The Journal of an Excursion to the United States of North America

1788 engraving of Inkle and Yarico, via British Museum,, issued under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence

Source: Henry Wansey, The Journal of an Excursion to the United States of North America in the Summer of 1794 (Salisbury/London: J. Easton/ G. and T. Wilkie, 1796), pp. 42-43

Production: George Colman the Younger and Samuel Arnold, Inkle and Yarico, and David Garrick, Bon Ton, Federal Street Theatre, Boston (Massachusetts), 9 May 1794

Text: A very elegant theatre was opened at Boston about three months ago, far superior in taste, elegance and convenience, to the Bath, or any other country theatre that I have ever yet seen in England. I was there last night, with Mr. and Mrs. Vaughan. The play and farce were Inkle and Yarico, and Bon Ton; I paid a dollar for a ticket. It held about twelve hundred persons. One of the dramatis personae, was a negro, and he filled his character with great propriety. The dress of the company being perfectly English, and some of the actors, (Jones and his wife,) being those I had seen perform the last winter at Salisbury, in Shatford’s company, made me feel myself at home. Between the play and farce, the orchestra having played Ca Ira, the gallery called aloud for Yankee-doodle, which which after some short opposition was complied with. A Mr. Powell is the manager of the play-house. Mr. Goldfinch, the ingenious architect of this theatre, has also lately built an elegant crescent, called the Tontine, about fourteen or sixteen elegant houses, which let for near two hundred pounds sterling, a year.

Comments: Henry Wansey (1752?-1827) was an English antiquarian and traveller. In 1794 he visited the United States of America and two years later published an account of his travels, including meeting President George Washington. He attended the Federal Street Theatre in Boston, Massachusetts in May 1794, the theatre having opened the previous year. It was designed by Charles Bulfinch, not Goldfinch. Inkle and Yarico was a popular and widely performed comic opera about a shipwrecked Englishman and his love for an Indian native. Shatford was the English actor-manager James Shatford. Mr Jones played Trudge and Mrs Jones played Patty. The African-American actor Wansey says that he saw has not been identified, and is not mentioned in contemporary published accounts. Bon Ton was a comedy by the actor-manager David Garrick.

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Memoirs of Theobald Wolfe Tone

Source: William Theobald Wolfe Tone (ed.), Memoirs of Theobald Wolfe Tone, written by himself; comprising a complete journal of his negotiations to procure the aid of the French for the liberation of Ireland, with selections from his diary whilst agent to the Irish Catholics (London: H. Colburn, 1827), vol. 1, pp. 212-215

Production: François-Louis Gand Le Bland Du Roullet and Christoph Gluck, Iphigénie en Aulide and François-Joseph Gossec, L’Offrande à la Liberté, Théâtre des Arts, Paris, 13 February 1796

