Without Prejudice

mutable of all, the hero swaggered on, virtuous without mawkishness, pugnacious without brutality. How sublime a destiny, to stand for morals and muscle to the generations of Hoxton, to incarnate the copy-book crossed with the 'Sporting Times!' Were they bearable in private life, these monsters of virtue?

J. B. Howe was long this paragon of men-affectionately curtailed to Jabey. Once, when the villain was about to club him, 'Look out, Jabey!' cried an agonised female voice. It followed from the happy understanding on both sides of the curtain that-give ear, O envious lessees!-no play ever failed. How could it? It was always the same play.

Of like kidney was the Grecian Theatre, where one went out between the acts to dance, or to see the dancing, upon a great illuminated platform. 'T was the drama brought back to its primitive origins in the Bacchic dances-the Grecian Theatre, in good sooth! How they footed it under the stars, those regiments of romping couples, giggling, flirting, munching! Alas! Fuit Troja! The Grecian is 'saved.' Its dancing days are over, it is become the Headquarters of Salvation. But it is still gay with music, virtue triumphs on, and vice grovels at the penitent form. In such quaint wise hath the 'Eagle' renewed its youth, for the Grecian began life as the Eagle, and was Satan's deadliest lure to the 'prentices of Clerkenwell and their lasses:

Up and down the City Road,

In and out the Eagle;

That's the way the money goes!

Pop goes the weasel.

Concerning which immortal lines one of your grammatical pedants has observed, 'There ain't no rhyme to City Road, there ain't no rhyme to Eagle.' Great pantomimes have I seen at the Grecian-a happy gallery boy at three pence-pantomimes compact of fun and fantasy, far surpassing, even to the man's eye, the gilded dullnesses of Drury Lane. The pantomimes of the Pavilion, too, were frolicsome and wondrous, marred only by the fact that I knew one of the fairies in real life, a good-natured girl who sewed carpet-slippers for a living. The Pavilion, by the way, is in the Whitechapel Road, not a mile from the People's Palace, in the region where, according to the late Mr. Walter Besant, nobody ever laughs. The Pavilion, like the 'Brit.,' had its stock company, and when the leading lady appeared for her Benefit as 'Portia,' she was not the less applauded for being drunk. The quality of mercy is not strained. And what more natural than that one should celebrate one's benefit by getting drunk? Sufficient that 'Shylock' was sober!

In Music-Halls, the East-End was as rich as the West,-was it not the same talent that appeared at both, like Sir Boyle Roche's bird, winging its way from one to t' other in cabs? Those were the days of the great Macdermott, who gave Jingoism to English history, of the great Vance, of the lion comiques, in impeccable shirt-fronts and crush hats. There was still a chairman with a hammer, who accepted champagne from favoured mortals, stout gentlemen with gold chains, who might even aspire to conversation with the comiques themselves. Sic itur ad astra. Now there is only a chairman of directors who may, perhaps, scorn to be seen in a music-hall: a grave and potent seignior whose relations with the footlights may be purely financial. There were still improvisatori who would turn you topical verses on any subject, and who, on the very evening of Derby-day, could rhyme the winner when unexpectedly asked by the audience to do so. A verse of Fred Coyne's-let me recall the name from the early oblivion which gathers over the graves of those who live amid the shouts of worshippers-still lingers in my memory, bearing in itself its own chronology:

And though we could wish, some beneficent fairy

Had preserved the life of the Prince so dear,

Yet we WON'T lay the blame on Lieutenant Carey;

And these are the latest events of the year.

With what an answering pandemonium we refused to hold the lieutenant accountable for the death of the victim of the African assegais! And the ladies! How ravishingly they flashed upon the boards, in frocks that, like Charles Lamb at the India Office, made up for beginning late by finishing early! How I used to agree with the bewitching creature who sang that lovely lyric strangely omitted from the Anthologies:

What a nice place to be in!

What a nice place, I 'm sure!

Such a very jolly place,

I've never seen before.

