Part 5

When George the Fourth was Regent, Her Majesty's Theatre, as the Italian Opera in the Haymarket is still called, was conducted on a very different system from that which now prevails. Some years previous to the period to which I refer, no one could obtain a box or a ticket for the pit without a voucher from one of the lady patronesses; who, in 1805, were the Duchesses of Marlborough, Devonshire, and Bedford, Lady Carlisle, and some others. In their day, after, the singing and the ballet were over, the company used to retire into the concert-room, where a ball took place, accompanied by refreshments and a supper. There all the rank and fashion of England were assembled on a sort of neutral ground. At a later period, the management of the Opera House fell into the hands of Mr. Waters, when it became less difficult to obtain admittance; but the strictest etiquette was still kept up as regarded the dress of the gentlemen, who were only admitted with knee-buckles, ruffles, and chapeau bras. If there happened to be a drawing-room, the ladies would appear in their court-dresses, as well as the gentlemen, and on all occasions the audience of Her Majesty's Theatre was stamped with aristocratic elegance. In the boxes of the first tier might have been seen the daughters of the Duchess of Argyle, four of England's beauties; in the next box were the equally lovely Marchioness of Stafford and her daughter, Lady Elizabeth Gore, now the Duchess of Norfolk: not less remarkable was Lady Harrowby and her daughters Lady Susan and Lady Mary Ryder. The peculiar type of female beauty which these ladies so attractively exemplified, is such as can be met with only in the British Isles: the full, round, soul-inspired eye of Italy, and the dark hair of the sunny south, often combined with that exquisitely pearly complexion which seems to be concomitant with humidity and fog. You could scarcely gaze upon the peculiar beauty to which I refer without being as much charmed with its kindly expression as with its physical loveliness.

DINING AND COOKERY IN ENGLAND FIFTY YEARS AGO

England can boast of a Spenser, Shakspeare, Milton, and many other illustrious poets, clearly indicating that the national character of Britons is not deficient in imagination; but we have not had one single masculine inventive genius of the kitchen. It is the probable result of our national antipathy to mysterious culinary compounds, that none of the bright minds of England have ventured into the region of scientific cookery. Even in the best houses, when I was a young man, the dinners were wonderfully solid, hot and stimulating. The menu of a grand dinner was thus composed:--Mulligatawny and turtle soups were the first dishes placed before you; a little lower, the eye met with the familiar salmon at one end of the table, and the turbot, surrounded by smelts, at the other. The first course was sure to be followed by a saddle of mutton or a piece of roast beef; and then you could take your oath that fowls, tongue, and ham, would as assuredly succeed as darkness after day.

Whilst these never ending pieces de resistance were occupying the table, what were called French dishes were, for custom's sake, added to the solid abundance. The French, or side dishes, consisted of very mild but very abortive attempts at Continental cooking, and I have always observed that they met with the neglect and contempt that they merited. The universally adored and ever popular boiled potato, produced at the very earliest period of the dinner, was eaten with everything, up to the moment when sweets appeared. Our vegetables, the best in the world, were never honoured by an accompanying sauce, and generally came to the table cold. A prime difficulty to overcome was the placing on your fork, and finally in your mouth, some half-dozen different eatables which occupied your plate at the same time. For example, your plate would contain, say, a slice of turkey, a piece of stuffing, a sausage, pickles, a slice of tongue, cauliflower, and potatoes. According to habit and custom, a judicious and careful selection from this little bazaar of good things was to be made, with an endeavour to place a portion of each in your mouth at the same moment. In fact, it appeared to me that we used to do all our compound cookery between our jaws. The dessert--generally ordered at Messrs. Grange's, or at Owen's, in Bond Street--if for a dozen people, would cost at least as many pounds. The wines were chiefly port, sherry, and hock; claret, and even Burgundy, being then designated "poor, thin, washy stuff." A perpetual thirst seemed to come over people, both men and women, as soon as they had tasted their soup; as from that moment everybody was taking wine with everybody else till the close of the dinner; and such wine as produced that class of cordiality which frequently wanders into stupefaction. How all this sort of eating and drinking ended was obvious, from the prevalence of gout, and the necessity of everyone making the pill-box their constant bedroom companion.

