Like wind and tide meeting, each contrary striving;
Shrill fiddling, sharp fighting, and shouting and shrieking,
Fifes, trumpets, drums, bagpipes, and barrow-girls squeaking,
Come, my rare round and sound, here's choice of fine ware,
Though _all_ was not sound sold at _Bartelmew_ Fair.
There was drolls, hornpipe-dancing, and showing of postures,
With frying black-puddings, and opening of oysters;
With salt-boxes, solo's, and gallery folks squawling;
The tap-house guests roaring, and mouth-pieces bawling;
Pimps, pawnbrokers, strollers, fat landladies, sailors,
Bawds, baillies, jilts, jockeys, thieves, tumblers, and taylors:
Here's Punch's whole play of the Gunpowder plot,
Wild beasts all alive, and pease-pudding all hot,
Fine sausages fried, and the black on the wire;
The whole court of France, and nice pig at the fire;
Here's the up-and-downs, who'll take a seat in the chair?
Tho' there's more up-and-downs than at Bartelmew Fair.
Here's Whittington's cat, and the tall dromedary,
The chaise without horses, and Queen of Hungary;
Here's the merry-go-rounds, 'Come, who rides? come, who rides?' Sir;
Wine, beer, ale, and cakes, fire-eating besides, Sir.
The fam'd learned dog, that can tell all his letters;
And some men, as scholars, are not much his betters."
Drury-lane Theatre was much improved in 1762, by lengthening the
stage, enlarging the boxes and pit, and rebuilding the galleries. This
alteration probably originated from the hopes of additional profit.
Another in the management had its rise from the same cause; but the
publick were less satisfied than with the former, as in the latter the
advantage was by no means mutual between the proprietors and their
patrons. The managers intimated that nothing under full prices would be
taken during the performance; and the intimation received no opposition
till January 1763: at that period symptoms of resistance appeared;
and the publick complained that the time had been when they were
admitted to the boxes for 4_s._ 6_d._ to witness plays performed by
Booth, Wilkes, Cibber, Doggett, Norris, Penkethman, Johnson, Griffin,
Porter, and Oldfield; and were then compelled to pay 5_s._ to hear
_half a play_ acted by Garrick, Cibber, Yates, King[236:A], Packer[236:A],
Holland, Obrien[236:B], Bransby, Palmer, and Ackman.
The audience of Covent-garden Theatre seized the first opportunity
of demanding that full prices should no longer be insisted upon for
half plays and the farce, except when new pieces were represented; and
received a promise from the proprietors of acceding to their wishes.
Mr. Garrick of Drury-lane Theatre resisted, and published this notice
in the Advertiser:
"The Managers of Drury-lane Theatre having been suddenly called upon
last night, to answer the charge of an innovation in regard to their
prices, Mr. Garrick acquainted the audience that he was not conscious
that the managers had done any thing in this respect, in which they
were not fully authorised by the established usage of the Theatre;
and that, if there had been the slightest innovation, it should be
rectified:--and this unexpected complaint being grounded on the
assertion contained in a printed paper, which had been the same day
industriously circulated in Coffee-houses, and distributed through
every part of the Theatre, Mr. Garrick promised to publish a full
answer to the charges contained in that paper; but, the clamour still
continuing, the performance of the play was entirely prevented. The
Managers, therefore, find themselves under the necessity of informing
the publick, that a full and satisfactory answer will be published
accordingly; and it is hoped that they will, with their usual candour,
suspend their judgment on this occasion till the appearance of such
answer, which will be in a few days."
The Tragedy of "Elvira" was announced for the evening succeeding the
above address; and the Theatre was filled by a number of persons, who
were determined to enforce their resolution of seeing plays as usual at
half price. They commenced their operations by ordering the orchestra
to play the musick of "Roast-beef" and "Britons strike home," which
was complied with. When Mr. Holland appeared to speak the Prologue, he
was immediately driven from the stage: Mr. Garrick then came on, and
endeavoured to explain his reasons for the alteration complained of;
but in vain, and the tumult was excessive. The following question at
length issued from the pit: "Will you, or will you not, give admittance
for half price after the third act, except during the first winter of a
new Pantomime?" The Manager again attempted to explain without effect:
_yes_, or _no_, were the only words granted him. _Yes_, accompanied
by an expression of indignation, escaped the lips of Roscius; and the
Theatre shook with sounds of triumph.
