mr. Figg taking Mr. Gill to his assistance,
and fighting us at the time and place above for the benefit
of the whole house, which Mr. Masterson and the said Gill
are solely to have to themselves; the victor of them two
defraying all charges, and taking the surplus to himself as
free plunder. It is that makes a soldier a Cæsar or a Marius,
without the help of Lilly, who was most unmercifully whipped
last Wednesday in quarto by a Yorkshire Jockey with Roman
epithets, in order to extort rules for declining a good house
in favour of the present tense singular; but the grammatical
tit being too high-mettled to be verb-ridden, left his
Elorian corrector in an infinitive ill-mood, confounded in
particles in search of the great negative--nothing.
"MATHEW MASTERSON, ROWLAND BENNET."
* * * * *
"We, James Figg from Thame in Oxfordshire, and William
Gill (his scholar), more surprised than terrified at the
peremptory summons, assure the above gentlemen we did not
apprehend they would have been guilty of repeating those
crimes for which they so lately received the benefit of their
Clergy; but, as Mr. Bennet then obtained mercy by pleading
weakness, occasioned by the fatigue of a long journey, it
is hoped he will not make use of the same plea again, but
more bravely oppose the same arm, if recovered strength and
improvement have given him leave. Otherwise, both him and his
mighty ally may find Cæsars cut into Lazarus's, and Rome's
capitol converted into Chelsea college for the residence
of their titular Majesties, whilst the stock and branch of
superior force flourishes on Britannia's stage like the tall
cedars of Lebanon; and mourn their fate by shedding leaves to
adorn their untimely Monuments--if any be erected.
"JAMES FIGG, WILLIAM GILL."
"Note--On this extraordinary occasion Captain Vinegar has
orders to assemble his whole posse of leather-bottle men,
shin-kickers, and fist-clinckers; so that the whole may be
expected a complete evening's entertainment. The doors will
be opened at 3, and the masters mount at 6."
In December 1731, Figg and Sparks contended with the broad-sword at the
French or Little Theatre in the Haymarket, before the Duke of Lorrain,
Count Kinski, and many persons of distinction. One of the papers of
the day observes, "The beauty and judgment of the sword was delineated
in a very extraordinary manner by those two champions, _and with
very little bloodshed_: his Serene Highness was extremely pleased,
and expressed his entire satisfaction, and ordered them a handsome
gratuity."
A Theatre was erected in Goodman's fields by Thomas Odell in 1729;
his property in which was purchased 1731 by Henry Giffard. In 1732
the latter person opened a subscription, and received 2,300_l._ for
rebuilding it, and soon after divided the property into twenty-three
shares, which he assigned by indentures to the subscribers, allowing
them 1_s._ 6_d._ each night of performance, and free admissions, with
a mortgage on the Theatre as security. The means of building thus
secured, Giffard contracted with Sir William Leman for a piece of
ground for 61 years at a rent of 45_l. per annum_, and proceeded with
the building, expending several thousand pounds on scenes, dresses, and
decorations.
In the month of April 1730, Mr. Odell, proprietor of the New Theatre
in Goodman's-fields, waited on the King, requesting his licence to act
there; but met with a decisive refusal.
Covent-garden Theatre was built by subscription under the direction of
Mr. Rich; in the month of January 1731, 6000_l._ had been obtained, and
a design for the building was prepared by James Sheppard, Esq. which
met with general approbation. It appears from the public papers that
the Crown was then in treaty for Lincoln's-inn-fields Theatre, to use
as an office for the Commissioners of the Stamp-duties. In February
workmen begun to take down several old houses on the site of the
intended Theatre.
The validity of a patent intended to be granted by the King for R.
Wilks, C. Cibber, and Barton Booth, for Drury-lane Theatre was argued
in April 1732 before the Lord Chancellor, Lord Chief Justice Raymond,
and Mr. Baron Comyns; when it was decided to be a lawful grant, and it
passed the great seal accordingly.
Prince Frederick of Wales gave a grand entertainment to the Nobility
_at the Opera-house_ in 1732. The same Royal personage formed a company
of Soldiers, consisting of Courtiers sons, to which he declared himself
Corporal; and as such relieved guard between the acts of the Indian
Emperor, performed before their Majesties and the Court in the grand
ball room at St. James's by noble youths of both sexes.
The first notice of Vauxhall-gardens that I recollect to have seen in
the Newspapers was in June 1732, when a Ridotto al fresco is mentioned.
The company were estimated at 400 persons, and in the proportion
of _ten men_ to _one woman_, who generally wore domino's, lawyers
gowns, and masks, but many were without either. The company retired
between three and four in the morning, and order was preserved by 100
_soldiers_ stationed at the entrance.
The Tottenham-court Fair was unusually brilliant that year, and Lee,
Harper, and Petit's droll of Whittington was attended by many of the
Nobility, and the son of Ach Mahomet, Envoy from the Dey of Algiers.
The Theatre in Goodman's-fields opened for the season of 1732,
encouraged by the subscription of several merchants and others, and was
decorated by two pieces of painting, representing the King supporting
Liberty, and Apollo and the Muses--the works of Hayman and Oram.