THE PRINCE REGENT

When the eldest son of George the Third assumed the Regency, England was in a state of political transition. The convulsions of the Continent were felt amongst us; the very foundations of European society were shaking, and the social relations of men were rapidly changing. The Regent's natural leanings were towards the Tories; therefore as soon as he undertook the responsibility of power, he abruptly abandoned the Whigs and retained in office the admirers and partisans of his father's policy. This resolution caused him to have innumerable and inveterate enemies, who never lost an opportunity of attacking his public acts and interfering with his domestic relations.

The Regent was singularly imbued with petty royal pride. He would rather be amiable and familiar with his tailor than agreeable and friendly with the most illustrious of the aristocracy of Great Britain; he would rather joke with a Brummell than admit to his confidence a Norfolk or a Somerset. The Regent was always particularly well-bred in public, and showed, if he chose, decidedly good manners; but he was in the habit very often of addressing himself in preference to those whom he felt he could patronise. His Royal Highness was as much the victim of circumstances and the child of thoughtless imprudence as the most humble subject of the crown. His unfortunate marriage with a Princess of Brunswick originated in his debts; as he married that unhappy lady for one million sterling, William Pitt being the contractor! The Princess of Wales married nothing but an association with the Crown of England. If the Prince ever seriously loved any woman, it was Mrs. Fitzherbert, with whom he had appeared at the altar.

Public opinion in England, under the inspiration of the Whigs, raised a cry of indignation against the Prince. It was imagined, I presume, that royal personage should be born without heart or feeling; that he should have been able to live only for the good of the State and for the convenience of his creditors. The Princess of Wales was one of the most unattractive and almost repulsive women for an elegant-minded man that could well have been found amongst German royalty. It is not my intention to recall the events of the Regency. It is well known that the Prince became eventually so unpopular as to exclude himself as much as possible from public gaze. His intimate companions, after the trial of Queen Caroline, were Lords Cunningham and Fife, Sir Benjamin Bloomfield, Sir William Macmahon, Admiral Nagle, Sir A. Barnard, Lords Glenlyon, Hertford, and Lowther. These gentlemen generally dined with him; the dinner being the artistic product of that famous gastronomic savant, Wattiers. The Prince was very fond of listening after dinner to the gossip of society. When he became George the Fourth, no change took place in these personnels at the banquet, excepting that with the fruits and flowers of the table was introduced the beautiful Marchioness of Conyngham, whose brilliant wit, according to the estimation of his Majesty, surpassed that of any other of his friends, male or female.

PRINCESS CHARLOTTE OF WALES AT A FETE IN THE YEAR 1813, AT CARLTON HOUSE

Carlton House, at the period to which I refer, was a centre for all the great politicians and wits who were the favorites of the Regent. The principal entrance of this palace in Pall Mall, with its screen of columns, will be remembered by many. In the rear of the mansion was an extensive garden that reached from Warwick Street to Marlborough House; green sward, stately trees, (probably two hundred years old), and beds of the choicest flowers, gave to the grounds a picturesque attraction perhaps unequalled. It was here that the heir to the throne of England gave, in 1813, an open-air fete, in honour of the battle of Vittoria. About three o'clock P.M. the elite of London society, who had been honoured with an invitation, began to arrive--all in full dress; the ladies particularly displaying their diamonds and pearls, as if they were going to a drawing-room. The men were, of course, in full dress, wearing knee-buckles. The regal circle was composed of the Queen, the Regent, the Princess Sophia and Mary, the Princess Charlotte, the Dukes of York, Clarence, Cumberland, and Cambridge.

This was the first day that her Royal Highness the Princess Charlotte appeared in public. She was a young lady of more than ordinary personal attractions; her features were regular, and her complexion fair, with the rich bloom of youthful beauty; her eyes were blue and very expressive, and her hair was abundant, and of that peculiar light brown which merges into the golden: in fact, such hair as the Middle-Age Italian painters associate with their conceptions of the Madonna. In figure her Royal Highness was somewhat over the ordinary height of women, but finely proportioned and well developed. Her manners were remarkable for a simplicity and good-nature which would have won admiration and invited affection in the most humble walks of life. She created universal admiration, and I may say a feeling of national pride, amongst all who attended the ball. The Prince Regent entered the gardens giving his arm to the Queen, the rest of the royal family following. Tents had been erected in various parts of the grounds, where the bands of the Guards were stationed. The weather was magnificent, a circumstance which contributed to show off the admirable arrangements of Sir Benjamin Bloomfield, to whom had been deputed the organization of the fete, which commenced by dancing on the lawn.