It gives me, oh! such pleasure,

And it Ms my heart with bliss,

I could stay here for ever:

What a nice place is this!

Such eyes she made at me-at whom else?-aloft in the balcony; and oh, what arch smiles, what a play of white teeth! If we could only have met! Yester-year at a provincial town some one offered to introduce her to me. She was still playing principal boy in the pantomime-a gay, gallant Prince, in plumed cap and tights. But I declined. Another of the great comic singers of my childhood-a man-I met on a Margate steamboat. He told me of the lost glories of the ancient days quorum pars magna fuit, and of the after-histories of his great rivals. One, I recollect, had retired with a fortune, opened a magnificent Temperance Hotel at the seaside, and then broken his neck by falling down his own splendid staircase, drunk. 'Ah,' said the veteran, sighing at an overcrowded profession, 'there were only two or three comic singers in those days.' 'There are only two or three now,' quoth I. And the old man beamed. Another ancient hero of the halls, long since translated to the theatres, whom I first saw at a music-hall in St. Giles', buttonholed me the other night in St. James', in the halls of a Duchess: a curious meeting. That I should have ever reverenced him seemed as strange as that there should be still people to reverence the coronet of the Duchess. Yes, it is very far off, that magic time when the world was full of splendid things and splendid men and women, a great Fair, and I, like the child in Henley's poem, wandered about, enjoying, desiring, possessing. Now I know there is nothing worth wanting, and nothing but poor flesh and blood, despite all the costumes and accessories. For there is no sense in which I have not been 'behind the scenes.' And as for the literal theatric sense, I have flirted with the goddesses at the wings till they have missed their cues, I have supped at the Garrick Club of a Saturday night, when all the stars come out, I have toured with a travelling company, I have had words of my own spoken by dainty lips,-nay, I have even played myself, en amateur, the irascible old gentleman with the snuff-box and the coloured handkerchief. And what is there to say of the human spectacle, but that perhaps the pains and the crimes are necessary to the show, and that without a blood-and- thunder plot human life would not run, drying up of its own dullness? 'All the world's a stage,' and we are all cast for stock roles. Some of us have the luck to be heroes, the complacent centre of eternal plaudits, some are born for villainy and the brickbat. And while others have had to play goodness knows what-medieval Italian princesses, Cockney cabmen, old Greek hetaire, German cuirassiers, American presidents, burglars, South Sea Islanders-I find myself-for the first time on any stage-in the applauded role of man of letters, if with little option of throwing up the part. They have an optimistic phrase, those happy-go-lucky creatures of the footlights, when, on the very day of production, nobody knows his words or his business, the scene will not shape itself, and chaos is lord. 'It will be all right at night,' they say. And we, who play our parts gropingly on this confused and noisy scene, wondering what is the plot, and where is the manager, and straining our ears for the prompter's whisper, can but echo with another significance their cheery hope: 'It will be all right at night.' Perhaps, when the long day's work has drawn to its end, and the curtain, has fallen upon the plaudits and the hisses, we shall all sit down to supper after the play, complimented by the Author, smiling at the seriousness with which we took our roles of hero or villain, and glad to be done with, the make-up and the paint. And in the music that shall hover about our table, we may perhaps find a celestial restfulness, compared to which the most exquisite orchestras of this earth shall sound but as 'tuning up.'

III. ART IN ENGLAND

My friend the Apostle was in hot haste, and would not stay to be contradicted. 'Not going tonight!' he cried, in horror-struck accents. 'Why, tonight is the turning-point in the history of the British drama! To-night is the test- battle of the old and the new; it is the shock of schools, the clash of nature against convention. This play will decide the fate of our drama for the rest of the century. Here you have a play by a leader of the old school produced at a leading theatre. If it succeeds, the old drama may linger on for a year or two more; but if it fails, it will be the death-blow of the old gang. They may pack up!' The Apostle was at the other end of the street ere I had taken in the full import of these brave words. What! there was a crisis in the drama, and I, living in the heart of art, had