"DOWN UNDER"
I
This time Lola was going further afield. A long way further. Two
continents had already been exploited. Now she would discover what a
fresh one held.
Her plan was to leave the Stars and Stripes for the Southern Cross. As
an initial step, "she sold her jewels for 20,000 dollars to the madam
of a fashionable brothel." Having thus secured adequate funds, she
assembled a number of out-of-work actors and actresses and engaged
them to accompany her on a twelve months' tour in Australia. Except
for Josephine Fiddes (who was afterwards to understudy Adah Isaacs
Menken, of _Mazeppa_ renown) and, perhaps, her leading man, Charles
Follard, they were of a distinctly inferior calibre.
The departure from California was duly notified in a paragraph sent
round the press:
"We beg to inform our readers and the public generally that on June 6
the celebrated Lola Montez left San Francisco, at the head of a
theatrical troupe of exceptional talent, bound for distant Australia.
The public in the Antipodes may confidently look forward to a rare
treat."
The voyage across the Pacific being in a sailing vessel, was a longish
one and occupied nearly ten weeks from start to finish. However,
anchor was dropped at last; and on August 23, 1855, a "colossal
attraction" was announced in "Lola Montez in Bavaria" at the Victoria
Theatre, Sydney. There, thanks to the interest aroused by her exploits
in other parts of the world, the newcomer was assured of a good
reception.
But theatrical stars were always accorded a special measure of
deference by the colonists. Thus, Miss Catherine Hayes, who was
playing at an opposition house, was invited to luncheon by the Bishop
of Sydney and to dinner by the Attorney-General; and a Scottish
conjurer, "Professor" Anderson, was given an "address of welcome" by
the Town Council.
While these particular honours were not enjoyed by Lola (who, for some
reason best known to herself, had elected to be entered in the
passenger-list as "Madam Landsfeld Heald"), she was none the less
accorded considerable publicity. "The eccentric and much advertised
Lola Montez," said the _Herald_ on the morning after her New South
Wales début, "pounces upon us direct from California, and the
excitement of her visit is emptying the opposition theatre. Last night
the Countess looked positively charming and acted very archly.... On
the fall of the curtain, she presented Mr. Lambert (who played the
King of Bavaria) with an elegant box of cigarettes."
Naturally enough, the star was interviewed by the journalists. "At the
Victoria Theatre," says one of them, "I was privileged to have a talk
with Madame Lola after the performance had concluded. I found
her--much to my surprise--to be a very simple-mannered, well-behaved,
cigar-loving young lady."
An odd picture of Sydney audiences is given by the author of _Southern
Lights and Shadows_. "The young ladies of Australia," he says, "are in
many respects remarkable. At thirteen they have more ribbons, jewels,
and lovers than any other young ladies of the same age. They prattle
insipidly from morning to night. The first time I visited a theatre I
sat next one of them who had at least half a dozen rings worn over her
gloves.... The affectation of _ton_ among them is astonishing. They
are special patrons of the drama, and, on the appearance of a star,
they flock to the dress circle in hundreds. The pit is generally well
filled with a display of shirt-sleeves, pewter pots, and babies. The
upper boxes are usually given up to that division of the community
partial to pink bonnets and cheeks to match; and flirtations are
carried on in the most flagrant and unblushing manner."
The author of this sketch also has something to say about Sydney as a
town:
"One part of George Street is as much like Bond Street in London as it
is possible for one place to resemble another. Like Bond Street, too,
it is hourly paraded by the Bucks and Brummels of the Colony. The Café
François is much frequented by the young swells and sprigs of the
city. Files of _Punch_, _The Times_, sherry coblers, an entertaining
hostess, and a big-bloused lubberly host are the special points left
in my recollection. They serve 800 meals a day at this establishment,
the rent of which is £2,400 a year."
II
During this Sydney engagement, Lola, ever interested in the cause of
charity, organised a "Grand Sebastopol Matinée Performance," the
proceeds being "for the benefit of our wounded heroes in the Crimea."
As the cause had a popular appeal, the house was a bumper one.
Possibly, it was the success of this _matinée_ that led to an
imaginative chronicler adding: "Our distinguished visitor, Madame Lola
Montez, Countess of Landsfeld, is, with her full company of Thespians,
on the point of leaving us for Balaclava. There, at the special
request of Lord Raglan and Miss Florence Nightingale, she will
inaugurate a theatre for the enjoyment of our gallant warriors and
their Allies."