The Princess Charlotte honoured with her presence two dances. In the first she accepted the hand of the late Duke of Devonshire, and in the second that of the Earl of Aboyne, who had danced with Marie Antoinette, and who, as Lord Huntley, lived long enough to dance with Queen Victoria. The Princess entered so much into the spirit of the fete as to ask for the then fashionable Scotch dances. The Prince was dressed in the Windsor uniform, and wore the garter and star. He made himself very amiable, and conversed much with the Ladies Hertford, Cholmondeley, and Montford. Altogether, the fete was a memorable event.

A year afterwards, the Duke of York said to his royal niece, "Tell me, my dear, have you seen anyone among the foreign princes whom you would like to have for a husband?" The Princess naively replied, "No one so much prepossesses me as Prince Leopold of Coburg. I have heard much of his bravery in the field, and I must say he is personally agreeable to me. I have particularly heard of his famous cavalry charge at the battle of Leipsic, where he took several thousand prisoners, for which he was rewarded with the Order of Maria Therese." In a few months afterwards she became the wife of the man whom she so much admired, and from whom she was torn away not long after by the cruel hand of death. It will be remembered that she died in childbirth, and her offspring expired at the same time. The accoucheur who attended her was so much affected by the calamity, that he committed suicide some short time afterwards.

BEAU BRUMMELL

Amongst the curious freaks of fortune there is none more remarkable in my memory than the sudden appearance, in the highest and best society in London, of a young man whose antecedents warranted a much less conspicuous career: I refer to the famous Beau Brummell. We have innumerable instances of soldiers, lawyers, and men of letters, elevating themselves from the most humble stations, and becoming the companions of princes and lawgivers; but there are comparatively few examples of men obtaining a similarly elevated position simply from their attractive personal appearance and fascinating manners. Brummell's father, who was a steward to one or two large estates, sent his son George to Eton. He was endowed with a handsome person, and distinguished himself at Eton as the best scholar, the best boatman, and the best cricketer; and, more than all, he was supposed to possess the comprehensive excellences that are represented by the familiar term of "good fellow." He made many friends amongst the scions of good families, by whom he was considered a sort of Crichton; and his reputation reached a circle over which reigned the celebrated Duchess of Devonshire. At a grand ball given by her Grace, George Brummell, then quite a youth, appeared for the first time in such elevated society. He immediately became a great favourite with the ladies, and was asked by all the dowagers to as many balls and soirees as he could attend.

At last the Prince of Wales sent for Brummell, and was so much pleased with his manner and appearance, that he gave him a commission in his own regiment, the 10th Hussars. Unluckily, Brummell, soon after joining his regiment, was thrown from his horse at a grand review at Brighton, when he broke his classical Roman nose. This misfortune, however, did not affect the fame of the beau; and although his nasal organ had undergone a slight transformation, it was forgiven by his admirers, since the rest of his person remained intact. When we are prepossessed by the attractions of a favourite, it is not a trifle that will dispel the illusion; and Brummell continued to govern society, in conjunction with the Prince of Wales. He was remarkable for his dress, which was generally conceived by himself; the execution of his sublime imagination being carried out by that superior genius, Mr. Weston, tailor, of Old Bond Street. The Regent sympathised deeply with Brummell's labours to arrive at the most attractive and gentlemanly mode of dressing the male form, at a period when fashion had placed at the disposal of the tailor the most hideous material that could possibly tax his art. The coat may have a long tail or a short tail, a high collar or a low collar, but it will always be an ugly garment. The modern hat may be spread out at the top, or narrowed, whilst the brim may be turned up or turned down, made a little wider or a little more narrow, still it is inconceivably hideous. Pantaloons and Hessian boots were the least objectionable features of the costume which the imagination of a Brummell and the genius of a Royal Prince were called upon to modify or change. The hours of meditative agony which each dedicated to the odious fashions of the day have left no monument save the coloured caricatures in which these illustrious persons have appeared.