Mr. Ackman, who had offended the audience on the evening when this
affair was first noticed by the publick, then received a summons to
appear and apologise for his conduct: this order he promptly obeyed;
but our old veteran Moody, when called upon for the same purpose,
seemed refractory, or was misconceived, through the noise which
issued from all parts of the Theatre. The audience commanded him, in
consequence, to drop upon one knee, and thus solicit their pardon: this
imperious order justly roused the actor's resentment, and he retired
without compliance. Mr. Garrick was afterwards obliged to promise, Mr.
Moody should not appear again upon his stage till he had appeased their
displeasure: the play then went on as usual.
Mr. Beard conceived himself under the necessity of publishing "The case
concerning the late disturbance at Covent-garden Theatre fairly stated,
and submitted to the sense of the publick in general," which follows.
"As the opposition to _full price_ at Drury-lane Theatre was founded
upon the pretence of its having been exacted on unjustifiable
occasions, it was imagined, that let what would be the event of
that dispute, the Managers of Covent-garden Theatre ought in no sort
to be affected by it, as no such complaint had ever been pretended
against them; yet, when Mr. Garrick thought proper to wave his private
advantage, for the sake of the public peace, it was deemed necessary
for the same laudable purpose, to perform such pieces only for the
present at Covent-garden, as could by no means bring the point, which
had been so lately and so violently agitated, into immediate debate
again, and even latter account was taken to _Love in a Village_.
"When the Opera of _Artaxerxes_ was revived (a piece as distinct from
the common course of business as even an _Oratorio_ itself), it was
generally understood, the peculiarity of the performance, together with
the apparent extraordinary expence attending it, would sufficiently
exempt it from the limitations which had been prescribed at the other
Theatre; accordingly it was advertised, in the same manner it had ever
been, at _full price_.--Mr. Beard received some private hints the
evening before the intended representation, though not till after the
bill was sent to the press, that an opposition was intended by some
particular persons; but flattered himself that the candour and justice
of the Public in general would distinguish in a case so particularly
circumstanced; and when he was called upon the stage, would have humbly
offered such reasons, as, had they been calmly and dispassionately
heard, might possibly have prevented the violence which ensued. In
this he was continually prevented by an incessant and clamourous
demand of a general and decisive _Yes_ or _No_.--As Manager only, and
Trustee for other Proprietors, he thought himself totally unimpowered
to resign up their rights by so sudden and concise a conveyance; and,
as the point in dispute was an essential matter of Property, conceived
their concurrence absolutely necessary to any determination on his
part, which, at this juncture, was impossible to be obtained.--In this
difficult situation, where acquiescence subjected him to a breach of
that trust which had been reposed in him, and refusal exposed him to
insult and displeasure, his submitting rather to the latter, than
be guilty of the former, it is hoped, will be deemed an offence not
altogether worthy so severe a resentment.
"However unfortunately he may have incurred the imputation of
insolence, obstinacy, or at least imprudence, in not immediately
submitting to the demands proposed; yet, when it is considered that
these demands were enforced by part of the audience only, and that he
had then great reason to believe such submission would be very far from
producing the salutary effect of theatrical tranquillity, he may not
perhaps be judged so blameable.
"Mr. Beard had at that time received several anonymous threatening
letters and notices concerning many other branches of what they call
_reformation_.--He was ordered by one to add a farce to _Love in a
Village_, or the house should be pulled about his ears.--By another,
he was commanded to put a stop to the farther representation of that
Opera, upon the penalty of enforcing his compliance by a riot the next
night of performance; and very lately received certain information of
meetings which have already been held, and an association forming, to
reduce the prices at the Theatre to what they were forty years since,
though it is notorious the expence of theatrical entertainments are
more than doubled. For these reasons, he looked upon the occasion
of the present disturbance only as a prelude to future violence; as
the first, not the last salutation of this extraordinary kind, to be
expected; and apprehended, that too easy an acquiescence might possibly
prove rather encouragement than prevention.