Text: In the evening at the Grand Opera, Theatre des Arts; Iphigénie. The theatre magnificent, and I should judge, about one hundred performers in the orchestra. The dresses most beautiful, and a scrupulous attention to costume, in all the decorations, which I have never seen in London. The performers were completely Grecian statues animated, and I never saw so manifestly the superiority of the taste of the ancients in dress, especially as regards the women. Iphigénie (La citoyenne Cheron) was dressed entirely in white, without the least ornament, and nothing can be imagined more truly elegant and picturesque. The acting admirable, but the singing very inferior to that of the King’s Theatre in the Haymarket. The French cannot sing like the Italians. Agamemnon excellent. Clytemnestra still better. Achilles abominable, yet more applauded than either of them. Sang in the old French style, which is most detestable, shaking and warbling on every note: vile! vile! vile! The others sang in a style sufficiently correct. The ballet, L’Offrande à la Liberté most superb. In the centre of the stage was the statue of Liberty, with an altar blazing before her. She was surrounded by the characters in the opera, in their beautiful Grecian habits. The civic air “Veillons au salut de l’Empire” was sung by a powerful base, and received with transport by the audience. Whenever the word, esclavage was uttered, it operated like an electric shock. The Marseillaise hymn was next sung, and produced still greater enthusiasm. At the words, “Aux armes citoyens!” all the performers drew their swords and the females turned to them as encouraging them. Before the last verse there was a short pause; the time of the music was changed to a very slow movement, and supported only by the flutes and oboes; a beautiful procession entered; first little children like cherubs, with baskets of flowers ; these were followed by boys, a little more advanced, with white javelins (the Hasta pura of the ancients) in their hands. Then came two beautiful female figures, moving like the Graces themselves, with torches blazing; these were followed by four negroes, characteristically dressed, and carrying two tripods between them, which they placed respectfully on each side of the altar; next came as many Americans, in the picturesque dress of Mexico; and these were followed by an immense crowd of other performers, variously habited, who ranged themselves on both sides of the stage. The little children then approached the altar with their baskets of flowers, which they laid before the goddess; the rest in turn succeeded, and hung the altar and the base of the statue with garlands and wreaths of roses; the two females with the torches approached the tripods, and, just touching them with the fire, they kindled into a blaze. The whole then knelt down, and all of this was executed in cadence to the music and with grace beyond description. The
first part of the last verse, “Amour sacré de la patrie” was then sung slowly and solemnly, and the words “Liberté, Liberté cherie” with an emphasis which affected me most powerfully. All this was at once pathetic and sublime, beyond what I had ever seen or could almost imagine; but it was followed by an incident which crowned the whole, and rendered it indeed a spectacle worthy of a free republic. At the repetition of the words, Aux armes, citoyens! the music changed again to a martial style, the performers sprung on their feet, and in an instant the stage was filled with National Guards, who rushed in with bayonets fixed, sabres drawn, and the tri-colour flag flying. It would be impossible to describe the effect of this. I never knew what enthusiasm was before; and what heightened it beyond all conception was, that the men I saw before me were not hirelings acting a part; they were what they seemed, French citizens flying to arms, to rescue their country from slavery. They were the men who had precipitated Cobourg into the Sambre, and driven Clairfait over the Rhine, and were, at this very moment, on the eve of again hurrying to the frontiers, to encounter fresh dangers and gain fresh glory. This was what made the spectacle interesting beyond all description. I would willingly sail again from New York to enjoy again what I felt at that moment. Set the ballets of the Haymarket beside this! This sublime spectacle concluded the ballet: but why must I give it so poor a name? It was followed by another ballet, which one might call so, but even this was totally different from what such things used to be. The National Guards were introduced again, and, instead of dancing, at least three-fourths of the exhibition consisted of military evolutions, which, it should seem, are now more to the French taste than allemandes and minuets and pas de deux. So best! It is curious now to consider at what rate one may see all this. I paid for my seat in the boxes one hundred and fifty livres, in assignats, which, at the present rate, is very nearly sixpence sterling. The highest priced seats were but two hundred livres, which is eightpence. I mention this principally to introduce a conjecture which struck me at Havre, but which seems much more probable here, that the Government supports the theatres privately. And, in France, it is excellent policy, where the people are so much addicted to spectacles, of which there are now about twenty in Paris, and all full every night. What would my dearest love have felt at the “L’Offrande à la Liberté?”

Comments: Wolfe Tone (1763-1798) was an Irish republican who led the Irish rebellion of 1798. He went to Paris in February 1796 to persuade the revolutionary government to assist in an invasion of Ireland. Chrisoph Gluck composed two operas on the classical legend of Iphigenia, Iphigénie en Tauride and Iphigénie en Aulide. The latter had a libretto by François-Louis Gand Le Bland Du Roullet and was seen by Tone at the Théâtre des Arts, later the Théâtre National de la rue de la Loi, in Paris. ‘La citoyenne Cheron’ was the actress Anne Cameroy or Anne Chéron (1767-18??). François-Joseph Gossec (1734-1829) was a French composer. His L’Offrande à la Liberté was one of several works he wrote in celebration of the French Revolution.

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An Unconscious Autobiography

Source: Thatcher T.P. Luquer (ed.), An Unconscious Autobiography: William Osborn Payne’s diary and letters, 1796 to 1804 (New York: privately printed, 1938), pp. 21-22

Production: Arthur Murphy, The Grecian Daughter plus The Shipwreck, Holliday Street Theater, Baltimore, 3 December 1798

Text: 1798 Decem 3. Went to the Play – which was the Grecian Daughter. Mrs. Merry acted the Part of Euphrasia. In it she exceeded every Thing, that I have ever seen before in the Theatrical Way – Her voice – Attitudes – Expression & Countenance were admirable – & I cannot conceive an Idea above her performance. Mr. Wynel [sic] acted the Part of Evander – with much Taste & accuracy. Mr. Warren as Dionysius played correctly – but I do not think him a Pleasing Actor. Mr. Hardinge as Phocion was but middling – his Irish Brogue hurt the Performance. He possesses no Dignity of Action or Attitude.