Brummell, at this time, besides being the companion and friend of the Prince, was very intimate with the Dukes of Rutland, Dorset, and Argyll, Lords Sefton, Alvanley, and Plymouth. In the zenith of his popularity he might be seen at the bay window of White's Club, surrounded by the lions of the day, laying down the law, and occasionally indulging in those witty remarks for which he was famous. His house in Chapel Street corresponded with his personal "get up"; the furniture was in excellent taste, and the library contained the best works of the best authors of every period and of every country. His canes, his snuff-boxes, his Sevres china, were exquisite; his horses and carriage were conspicuous for their excellence; and, in fact, the superior taste of a Brummell was discoverable in everything that belonged to him.

But the reign of the king of fashion, like all other reigns, was not destined to continue for ever. Brummell warmly espoused the cause of Mrs. Fitzherbert, and this of course offended the Prince of Wales. I refer to the period when his Royal Highness had abandoned that beautiful woman for another favourite. A coldness sprang up between the Prince and his protege, and finally, the mirror of fashion was excluded from the royal presence. A curious accident brought Brummell again to the dinner-table of his royal patron; he was asked one night at White's to take a hand at whist, when he won from George Harley Drummond 20,000L. This circumstance having been related by the Duke of York to the Prince of Wales, the beau was again invited to Carlton House. At the commencement of the dinner, matters went off smoothly; but Brummell, in his joy at finding himself with his old friend, became excited, and drank too much wine. His Royal Highness--who wanted to pay off Brummell for an insult he had received at Lady Cholmondeley's ball, when the beau, turning towards the Prince, said to Lady Worcester, "Who is your fat friend?"--had invited him to dinner merely out of a desire for revenge. The Prince therefore pretended to be affronted with Brummell's hilarity, and said to his brother, the Duke of York, who was present, "I think we had better order Mr. Brummell's carriage before he gets drunk." Whereupon he rang the bell, and Brummell left the royal presence. This circumstance originated the story about the beau having told the Prince to ring the bell. I received these details from the late General Sir Arthur Upton, who was present at the dinner. The latter days of Brummell were clouded with mortifications and penury. He retired to Calais, where he kept up a ludicrous imitation of his past habits. At least he got himself named consul at Caen; but he afterwards lost the appointment, and eventually died insane, and in abject poverty, either at Boulogne or Calais.

ROMEO COATES

This singular man, more than forty years ago, occupied a large portion of public attention; his eccentricities were the theme of general wonder, and great was the curiosity to catch a glance at as strange a being as any that ever appeared in English society. This extraordinary individual was a native of one of the West India Islands, and was represented as a man of extraordinary wealth; to which, however, he had no claim.

About the year 1808 there arrived at the York Hotel, at Bath, a person about the age of fifty, somewhat gentlemanlike, but so different from the usual men of the day that considerable attention was directed to him. He was of a good figure; but his face was sallow, seamed with wrinkles, and more expressive of cunning than of any other quality. His dress was remarkable: in the day-time he was covered at all seasons with enormous quantities of fur; but the evening costume in which he went to the balls made a great impression, from its gaudy appearance; for his buttons as well as his knee-buckles were of diamonds. There was of course great curiosity to know who this stranger was; and this curiosity was heightened by an announcement that he proposed to appear at the theatre in the character of Romeo. There was something so unlike the impassioned lover in his appearance--so much that indicated a man with few intellectual gifts--that everybody was prepared for a failure. No one, however, anticipated the reality.

On the night fixed for his appearance the house was crowded to suffocation. The playbills had given out that "an amateur of fashion" would for that night only perform in the character of Romeo; besides, it was generally whispered that the rehearsals gave indication of comedy rather than tragedy, and that his readings were of a perfectly novel character.

The very first appearance of Romeo convulsed the house with laughter. Benvolio prepares the audience for the stealthy visit of the lover to the object of his admiration; and fully did the amateur give the expression to one sense of the words uttered, for he was indeed the true representative of a thief stealing onwards in the night, "with Tarquin's ravishing strides," and disguising his face as if he were thoroughly ashamed of it. The darkness of the scene did not, however, show his real character so much as the masquerade, when he came forward with hideous grin, and made what he considered his bow,--which consisted in thrusting his head forward and bobbing it up and down several times, his body remaining perfectly upright and stiff, like a toy mandarin with moveable head.