Another odd tit-bit was sent to England by the theatrical
correspondent of a London paper. This declared that a masculine member
of her company "jumped into the harbour, mortified at discovering that
Madame Lola had turned a more friendly face on a younger brother of
the Duke of Wellington who had followed her to Sydney from Calcutta."
The artistic temperament.
At intervals, however, other and better established items of news were
received from Australia and, as opportunity offered, found a niche in
the London papers. From these it would appear that all was not going
smoothly with Lola's plans, and that the start of the Antipodean
venture was somewhat tempestuous.
"In Sydney," says a letter on the subject, "a regrettable fracas
recently occurred at the theatre where Madame Montez has been playing.
Stepping in front she endeavoured to quell the uproar by announcing
that, while she herself 'rather liked a good row,' she would appeal to
the gallantry of the _gentlemen_ in the pit and gallery to respect the
wishes of a lady and not interfere with the enjoyment of others by
interrupting the performance. The request, however, fell on deaf ears.
The uproar continued for some time, and was much increased by the
actors and actresses squabbling among themselves on the stage."
There was a good deal of "squabbling" among the company. Its members
were not a happy family. They had been engaged by their principal to
support her. Instead, however, of rendering such support, a number of
them did all they could to wreck the tour. Thereupon, Lola, adopting
strong measures, discharged the malcontents and left for Melbourne by
the next steamer. That she was justified in her action is clear from a
letter which her solicitors sent to the Press:
"Our client, Madam Lola Montez, was unwise enough to engage,
at enormous cost to herself, a very inferior company in
California. Before starting, she made large advances to
every one of them; paid their passages from America (where
they were nearly all heavily in debt) to Australia; and
trusted that, in return for her immense outlay, she would at
least receive efficient assistance from them. But this band
of obscure performers not only loaded her with insults while
they continued to live on her, but on their arrival in
Sydney they one and all refused to discharge their allotted
tasks."
"When Madam Montez (not unnaturally irritated by such
conduct) proposed, through us, to cancel their agreements on
reasonable terms, they insisted on the fulfilment of the
contract which they themselves had been the first to break,
and made claims upon her amounting to about £12,000. This
_moderate_ demand being very properly refused by our client,
they secured an order for her arrest in respect of a number
of separate actions. Only one of these (a claim for £100)
was lodged in time for a warrant to be issued. When,
furnished with this, Mr. Brown, the sheriff's officer,
appeared on board the steamer, Madam tendered him £500,
which, however, he refused to accept, insisting that she
should also settle the various other claims for which he did
not have warrants. Our client refused to leave the vessel,
for which refusal, we, as her solicitors, are quite willing
to accept responsibility."
The fact that there was talk of instituting proceedings against the
captain of the steamer and his subordinates led the solicitors to add
a postscript:
"Those who governed the movements of the _Watarah_ are ready
to answer for their conduct. They saw a lady threatened with
arrest at the last moment for a most unjust claim, tendering
five times the amount demanded, and having that offer
refused. Hence, they did not feel called upon to interfere."
Another account of the episode is a little different. This declares
that, just before starting from Sydney, she "dismissed with a
blessing" two members of the company. As they wanted something more
easily negotiable, they issued a writ of attachment. When the
sheriff's officer attempted to serve it: "Madame Lola, ever ready for
the fray, retired to her cabin and sent word that she was quite naked,
but that the sheriff could come and take her if he wanted to." An
embarrassing predicament; and, unprepared to grapple with it, "Poor
Mr. Brown blushed and retired amid roars of laughter."
Having thus got the better of the Sydney lawyers, and filled up the
vacancies in her company with fresh and more amenable recruits, Lola
reached the Victorian capital without further adventure. A picture of
the city, as it was when she landed there, is given by a contemporary
author:
"Melbourne is splendid. Fine wide streets, finer and wider
than almost any in London, stretch away for miles in every
direction. At any hour of the day thousands of persons may
be observed scurrying along them with true Cheapside
bustle." The Melbourne youth, however, appears to have been
precocious. "I was delighted," remarks this authority, "with
the Colonial young stock. The average Australian boy is a
slim, olive-complexioned young rascal, fond of Cavendish,
cricket, and chuck-penny, and systematically insolent to
girls, policemen, and new chums.... At twelve years of age,
having passed through every phase of probationary
shrewdness, he is qualified to act as a full-blown bus
conductor. In the purlieus of the theatres are supper-rooms
(lavish of gas and free-mannered waitresses), and bum-boat
shops where they sell play-bills, whelks, oranges, cheroots,
and fried fish."
