“I had dined at the club. A chop. A boiled potato. Mushrooms on toast. A touch of Stilton. Half-a-bottle of Beaune. I lay back in my chair. I debated within myself. A Hall? A theatre? A book in the library? That night, the night of September the eleventh, I as near as a toucher spent in the library of my club with a book. That night! The night of September the eleventh. Last night!
“Fate took me to the Lobelia. Fate! We are its toys. Its footballs. We are the footballs of Fate. Fate might have sent me to the Gaiety. Fate took me to the Lobelia. This Fate which rules us.
“I sent in my card to the manager. He let me through. Ever courteous. He let me through on my face. This manager. This genial and courteous manager.
“I was in the Lobelia. A dead-head. I was in the Lobelia as a dead-head!”
Here, in the original draft of the article, there are reflections, at some length, on the interior decorations of the Hall, and an excursus on music-hall performances in general. It is not till he comes to examine the audience that Mr. Kennedy returns to the main issue.
“And what manner of audience was it that had gathered together to view the entertainment provided by the genial and courteous manager of the Lobelia? The audience. Beyond whom there is no appeal. The Caesars of the music-hall. The audience.”
At this point the author has a few extremely interesting and thoughtful remarks on the subject of audiences. These may be omitted. “In the stalls I noted a solid body of Russian officers. These soldiers from the Steppes. These bearded men. These Russians. They sat silent and watchful. They applauded little. The programme left them cold. The Trick Cyclist. The Dashing Soubrette and Idol of Belgravia. The Argumentative College Chums. The Swell Comedian. The Man with the Performing Canaries. None of these could rouse them. They were waiting. Waiting. Waiting tensely. Every muscle taut. Husbanding their strength. Waiting. For what?
“A man at my side told a friend that a fellow had told him that he had been told by a commissionaire that the pit and gallery were full of Russians. Russians. Russians everywhere. Why? Were they genuine patrons of the Halls? Or were they there from some ulterior motive? There was an air of suspense. We were all waiting. Waiting. For what?
“The atmosphere is summed up in a word. One word. Sinister. The atmosphere was sinister.
“AA! A stir in the crowded house. The ruffling of the face of the sea before a storm. The Sisters Sigsbee, Coon Delineators and Unrivalled Burlesque Artists, have finished their dance, smiled, blown kisses, skipped off, skipped on again, smiled, blown more kisses, and disappeared. A long chord from the orchestra. A chord that is almost a wail. A wail of regret for that which is past. Two liveried menials appear. They carry sheets of cardboard. These menials carry sheets of cardboard. But not blank sheets. On each sheet is a number.
“The number 15.
“Who is number 15?
“Prince Otto of Saxe-Pfennig. Prince Otto, General of the German Army. Prince Otto is Number 15.
“A burst of applause from the house. But not from the Russians. They are silent. They are waiting. For what?
“The orchestra plays a lively air. The massive curtains part. A tall, handsome military figure strides on to the stage. He bows. This tall, handsome, military man bows. He is Prince Otto of Saxe-Pfennig, General of the Army of Germany. One of our conquerors.
“He begins to speak. ‘Ladies and gentlemen.’ This man, this general, says, ‘Ladies and gentlemen.’
“But no more. No more. No more. Nothing more. No more. He says, ‘Ladies and Gentlemen,’ but no more.
“And why does he say no more? Has he finished his turn? Is that all he does? Are his eight hundred and seventy-five pounds a week paid him for saying, ‘Ladies and Gentlemen’?
“No!
“He would say more. He has more to say. This is only the beginning. This tall, handsome man has all his music still within him.
“Why, then, does he say no more? Why does he say ‘Ladies and Gentlemen,’ but no more? No more. Only that. No more. Nothing more. No more.
“Because from the stalls a solid, vast, crushing ‘Boo!’ is hurled at him. From the Russians in the stalls comes this vast, crushing ‘Boo!’ It is for this that they have been waiting. It is for this that they have been waiting so tensely. For this. They have been waiting for this colossal ‘Boo!’
“The General retreats a step. He is amazed. Startled. Perhaps frightened. He waves his hands.
“From gallery and pit comes a hideous whistling and howling. The noise of wild beasts. The noise of exploding boilers. The noise of a music-hall audience giving a performer the bird.
“Everyone is standing on his feet. Some on mine. Everyone is shouting. This vast audience is shouting.
“Words begin to emerge from the babel.
“‘Get offski! Rotten turnovitch!’ These bearded Russians, these stern critics, shout, ‘Rotten turnovitch!’
“Fire shoots from the eyes of the German. This strong man’s eyes.
“‘Get offski! Swankietoff! Rotten turnovitch!’
“The fury of this audience is terrible. This audience. This last court of appeal. This audience in its fury is terrible.
“What will happen? The German stands his ground. This man of blood and iron stands his ground. He means to go on. This strong man. He means to go on if it snows.
“The audience is pulling up the benches. A tomato shatters itself on the Prince’s right eye. An over-ripe tomato.
“‘Get offski!’ Three eggs and a cat sail through the air. Falling short, they drop on to the orchestra. These eggs!