"Nevertheless, in gratitude for the many favours and indulgences
received from the Publick, and from an earnest desire to promote
that order and decorum so essential in all public assemblies, the
proprietors have now jointly authorized Mr. Beard to declare, that they
shall think themselves equally bound with the Managers of the other
Theatre, to an observance of those limitations which they have agreed
to.
"Mr. Beard, though sensible how unworthy an object his character is for
the attention of the Publick, yet hopes his zeal to have it appear in
a fair light will not be deemed impertinence, and therefore begs leave
to mention one occurrence that relates particularly to himself. It has
been industriously reported, that both before and after Mr. Garrick's
submission to the point in dispute, he himself had expressly promised
to give it up likewise, but has now insolently dared to resume a right,
which he had already disclaimed. How incapable Mr. Beard is of such a
conduct, he flatters himself those who know him will testify: to those
who do not, it may not be unnecessary solemnly to declare, that so
far from ever making such a promise, he constantly insisted, that it
neither was in his power or intention to comply with the demand.
JOHN BEARD."
This imprudent statement might have produced fatal consequences,
had the Police been as little attentive to the preservation of the
public peace as Mr. Beard: on the contrary, the Magistrates held
a meeting, and issued an intimation that every riotous proceeding
would be immediately checked, and the perpetrators prosecuted under
the Act which contains this clause: "That if any persons unlawfully,
riotously, and tumultuously assemble together, to the disturbance of
the public peace, shall unlawfully, and with force, demolish or pull
down, or begin to demolish or pull down, any dwelling-house, house,
barn, stable, or other out-house, they shall be adjudged felons; and on
conviction, shall suffer death, as in cases of felony, without benefit
of clergy."
The evening of March 3, proved the truth of my assertion, that Mr.
Beard had acted imprudently in publishing his address. Covent-garden
Theatre was crowded by gentlemen that seemed little affected by the
threats of the Police, who began the operations of the night by
calling for "Hearts of Oak," and "Britons, strike home;" and, when
the curtain rose, a tumult commenced, which soon drove the actors
from their presence; and the name of Beard echoed from every side
of the house. That gentleman appeared, and, alarmed at his previous
temerity, declared he had complied with their request in publick, and
came before them to confirm it. This declaration was in part approved;
but the audience required that all prosecutions against individuals,
by the Managers, originating in this dispute, should be immediately
discontinued. Mr. Beard assented as far as related to himself, and
retired. Exasperated by this evasion, another and more spirited effort
succeeded; and behold the Manager once more before his Judges, prepared
to promise any thing and every thing the audience demanded. Violent
applause followed, and the play was begun without interruption about
forty minutes after seven o'clock.
The Peace of 1763 was celebrated with uncommon splendour throughout
Europe, and particularly in St. James's Park, where a grand fire-work
was exhibited. Our amiable Queen, animated by the same impulse,
contrived an amusement for his Majesty on his birth-night equally
calculated to surprise and please. The Queen induced her royal consort
to pass several days previous to the 4th of June at St. James's; and in
that interval a great number of persons were employed in preparing a
superb temple and bridge, to be illuminated with upwards of 4000 lamps,
in the gardens of Buckingham-house. Such was the secrecy used, that the
King entertained not the least suspicion of the design in progress,
and was consequently astonished on returning to the above palace at
ten o'clock, when the window-shutters were suddenly thrown open, at
the brilliancy of the scene, which presented an orchestra containing
upwards of fifty performers led by Dr. Boyce, amongst whom were the
most eminent singers of the day, and the front of a temple ornamented
with emblematic paintings conveying the most grateful intimations.
The following article, extracted from the London Chronicle for August
1763, must produce a sensation of regret in the recollection of those
who were partial to the amusements of Ranelagh:
"The only defect in the elegance and beauty of the amphitheatre at
Ranelagh, is an improper and inconvenient orchestra, which, breaking
into the area of that superb room about twenty feet farther than it
ought to do, destroys the symmetry of the whole, and diffuses the
sound of the musick with such irregular rapidity, that the harmonious
articulations escape the nicest ear, when placed in the most commodious
attitude: it also hurts the eye upon your first entry.