But, notwithstanding the existence of these amenities, all was not
well where Lola was concerned. The Sydney correspondent of the _Argus_
had injured her chances of making a favourable impression by writing a
somewhat imaginative account of her troubles there:
"I need not tell you that the Montez has gone to Melbourne,
as she will have arrived before this letter, and is not the
sort of woman to keep her arrival secret. It may not,
however, be so generally known that she has made what is
colonially termed a 'bolt' from here.... Thinking, perhaps,
that Australia was not yet a part of the civilised world,
and that a company of players could not be secured here,
Madame brought a set of comedians from San Francisco. They
were quite useless. More competent help could have been had
on the spot."
Lola said nothing. Her leading man however, Mr. Follard, had something
to say, and wrote a strong letter to the editor:
"Permit me to state, with all due deference to your
correspondent's term 'bolt,' that Madame Lola Montez left
quietly and unostentatiously.... The attempt to stop her
leaving Sydney and prevent her engagement in Melbourne was
an exhibition of meanness at which every honest heart must
feel disgusted. Alone, in a strange land, without friends or
protector, her position as a woman should in itself have
saved her from the unmanly abuse heaped upon her and the
contemptible attitude manifested by some of her company."
A second adverse factor against which Lola had to contend in Melbourne
was that prices had been doubled for her engagement there. This was
considered a grievance by the public. The difficulty, however,
adjusted itself, for the programme she offered was one that proved
specially attractive.
"The highest degree of excitement was," ran the _Herald_ criticism,
"produced upon visitors to the Theatre Royal by the actual presence of
this extraordinary and gifted being, with the praises of whose beauty
and _esprit_ the whole civilised world has resounded.... After
curtseying with inimitable grace to the audience, the fair _artiste_
withdrew amidst a fresh volley of cheers."
But Lola, who never missed an opportunity of airing her opinions,
aired them now:
"At the end of the performance," says a report, "Madame Lola Montez
was vociferously called and addressed the audience in an animated
speech, commenting upon some remarks that had been published in a
certain journal. When a gentleman ventured to laugh while she was
enumerating the political benefits she had conferred on Bavaria, the
fair orator promptly informed him that such conduct was not usually
considered to be courteous."
The Melbourne engagement finished up with a triple bill. The
principal item was a novelty she had, the "Spider Dance," which Lola
had brought from America. In this she appeared with hundreds of wire
spiders sewn on her attenuated ballet skirts; and, when any of them
fell off, she had to indulge in pronounced wriggles and contortions to
put them back in position. The accompanying movements of her body were
held to be by some standards "daring and suggestive." In fact, so much
so that the representative of the _Argus_ dubbed the number "the most
libertinish and indelicate performance that could possibly be given on
the public stage. We feel compelled," he continued solemnly, "to
denounce in terms of unmeasured reprobation the performance in which
Madame Montez here figures." Yet, Sir Charles Hotham, the Governor,
together with Lady Hotham and their guests, had witnessed it without
sustaining any serious damage. But perhaps they were made of tougher
material.
The critic of the _Morning Herald_ at this period (understood to be R.
H. Horne, "the Jules Janin of Melbourne") was either less thin-skinned
or else more broad-minded than his _Argus_ comrade. At any rate, he
saw nothing much to call for these strictures. Thinking that the
newcomer had not been given fair play, he endeavoured to counteract
the adverse opinion that had been expressed by publishing a laudatory
one of a column length, in which he declared: "Madame Montez went
through the entire measure with marked elegance and precision, and the
curtain fell amid salvoes of well merited applause."
Convinced that here was a critic who really knew his business, and a
friend on whom she could rely to do her justice, Lola wrote to the
editor:
GRAND IMPERIAL HOTEL,
_September, 1855._
SIR,
A criticism of my performance of the "Spider Dance" at the
Theatre Royal was published in this morning's _Argus_,
couched in such language that I must positively answer it.