His dress was outre in the extreme: whether Spanish, Italian, or English, no one could say; it was like nothing ever worn. In a cloak of sky-blue silk, profusely spangled, red pantaloons, a vest of white muslin, surmounted by an enormously thick cravat, and a wig a la Charles the Second, capped by an opera hat, he presented one of the most grotesque spectacles ever witnessed upon the stage. The whole of his garments were evidently too tight for him; and his movements appeared so incongruous, that every time he raised his arm, or moved a limb, it was impossible to refrain from laughter: but what chiefly convulsed the audience was the bursting of a seam in an inexpressible part of his dress, and the sudden extrusion through the red rent of a quantity of white linen sufficient to make a Bourbon flag, which was visible whenever he turned round. This was at first supposed to be a wilful offence against common decency, and some disapprobation was evinced; but the utter unconsciousness of the odd creature was soon apparent, and then urestrained mirth reigned throughout the boxes, pit, and gallery. The total want of flexibility of limb, the awkwardness of his gait, and the idiotic manner in which he stood still, all produced a most ludicrous effect; but when his guttural voice was heard, and his total misapprehension of every passage in the play, especially the vulgarity of his address to Juliet, were perceived, everyone was satisfied that Shakspeare's Romeo was burlesqued on that occasion.

The balcony scene was interrupted by shrieks of laughter, for in the midst of one of Juliet's impassioned exclamations, Romeo quietly took out his snuff-box and applied a pinch to his nose; on this a wag in the gallery bawled out, "I say, Romeo, give us a pinch," when the impassioned lover, in the most affected manner, walked to the side boxes and offered the contents of his box first to the gentlemen, and then, with great gallantry, to the ladies. This new interpretation of Shakspeare was hailed with loud bravos, which the actor acknowledged with his usual grin and nod. Romeo then returned to the balcony, and was seen to extend his arms; but all passed in dumb show, so incessant were the shouts of laughter. All that went on upon the stage was for a time quite inaudible, but previous to the soliloquy "I do remember an apothecary," there was for a moment a dead silence; for in rushed the hero with a precipitate step until he reached the stage lamps, when he commenced his speech in the lowest possible whisper, as if he had something to communicate to the pit that ought not to be generally known; and this tone was kept up throughout the whole of the soliloquy, so that not a sound could be heard.

The amateur actor showed many indications of aberration of mind, and seemed rather the object of pity than of amusement; he, however, appeared delighted with himself, and also with his audience, for at the conclusion he walked first to the left of the stage and bobbed his head in his usual grotesque manner at the side boxes; then to the right, performing the same feat; after which, going to the centre of the stage with the usual bob, and placing his hand upon his left breast, he exclaimed, "Haven't I done it well?" To this inquiry the house, convulsed as it was with shouts of laughter, responded in such a way as delighted the heart of Kean on one great occasion, when he said, "The pit rose at me." The whole audience started up as if with one accord, giving a yell of derision, whilst pocket-handkerchiefs waved from all parts of the theatre.

The dying scene was irresistibly comic, and I question if Liston, Munden, or Joey Knight, was ever greeted with such merriment; for Romeo dragged the unfortunate Juliet from the tomb, much in the same manner as a washerwoman thrusts into her cart the bag of foul linen. But how shall I describe his death? Out came a dirty silk handkerchief from his pocket, with which he carefully swept the ground; then his opera hat was carefully placed for a pillow, and down he laid himself. After various tossings about he seemed reconciled to the position; but the house vociferously bawled out, "Die again, Romeo!" and, obedient to the command, he rose up, and went through the ceremony again. Scarcely had he lain quietly down, when the call was again heard, and the well-pleased amateur was evidently prepared to enact a third death; but Juliet now rose up from her tomb, and gracefully put an end to this ludicrous scene by advancing to the front of the stage and aptly applying a quotation from Shakspeare:--

"Dying is such sweet sorrow, That he will die again until to-morrow."