"To remedy these defects, a plan has been drawn by Messrs. Wale and
Gwin, for adding a new orchestra, which, being furnished with a
well-proportioned curvature over it, will contract into narrower bounds
the modulations of the voice, and render every note more distinctly
audible. It will by its form operate upon the musical sounds in the
same manner as concave glasses affect the rays of light by collecting
them into a focus. The front of this orchestra being planned so as
to range parallel to the balustrade, the whole area also will be
disencumbered of every obstruction that might incommode the audience
in their circular walk. There is likewise provision made in this plan
for a stage capable of containing 30 or 40 performers, to officiate as
chorus-singers, or otherwise assist in giving an additional solemnity
on any extraordinary occasion."
This, or a similar plan, was afterwards adopted.
The irregularities mentioned in a preceding page as having occurred
at Vauxhall were noticed on the day appointed for licensing places of
amusement in 1763, when the proprietor pledged himself that the dark
walks should thenceforward be lighted, no bad women, known to be such,
admitted, and that a sufficient number of watchmen should be provided
to keep the peace.
The ridiculous custom of placing two centinels on the stage during
the performance of plays was not discontinued in the above year, as
a soldier employed for that purpose highly entertained an audience
in October by laughing at the character of Sir Andrew Ague-cheek in
Twelfth-night, till he actually fell convulsed upon the floor.
Violence and exertion are common occurrences at the doors of the
English Theatres every evening when pieces or performers of superior
attraction are to be seen; but it very rarely happens that those marks
of ill-breeding are practised at the entrances of the Opera-house.
When the Hereditary Prince of Brunswick went to the Opera in January
1764, the eagerness of a titled and fashionable _mob_ was such, that
the male part fought their way with drawn swords, the females fainted,
and lost shoes, caps, ruffles, &c. &c. quite as rapidly as those they
condescended to imitate at the other Theatres.
A letter signed "Theatricus," inserted in the London Chronicle, vol.
XV. contains a rapid but masterly sketch of the state of Theatrical
amusements between 1700 and 1763. Under this impression I shall
transfer it to this work:
"A DISSERTATION ON THE THEATRE.
"Since I was a boy, I have been an admirer of the Drama, and
have, for near sixty years past, observed the revolutions of
the stage (in England and Ireland) more than those of the
State.
"The first play I remember to have seen was _The Maid's
Tragedy_ in the year 1710; the famous Mr. Betterton acted
Melanthius; he died the week following, after having been
above fifty years the ornament of the stage. With great
satisfaction I recollect the memorable theatrical year 1712,
when _Cato_ was first acted: never were the expectations
of the Town more fully satisfied, nor more emulation shewn
by the performers. I was at that time in the first form at
Westminster-school; our master offered a premium of a gilt
Horace for the best Latin translation of _Cato's_ soliloquy
in the fifth act. I had sufficient vanity to be one of the
candidates; but, to my great mortification, was told, 'that
it was a good first attempt,' and saw the premium delivered
to my class-fellow, who, a few years ago, enjoyed one of the
best deaneries in the church.
"My uncle used frequently to take me of a Sunday evening
to Button's Coffee-house; it was there I first saw Addison
and Congreve; he was intimate with Sir Richard Steele, and
belonged to a club with the unfortunate Mr. Budgell.
"I remember the stage in its greatest glory, during the
management of Wilks, Booth, and Cibber; its decline under
the elegant but unfortunate Fleetwood; and its revival, with
uncommon lustre, under Garrick. I must do justice to this
last mentioned performer in saying, that it is to him alone
we owe the bringing of Tragedy nearer to Nature than in the
days of the Triumvirate. This one of them confessed to me not
a year before his death; for formerly a turgid vociferation,
or effeminate whine, were mistaken for the best display of
the heroic and tender passions; but these caricatures are
neglected for the real likenesses, which that great master of
his art, Garrick, has truly delineated. I have often wished
that the Stage could be brought under the regulations hinted
at by Mr. Addison; then it would be, to use his own words, 'a
source of the highest and most rational amusement.'
"I look upon the principal structures of the Drama, to be
_Tragedy_ and _Comedy_; the most interesting circumstances
of _Tragedy_ may be reduced to two different heads, _viz._
the elevated (such as Julius Cæsar, Coriolanus, &c.) and
the tender and affecting (as Romeo, and the Orphan); but
that tragedy must ever have the preference which unites the
pathetic with the sublime.