The piety and ultra-puritanism of the _Argus_ might prevent
the insertion of a letter bearing my signature. Therefore, I
address myself to you.
The "Spider Dance" is a national one, and is witnessed with
delight by all classes in Spain, and by both sexes from
Queen to peasant.
I have always looked upon this dance as a work of high art;
and I reject with positive scorn the insinuation of your
contemporary that I wish to pander to a morbid taste for
what is improper or indelicate.
I shall be at my post to-morrow evening; and will then adopt
a course that will test the value of the opinion advanced by
the _Argus_.
[Illustration: _Lola as a Lecturer. From stage to platform_
AUTOBIOGRAPHY
AND
LECTURES
OF
LOLA MONTEZ
COUNTESS OF LANDSFELD]
The promised "course" was merely to deliver a long speech from the
stage, and ask the audience to decide whether she should give the
vexed item, or not. The audience were emphatic that she should; and,
when she had finished, "expressed their views on the subject by
uttering loud groans for the _Argus_ and lusty cheers for the
_Herald_."
Honours to Lola!
But the "Spider Dance" was still to prove a source of trouble. The
next morning a certain Dr. Milton, who had constituted himself a
champion of morals, appeared at the police-court and applied for a
warrant for the arrest of Lola Montez, on the grounds that she had
"outraged decency."
"I am in a position," he declared, "to produce unquestionable evidence
of the indelicacy of her performance."
"You must take out a summons in the proper fashion," said the
magistrate, who clearly had no sympathy with busybodies.
But, before he could do so, Dr. Milton found himself served with a
writ for libel. As a result, nothing more was heard of the matter.
In addition to its Mawworms, of which it was afflicted with an
appreciable number of specimens, the city of Melbourne would appear
to have had other drawbacks at this period. According to R. H. Horne,
local society was somewhat curiously constituted. "There is an
attempt," he says, "at the nucleus of a 'court circle'; and if the
Home Government think fit to make a few more Australian knights and
baronets there may be good hopes for the enlargement of the enchanted
hoop. The Melbourne 'Almack's' is to be complimented on the moral
courage with which its directors have resisted the claims for
admission of some of the wealthy unwashed and other unsuitables. Money
is not quite everything, even in Melbourne."
There were further strictures on the morals of Victoria, as compared
with those of New South Wales:
"The haunts of villainy in Sydney are not surpassed by those
in Melbourne; but, with regard to drunkenness and
prostitution, the latter place is far worse than Sydney. The
Theatre Royal contains within itself four separate
drinking-bars. The Café de Paris, in the same building, has
two bars. In the theatre itself there is a drinking public
every night, especially when the house is crowded. Between
every act it is the custom of the audience to rush out for a
nobbler of brandy. The only exceptions are the occupants of
the dress-circle, more especially when the Governor is
present."
By the way, the "List of Beverages" shows that, in proof of her
popularity, a "Lola Montez Appetiser," consisting of "Old Tom, ginger,
lemon and hot water," was offered to patrons.
Alcohol was not alone among the objects at which "Orion" Horne tilted.
He also disapproved of cricket. "The mania," he says, "for bats and
balls in the boiling sun during last summer exceeded all rational
excitement. The newspapers caught the epidemic, and, while scarcely
noticing other far more useful games, they devoted columns upon
columns to minute accounts of the matches of a hundred different
clubs. The very walls of Melbourne became infected. On the return of
the Victorians from Sydney, a reporter for the _Herald_ designated
them 'the laurelled warriors.' If there is no great harm in this, the
thing has been carried too far."
It is just as well, perhaps, for Horne's peace of mind that the
present day value attached to "Ashes" had not arisen, and that an
Australian XI did not visit England until another twenty years had
passed.
III
After Melbourne, the next step in Lola's itinerary was Geelong. The
programme she offered there was a generous one, for it included a
"Stirring drama, entitled, _Maidens, Beware!_ and the elegant and
successful comedy, _The Eton Boy_," to which were added a "sparkling
comedietta" and a "laughable farce." This was good value. The Geelong
critic, however, did not think very much of the principal item in this
bill. "It has," he observed solemnly, "an impossible plot, with
situations and sentiments quite beyond the understanding of us
barbarians."
