Mr. Charles W. Couldock--His Daughter Eliza and his Many Peculiarities.
There was one star who came to us every season with the regularity and
certainty of the equinoctial storm, and when they arrived together, as
they frequently did, we all felt the conjunction to be peculiarly
appropriate. He was neither young nor good-looking, yet no one could
truthfully assert that his engagements were lacking in interest--indeed,
some actors found him lively in the extreme. Charles W. Couldock was an
Englishman by birth, and had come to this country with the great Cushman.
He was a man of unquestionable integrity--honorable, truthful,
warm-hearted; but being of a naturally quick and irritable temper,
instead of trying to control it, he yielded himself up to every impulse
of vexation or annoyance, while with ever-growing violence he made
mountains out of mole-hills, and when he had just cause for anger he
burst into paroxysms of rage, even of ferocity, that, had they not been
half unconscious acting, must have landed him in a mad-house out of
consideration for the safety of others; while, worst of all, like too
many of his great nation, he was profane almost beyond belief; and
profanity, always painfully repellent and shocking, is doubly so when it
comes from the lips of one whose silvering hair shows his days have
already been long in the land of the God whom he is defying. And yet when
Mr. Couldock ceased to use plain, every-day oaths, and brought forth some
home-made ones, they were oaths of such intricate construction, such
grotesque termination, that they wrung a startled laugh from the most
unwilling lip.
In personal appearance he was the beau-ideal wealthy farmer. He was
squarely, solidly built, of medium height--never fat. His square,
deeply-lined, even-furrowed face was clean shaven. His head, a little
bald on top, had a thin covering of curly gray hair, which he wore a
trifle long; while his suit of black cloth--always a size or two too
large for him--and his never-changing big hat of black felt were excuse
enough for any man's asking him about the state of the crops--which they
often did, and were generally urgently invited to go to the hottest Hades
for their pains.
On his brow there was a deep and permanent scowl that seemed cut there to
the very bone. Two deep, heavy lines ran from the sides of his nose to
the corners of his lips, where they suddenly became deeper before
continuing down toward his chin, while a strong cast in one of his
steely-blue eyes gave a touch of malevolence to the severity of his face.
The strong point of his acting was in the expression of intense
emotion--particularly grief or frenzied rage. He was utterly lacking in
dignity, courtliness, or subtlety. He was best as a rustic, and he was
the only creature I ever saw who could "snuffle" without being absurd or
offensive.
Generally, if anything went wrong, Mr. Couldock's rage broke forth on the
instant, but he had been known to keep a rod in pickle for a day or more,
as in the case of a friend of mine--at least it was the husband of my
friend Mollie. He had played _Salanio_ in "The Merchant of Venice," and
in some way had offended the star, who cursed him _sotto voce_ at the
moment of the offence, and then seemed to forget all about the matter.
Next morning, at rehearsal, nothing was said till its close, when Mr.
Couldock quite quietly asked my friend to look in at his dressing-room
that evening before the play began.
Poor John was uneasy all the afternoon, still he drew some comfort from
the calmness of Mr. Couldock's manner. Evening came, John was before the
bar. The star seemed particularly gentle--he removed his coat leisurely
and said:
"You played _Salanio_ last night?"
"Yes, sir."
"And your name is--er?"
"Ogden, sir," replied John.
"Ah, yes, Ogden. Well, how long have you been at it, Ogden?"
"About three years," answered the now confident and composed prisoner at
the bar.
"Three years? huh! Well, will you let me give you a bit of advice,
Ogden?"
"Why, yes, sir, I shall be glad to listen to any advice from you,"
earnestly protested the infatuated one.
"Well," snapped the star, rather sharply, "I want you to _follow it_ as
well as to listen to it. Now you take some money--you _have_ some money
saved, I suppose?"
"Oh, yes, sir!" answered John.