"_Tragedy_ should never go beyond the natural; that which is
great in it never goes farther than heroism; it is a living
picture, so that its beauty consists in its resemblance with
the truth.
"_Comedy_ is a feigned action, in which is represented the
ridiculous, in order to correct it; it rebukes with a smile,
and corrects with a facetious stroke: the matter of comedy is
civil life, of which it is an imitation: it ought to be every
where enlivened with all possible care, to have fine and easy
strokes of wit and satire, which present the ridiculous in
the most glaring point of view; it should be pure, easy, and
natural, have no borrowed passions or constrained actions;
morality and instruction ought to be infused into the several
parts, so that we might feel instruction, but not see it.
"Tragedy imitates the beautiful, and the great; Comedy
imitates the ridiculous: one elevates the soul, and forms the
heart; the other polishes the behaviour, and corrects the
manners. Tragedy humanizes us by compassion, and restrains
us by fear; Comedy makes us laugh, because the faults of the
little are trifling, we fear not their consequences.
"If examples have some force and life when trusted to paper,
how much greater must their vigour be, when they live in the
player, and are moved and speak in the most lofty sentiments,
and all the eloquence of action. The spectator imagines that
a series of ages having revolved back, and the distance of
places being contracted, he is suddenly conveyed into those
places and ages, in which the subject of the drama happened;
or else, that past times being renewed, the subject is again
acted in his presence. You do not on these occasions read
silently in your closet the illustrious acts of antient
heroes, who have immortalized themselves by the love they
displayed for their country, their parents, their children,
&c. These wonderful men are called from their tombs where
they have so long slumbered, appear again in the world, and
you behold their generous, their pious strife.
"In Athens the Stage was impowered by the Legislature to
instruct the ignorant vulgar, and, as a censor, to reform the
rude populace; it was its duty to make Tragedy a school of
wisdom, and Comedy of reproof. The poets rendered the Theatre
beneficial to the world, by appointing Tragedy to calm the
passions by terror and pity, and Comedy to reform the mind
by ridicule and censure. The duty of the Poet was, as Horace
expresses it--_aut prodesse aut delectare_.
"I am sorry to say that some of our comic writers have been
too fond of familiarizing their audiences to vice; and we
need make no doubt that the immorality of the stage has
contributed to the depravity of manners too visible amongst
all ranks of people, and fulfils what Juvenal says,
----_nullâ virtute redemptum
A vitiis_.----
"_Farce_ I consider as the gleanings of the Drama. I remember
when it was seldom used; those who have seen the Theatrical
Calendar for the years 1708 and 1709, will confirm what I
assert. Dogget, one of the first Comedians of his time, was
three years before he could obtain leave to have his farce
of _The Country Wake_ performed; and, when granted, it was
provided he acted the principal part (Hob). Farquhar, from
the success of his comedies, and interest with the Duke of
Ormond his patron, obtained leave for his farce of _The Stage
Coach_; and Cibber, with great difficulty, brought on his
_School Boy_; before these times the plays of Shakspeare,
Jonson, &c. did not need the aid of farce. It must be
allowed, that the farces by Garrick, and some by Foote, have
met with much success, and abound with the _utile dulci_;
but the generality of those now in possession of the Stage
are, as Dryden says, 'a compound of extravagances, fit only
to entertain such people as are judges of neither men nor
manners.' To confirm this great Poet's opinion, I appeal to
those who have seen a new farce last season at Crow-street
Theatre, devoid both of wit and satire, and composed of
vulgar phrases, beneath a Bartholomew-fair droll; however, I
applaud the author for not printing it; if he had, it must
certainly have suffered the fate it most justly deserved, to
be condemned by all its readers[252:A].
"_Pantomime_ first dawned, in the year 1702, at Drury-lane,
in an entertainment, called, _The Tavern Bilkers_; it died
the fifth night. It was invented by Weaver, a dancing-master
at Shrewsbury, who, from the encouragement of the Nobility,
invented a second, called _The Loves of Mars and Venus_,
performed at the same Theatre, in the year 1716, with vast
success; which occasioned Sir Richard Steele to write the
following lines on the back of one of the play-bills at
Button's Coffee-house.
"Weaver, corrupter of this present age,
"Who first taught silent sins upon the stage.