This supercilious attitude was not shared by the simple-minded
diggers, who found _Maidens, Beware!_ very much to their taste. But
nothing else could have been expected, for it offered good measure of
all the elements that ensure success every time they are employed.
Thus, the hero is wrongfully charged with a series of offences
committed by the villain; a comic servant unravels the plot when it
becomes intricate; and the heroine only avoids "something worse than
death" by proving that a baronet, "paying unwelcome addresses," (but
nothing else) has forged a will.
Having a partiality for the society of diggers, with whom she had
always got on well, Lola next betook herself to Ballarat. It was an
unpropitious moment for a theatrical venture in that part of the
world. The atmosphere was somewhat unsettled. The broad arrows and
ticket-of-leave contingent who made up a large section of the
community were clamouring for a republic; and there was a considerable
amount of rioting. A rebel flag had been run up by the mob; and the
military had to be called out to suppress the activities of the
"Ballarat Reform League." Still, Lola was not the woman to run away
from danger. As she had told a Sydney audience, she "rather liked a
good row."
The coming of Lola Montez to Ballarat was heralded by a preliminary
paragraph:
"Our readers will be pleased to learn that the
world-renowned Lola, a lady who has had Kings at her beck,
and who has caused nearly as much upheaval in the world as
Helen of Troy, is about to appear among us. On leaving
Melbourne by coach, she presented the booking clerk with an
autographed copy of a work by the famous Mrs. Harriet
Beecher Stowe. Young gentlemen of Ballarat, look out for
your hearts! Havoc will assuredly be played among them."
Her colourful career attracted the laureates. One of them found in it
inspiration for a ballad, "Lola, of the rolling black eye!" which was
sung at every music-hall in the Colony. A second effort regarded the
matter in its graver aspects. The first verse ran as follows:
She is more to be pitied than censured,
She is more to be helped than despised.
She is only a lassie who ventured
On life's stormy path ill-advised.
Do not scorn her with words fierce and bitter,
Do not laugh at her shame and downfall,
For a moment just stop to consider
_That a man was the cause of it all!_
Ludwig of Bavaria had done better than this. A lot better. Annoyed at
the innuendo it contained, Lola flourished her whip afresh and
threatened the bard with an action for damages.
The Victoria Theatre, Ballarat (where Lola Montez was to give the
diggers a sample of her quality), was a newly built house,
"reflecting," declared an impressed reporter, "every modern elegance.
In front of the boxes," he continued, "are panels, chastely adorned
with Corinthian festoons, encircling a gilded eagle emblematic of
liberty. Above the proscenium is an ellipse, exhibiting the Australian
coat of arms. The ceiling is ornamented by a dome, round which are
grouped the nine Muses, and the chandelier is the biggest in the
Colony. From the dress-circle there is direct communication with the
adjoining United States Hotel, so that first-class refreshments can be
procured without the slightest inconvenience. There are six
dressing-rooms; and Madame Lola Montez has a private and sumptuously
furnished apartment."
As the repertoire she offered was to include ("by special request")
the "Spider Dance," she took the precaution of sending a description
of it to the _Ballarat Star_:
The characteristic and fascinating SPIDER DANCE has been
performed by MADAME LOLA MONTEZ with the utmost success
throughout the United States of America and before all the
Crowned Heads of Europe.
This dance, on which malice and envy have endeavoured to fix
the stain of immorality, has been given in the other
Colonies to houses crammed from floor to ceiling with rank
and fashion and beauty. In Adelaide His Excellency the
Governor-General, accompanied by Lady McDonnell and quite
the most select ladies of the city, accorded it their
patronage, while the Free and Accepted Masons did Madame
Lola Montez the distinguished honour of attending in full
regalia.
It was on February 16, 1856, that Lola Montez opened at Ballarat. A
generous programme was offered, for it consisted of "the elegant and
sparkling comedy, _A Morning Call_; the laughable farce, _The
Spittalsfields Weaver_; the domestic drama, _Raffaelo, the Reprobate_;
and the Shakespearean tragedy, _Antony and Cleopatra_; all with new
and sumptuous scenery, dresses, and appointments."