"Well, then," he turned his queer eye on him, he took a long, full
breath, "well, then, you just get some of that money, and you go to a
hardware store," his rage was rising visibly, "and you buy a good sharp
hatchet, and then I want you to take it home and chop your d----d fool
head off!" and ripping off his vest he made a furious charge upon the
almost paralyzed Ogden, clouting him from the room, while roaring like a
bull.
He had played one set of plays so long he had lost the power to study
quickly, and he was so ill-advised once as to attempt a new part, on
rather short notice. The play was a miserable jumble of impossible
situations and strained, high-flown language; and, of all absurd things,
Mr. Couldock attempted to play a young Irish hero, with a love-scene--in
fact he was supposed to represent the young Emmet. Dear heaven! what a
sight he was, in those buckskin riding breeches (his legs were not beyond
suspicion as to their straightness), that cutaway green coat, and the
dinky little conical hat, looking so maliciously "larky," perched over
his fiercest eye. He forgot all his lines, but he never forgot his
profanity, and that night it took on a wild originality that was simply
convulsing. In one scene he had to promise to save his beloved Ireland.
He quite forgot the speech, and being reminded of it by the prompter, he
roared at the top of his voice: "I don't care! what the devil's Ireland
to me! d----n Ireland! I wish it and the man that wrote this play were
both at the bottom of the sea, with cock-eyed sharks eatin' 'em!" Then he
suddenly pulled out his part and began to search wildly for his next
scene, that he might try to recall his lines; at this he continued till
he was called to go upon the stage, then he made a rush, and in a moment
the house was laughing.
"Oh, dear! what was it?" Everyone ran to peep on the stage. Mr. Couldock
had discovered they were laughing at him, and was becoming recklessly
furious. Mr. Ellsler, fearing he would insult the people, hastily rang
down the curtain. Then Mr. Couldock, as _Emmet_, faced round to us, and
the laughter was explained. When he was reading over his part he had put
on a big pair of spectacles, and when he hurried on he simply pushed them
up and left them there. A young lover with big, old-fashioned spectacles
on his forehead and a perky little conical hat looking down on them was
certainly an unusual sight and an amusing one.
One of Mr. Couldock's most marked characteristics was the amazingly high
pitch of his voice in speaking. Anyone who has heard two men trying to
converse across a large open field has had a good illustration of his
style of intonation, which anger raised to a perfect shriek. The most
shocking exhibition of rage I ever saw came from him during a performance
of "Louis XI." Annie and I, as pages, were standing each side of the
throne, holding large red cushions against our stomachs. My cushion
supported a big gilded key, until, in my fright, I actually shook it off,
for when Mr. Couldock's passion came upon him on the stage his violence
created sad havoc in the memories of the actors. The audience, too,
could hear many of his jibes and oaths, and Mr. Ellsler was very angry
about it, for in spite of his affection for the man, he drew the line at
the insulting of the audience; therefore, when the curtain fell, Mr.
Ellsler said: "Charley, this won't do! you _must_ control yourself in the
presence of the public!"
The interference seemed to drive him mad. A volley of oaths,
inconceivably blasphemous, came from his lips, and then, with a bound, he
seized the manuscript (it was not a published play then, and the
manuscript was valuable) and tore it right down the centre. Mr. Ellsler
and the prompter caught his right hand, trying to save the play, but
while they held that he lifted the rest of the manuscript and tore it to
pieces with his teeth, growling and snarling like a savage animal. Then
he broke away and rushed frantically up-stairs to Mr. Ellsler's
dressing-room, where he locked himself in. When it was time to call the
next act he gave no answer to their knocking, though he could be heard
swearing and raving within. Mr. Ellsler finally burst open the door, and
there stood _Louis XI._ in his under-garments, and his clothing--where?
It was a tiny room, nevertheless no velvet costume could be found. The
window, a long French one, was nailed up for winter--the clothes had not
been thrown out. There was no stove yet, they had not been burned; where
then were they? Another overture was played. Some of Mr. Ellsler's
clothes were hastily brought--a nondescript covering for his royal
nakedness was found, and he went on to finish the performance somehow,
while the prompter guessed at the ringing down of the curtain, for there
was no manuscript to guide him.