In accordance with the fashion of the period, the star had to recite a
prologue. An extract from it was as follows:
'Tis only right some hurried words to say
As to the name this theatre bears to-day,
For I would have you fully understand
I seek for patrons men of every land.
'Tis not alone through prejudice has been
Attached the name of Britain's virtuous Queen.
And may your gen'rous presence and applause
Mutual content and happy evenings cause!
But this was merely an introduction. There was more to follow, for the
"personal" touch had yet to be delivered.
As for _myself_, you'll find in Lola Montez
The study how to please my constant wont is!
Yet I am vain that I'm the first star here
To shine upon this Thespian hemisphere.
And only hope that when I say "Adieu!"
You'll grant the same I wish to you--
May rich success reward your daily toil,
Nor men nor measures present peace despoil,
And may I nightly see your pleasant faces
With these fair ladies, your attendant Graces!
IV
But, despite this auspicious start, all was not set fair at Ballarat.
As had happened in other places, Lola was to fall foul of a critic who
had disparaged her. Furiously indignant, and horse-whip in hand, she
rushed into the editor's office and executed summary vengeance upon
him.
"A full account of this remarkable business," announced the
opposition journal, "will be given by us to-morrow. Our
readers may anticipate a perfect treat." They got it, too,
if one can trust the report of a "few choice observations"
delivered by Lola to her audience on the second night of her
engagement:
"Ladies and Gentlemen: I am very sure that all of you in
this house are my very good friends; and I much regret that
I now have a most unpleasant duty to perform. I had imagined
that, after all the kindness I have experienced from the
miners in California, I should never have had anything
painful to say to you. Now, however, I am compelled to do
so.
"I speak to the ladies, as members of my own sex, and to the
gentlemen, as my natural protectors. Well, what I have to
tell you is that there is a certain gentleman in this town
called Seekamp. Just take out the E's, and what is left of
his name becomes _Skamp_. Listen to my story, and then judge
between us. This Mr. Seekamp, who is the editor of the
_Ballarat Times_, actually told me, in the hearing of
another lady and two quite respectable gentlemen, that the
miners here were a set of ----. No, I really cannot sully my
lips with the shocking word he used--and that I was not to
believe them.
"Mr. Seekamp called on me, with a certain proposition, and
accepted my hospitality. You all know he is just a little
fond of drinking. Well, while he was at my house the sherry,
the port, the champagne, and the brandy were never off the
table. He ate with me, and he drank with me. In fact, he
drank so freely that it was only my self-respect that
prevented me having him removed. But I said to myself,
'After all, he is an editor; perhaps this is his little
way.'
"Well, I did as Mr. Seekamp wanted, and as a result, I was a
ten pound note out of pocket by it. I was green, but I was
anxious to avoid making enemies among editors. Yet, when his
paper next appears, I am referred to in it as being
notorious for my immorality. Notorious, indeed! Why, I defy
everybody here, or anywhere else, to say that I am, or ever
was, immoral. It's not likely that, if I wanted to be
immoral, I should be slaving away and earning my bread by
hard work. What do you think?
"Ladies and Gentlemen, I appeal to you. Is it fair or
generous of this Seekamp person to behave to me like this?
The truth is, my manager, knowing that he was a
good-for-nothing fellow, gave my printing orders to another
editor. In revenge, the angry Seekamp says he will hound me
from this town. Ladies and Gentlemen, I appeal to you for
protection."
"And here," adds the report, "the intrepid Lola retired amid deafening
applause. Three hearty cheers were given for Madame and three lusty
groans for her cowardly traducer."
On the following night there was more speech-making. This time, Lola
complained to the audience that she had been freshly aspersed by the
objectionable Seekamp. "I offered," she said, "though merely a woman,
to meet him with pistols, but the cur who attacks a lady's character
runs away from my challenge. He says he will drive me from the
Diggings. Well, I intend to turn the tables, and to make Seekamp
de-camp. I very much regret," she added, "having been compelled to
assert myself at the expense of Mr. Seekamp, but, really it was not my
fault. His attacks on my art were most ungentlemanly. I challenged him
to fight a duel, but the poltroon would not accept."
In the best tradition of the _Eatanswill Gazette_, the _Ballarat Star_
referred to the _Ballarat Times_ as "our veracious contemporary and
doughty opponent," and alluded to the "unblushing profligacy of its
editorial columns." The proprietor of the United States Hotel and the
solicitor for Lola Montez also sailed into the controversy and
challenged Mr. Seekamp to "eat his words." That individual, however,
not caring about such a diet, refused to do anything of the sort.
The matter did not end there, and a number of correspondents took up
the cudgels on behalf of Lola Montez.
"Is it possible," wrote one of them to the editor of the _Star_, "that
Mr. Seekamp can, in his endeavour to blacken the fair fame of a woman,
insinuate that he is also guilty of the most shocking immorality? I
blush to think it." There was also a letter in a similar strain from
"John Bull," and another from "An Eton Boy," animadverting upon Mr.
Seekamp's grammar.
Feeling herself damaged in reputation, Lola's next step was to
instruct her solicitor to bring an action for libel against Seekamp.
The magistrate remitted the case to the superior court at Geelong.
But, as an apology was offered and accepted, nothing more was heard of
it.
This, however, was not the end of her troubles at Ballarat, for
horse-whips were again to whistle in the air. But, this time Lola got
more than she bargained for. She was using her whip on one Mr. Crosby,
the manager of the theatre there, when that individual's spouse--a
strong-minded and muscular woman--wrested the weapon from her and laid
it across her own back.
The account given by an eye-witness is a little different. "At
Ballarat," he says, "Lola pitched into and cross-buttocked a stalwart
Amazon who had omitted to show her proper respect."
"Cross-buttocked" would appear to be an expression which, so far, has
eluded the dictionary-makers.
In other parts of the Colony, however, Lola's reception more than made
up for any little unpleasantnesses at Ballarat. "Her popularity," says
William Kelly, an Australian squatter, "was not limited to the stage.
She was welcomed with rapture on the gold fields, and all the more for
the liberal fashion in which she 'shouted' when returning the
hospitality of the diggers. Her pluck, too, delighted them, for she
would descend the deepest shafts with as much nonchalance as if she
were entering a boudoir."
From Sandhurst Lola Montez travelled to Bendigo, where the tour
finished. There, says a pressman, "she lived on terms of the most
cordial amity with the entire populace, and without a single
disturbing incident to ruffle the serenity of the intercourse."
V
Having completed her tour in Australia, with considerable profit to
herself, Lola Montez disbanded her company, and, in the autumn of
1856, returned to Europe. She had several offers from London; but,
feeling that a rest was well earned, she left the ship at Marseilles
and took a villa at St. Jean de Luz. While there, she appears to have
occupied a certain amount of public attention. At any rate, Émile de
Girardin, thinking it good "copy," reprinted in _La Presse_ a letter
she had written to the _Estafette_:
ST. JEAN DE LUZ,
_September 3, 1856._
Sir: The French and Belgian papers are announcing as a
positive fact that the suicide of Monsieur Mauclerc (who
deliberately precipitated himself from the top of the Pic du
Midi cliff) was caused by various troubles I had occasioned
him. If he were still living, Monsieur Mauclerc would
himself, I feel certain, contradict this calumny.
It is true that we were married; but, finding, after eight
days, that our union was not likely to turn out a happy one,
we parted by mutual consent. The story of my responsibility
for the Pic du Midi business only exists in the imaginative
brain of some journalist who revels in supplying tragic
details. Anyhow, Mr. Editor, I count upon your sympathy to
exculpate me from any share in the melancholy event.--Yours,
LOLA MONTEZ.
Mauclerc, however, so far from being dead, was still very much alive,
and was sunning himself just then at Bayonne. Having read this letter,
he answered it in the next issue:
I have just seen in the columns of _La Presse_ a letter from
Lola Montez. This gives an account of a deliberate jump from
the top of a cliff and of a marriage with myself as the
chief actor in each catastrophe. All I have to say about
them is that I know nothing of these important occurrences.
I assure you, sir, I have never felt any desire to
"precipitate" myself, either from the Pic du Midi or from
anywhere else; nor have I ever had the distinction of being
the husband of the famous Countess of Landsfeld for a matter
of even eight days.--MAUCLERC. Artist dramatique.
_September 9, 1856._
Lola ignored this _démenti_. Possibly, however, she did not read it,
for she was just then arranging another trip to America.