Truly it had been a most humiliating spectacle. Many weeks later, when
stoves were going up, the men discovered that someone had torn away the
tin protector from the stove-pipe hole in Mr. Ellsler's room, and when
they were replacing it they found, crammed tightly into a narrow space
between the lath and plastering of the two rooms, the velvet garments of
_Louis XI._, even to the cap with the leaden images. How he had
discovered the place no one knows, and when his rage had passed he could
not remember what he had done, but he could play _Louis_ no more that
season.
We were always pleased when Mr. Couldock was accompanied by his daughter.
Eliza Couldock, bearing an absurdly marked resemblance to her father, of
course could not be pretty. The thin, curly hair, the fixed frown, the
deep lines of nose and mouth, the square, flat figure, all made of her a
slightly softened _replica_ of the old gentleman. Her teeth were pretty,
though, and her hazel eyes were very brilliant. She was well read,
clever, and witty, and her affectionate devotion to her father knew no
bounds; yet as she had a keen sense of the ridiculous, no eccentricity,
no _grotesquerie_ of his escaped her laughing, hawk-keen eye, and
sometimes when talking to old friends, like Mr. and Mrs. Ellsler, she
would tell tales of "poor pa" that were exceedingly funny.
They went to California--a great undertaking then, as the Pacific
Railroad was not completed, and they were most unsuccessful during their
entire stay here. Eliza told one day of how a certain school-principal in
'Frisco had met her father after a performance to a miserable house, and
with frightful bad taste had asked Mr. Couldock how he accounted for the
failure of his engagement, and that gentleman snarled out: "I don't try
to account for it at all! I leave that work for the people who ask fool
questions. If I only have one d----n cent in my pocket I don't try to
account for not having another d----n cent to rub against it!" And Eliza
added, in pained tones: "that principal had meant to ask 'poor pa' to
come and speak to the dear little boys in his school, but after that he
didn't--wasn't it odd?"
As Mr. Couldock was heard approaching that morning, his daughter quickly
whispered to Mrs. Ellsler: "Ask pa how he liked California?"
And after "good-mornings" were exchanged, the question was put, and
incidentally the red rag brought the mad bull into action.
"I wouldn't give a d----n for the whole d----d State!" roared Mr.
Couldock, while his daughter pushed his hair behind his ears, and mildly
said: "Pa's always so emphatic about California."
"Yes!" shouted the old man, "and so would you be if you wore breeches
and dared to speak the truth! You see," he went on, "no one ever gave me
even a hint, and it was just my cursed luck to go overland, risking my
own d----n skin and Eliza's too, and it seems that those God-forsaken
duffers look upon anyone coming to them by the overland route as a sort
of outcast tramp. In fact, that's entering by the back-kitchen door to
San Francisco. You ought to go by sea, and come in at the front door of
their blasted, stuck-up little city if you're to put any of their money
in your purse or be allowed to keep any of your own."
One morning we girls were boasting among ourselves of our abilities as
packers. Hattie, my room-mate, thought she could pack a trunk the
quickest, while I claimed I could pack one with the least injury to the
contents. Miss Couldock, hearing us, exclaimed, laughingly: "Oh, girls,
poor pa could give you all points at that work, while his manner of
_un_packing is so original, so swift, and so thorough, I think I should
explain it to you. First, I must tell you, that that slight bow to pa's
legs is an annoyance to him on every occasion of life, save that of
unpacking his trunks, then it is of great convenience. You see, the
trunks are brought up and dumped in the room. They don't have any locks,
because 'poor pa,' always losing the keys, has to kick the locks off
during the first week that he owns them. Next they are unstrapped and
opened, then pa yanks off the top spread from the bed and lays it open on
the middle of the floor; then he takes his place before the first trunk,
straddles his feet well apart (see, now, how useful that bow becomes),
and fires every single garment the trunk contains between his legs and
on to the quilt. Having emptied the trunks with lightning swiftness, he
claps down their covers for the rest of the week. Whenever he wants
anything for the theatre, he straddles the pile on the quilt, and paws it
wildly, but rapidly over, pulling out a shoulder-cape here, a doublet
yonder, one boot from the top and its mate from the bottom--all these he
pitches into the theatre-basket, and is happy for _that_ day. When the
week is over, pa dumps into the nearest trunk all it will hold, and
what's left over is pitched _en masse_ into the next one. If there is any
difficulty in closing the trunks he don't waste time in trying to
re-arrange the things. There is such beautiful simplicity in all pa's
actions, he just gets up and walks--well, perhaps stamps a little on the
contents, until the lid closes quite nicely, for he is a very quick
packer, is pa, though it's just possible that his method in some degree
may explain his generally rumpled appearance on the stage. What should
_you_ think about it, girls?"
The old gentleman was always very kind to me and had the oddest pet name
for me I ever heard. He used to hail me with: "Where's my crummie girl?
Well, Crummy, how are you?"
In answer to my amazed look, he explained one day that it was a Yorkshire
term, and meant "plump or round faced." The only time he ever cursed me
was when he gave me the cue in the wrong place, as he openly admitted,
and I went on too soon in consequence. Aside, he swore so the air seemed
blue--my legs shook under me. I did not know whether to speak or not. He
rose, and putting his arm about me, he led me off the stage (I was
playing his daughter), and as we crossed the stage, this is what he
said--the words in parentheses being asides to me, the other words being
aloud for the audience:
"(What in h--ll!) My little one! (you double d----n fool!) My bird, what
brings you here? (Yes, what the blankety, blankety, blanknation does
bring you here, crummie girl?) Get back to your nest, dearie! (and stay
there, d----n you!)" as he gently pushed me off the stage. Next day when
the prompter showed him his error he admitted it at once.
He knew much sorrow and trouble, and before that last long streak of good
fortune came to him, in New York, in "Hazel Kirke," he knew a time of
bitter poverty. Eliza had died--a sweet and noble woman--and the loss was
terrible to him. I was just winning success in the East when I was
dumfounded one day at seeing Mr. Couldock standing, bowed and broken,
before me, asking me for help.
A star--dear God! could such things happen to a star? I was so hurt for
him, for his broken pride. When I could speak, I simply told him my
salary, and that two (my mother and myself) were trying to live on it.
"Oh!" he cried, "crummie girl, why don't you demand your rights; your
name is on everyone's lips, yet you are hungry! Shall I speak for you?"
Poor old gentleman, I could not let him go empty away. I took one-half of
my rent-money and handed it to him. I dared not ask my landlady to favor
me further than that. His face lighted up radiantly--it might have been
hundreds from his look. "Dearie!" he said, "I'll pay this back to the
penny. You can ill spare it, I see that, crummie girl, but, oh, my lass,
it's worse to see another hungry than it is to hunger yourself. I'll pay
it back!" His eyes filled, he paused long, then he said, pathetically:
"Some time, crummie girl, some time!"
My landlady granted me grace. Months passed away--many of them--waves
went over me sometimes, but they receded before my breath was quite gone.
Things were bettering a little, and then one day, when I came home from
work, a man had called in my absence--an old man, who had left this
little packet, and, oh! he had been so anxious for its safety!
I opened it to find $25, all in bills of ones and twos. Such a pathetic
story those small bills told--they were for the crummie girl, "With the
thanks of the obliged, Charles W. Couldock."
He had kept his word; he was the only man in this profession who ever
repaid me one dollar of borrowed money. Mr. Couldock was like some
late-ripening fruit that requires a touch of frost for its sweetening. In
his old age he mellowed, he became chaste of speech, his acting of
strong, lovable old men was admirable. He was honored by his profession
in life and honestly mourned in death--he would not have asked more.