The Farce, which was the Shipwreck, afforded amusement – but observations take too much Time to bestow them on a Farce.

The Tragedy of the Grecian Daughter is the most Pleasing one I ever saw – it concludes happily, which the most of Tragedies do not. The Affection of Euphrasia to her Father, her Constancy, her Fortitude & Heroism – charm the mind & the happy Issue which ended all her misfortunes renders the Spectator happy.

Mr. Taylor objects strongly to my visiting the Plays – he says he cannot find an excuse, either to himself, or to my Father, for bringing me up in such a dissipated Way, as he pleases to name it. I am sorry for it. Certainly it is expensive, but I think it the Best possible School for Morality & Knowledge of the World – my Father always told me so & that if he could afford it, I should attend the Theatre constantly. Mr. T. calls it Dissipation; to most of those who attend Plays it is so, but I am always an attentive observer of what Passes without entering into any of the Dissipated scenes which I see going on. I never walk the Lobby, stand at the Bar drinking – or in the Oyster House – but always get the most Instruction I can out of everything I see and hear – whether Real or acted. It is a School which in some measure supplies the Plan of experience by shewing scenes which tho’ Generally a little Exaggerated, Still shew the Passions, the Faults, the Weaknesses of men – & there are those who will Learn Wisdom only by Experience – who if They will Pay attention, may make the Stage answer a very good Purpose to Them.

Comments: William Osborn Payne (1783-1804) was an American who died young, leaving a diary that was later printed privately. His younger brother was the actor, playwright and poet John Howard Payne (author of ‘Home Sweet Home’). The Grecian Daughter was a tragedy by the Irish author Arthur Murphy. The leading performer in the production seen by Payne at the Holliday Street Theater, Baltimore, was Ann Brunton Merry (1768-1808), a British actress who enjoyed considerable success in America from 1796 onwards. The part of Euphrasia in The Grecian Daughter was one of her signature roles. Other performers mentioned include Thomas Wignell (later Ann Merry’s second husband) and William Warren (later Ann Merry’s third husband). The play was accompanied by the comic opera The Shipwreck.

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The Journal of an Excursion to the United States of North America

‘Interior View of Chestnut Street (New) Theatre’ (1798?), Penn Library

Source: Henry Wansey, The Journal of an Excursion to the United States of North America in the Summer of 1794 (Salisbury/London: J. Easton/ G. and T. Wilkie, 1796), pp. 126-127

Production: Elizabeth Inchbald, Every One Has His Fault, Chestnut Street (New) Theatre, Philadelphia, 6 June 1794

Text: In the evening, I went to the new Theatre, to see Mrs. Cowley’s Play, “Every One has his Fault,” with the Farce of “No Song No Supper.” Mrs. Whitlock, sister to Mrs. Siddons, is the chief actress; and, to my surprise, I recognized Darley, one of our actors, last winter at Salisbury, in the character of Crop. It is an elegant and convenient theatre, as large as that of Covent Garden; and, to judge from the dress and appearance of the company around me, and the actors and scenery, I should have thought I had still been in England. The ladies wore the small bonnets of the same fashion as those I saw when I left England; some of chequered straw, &c. some with their hair full dressed, without caps, as with us, and very few in the French style. The younger ladies with their hair flowing in ringlets on their shoulders. The gentlemen with round hats, their coats with high collars, and cut quite in the English fashion, and many in silk striped coats. The scenery of the stage excellent, particularly a view on the Skuylkill [i.e. Schuylkill River], about two miles from the city. The greatest part of the scenes, however, belonged once to Lord Barrymore’s Theatre, at Wargrave. The motto over the stage is novel:— “The Eagle suffers little Birds to sing.” Thereby hangs a tale. When it was in contemplation to build this Theatre, it was strongly opposed by the Quakers, who used all their influence with Congress to prevent it, as tending to corrupt the manners of the people, and encrease too much the love of pleasure. It was, however, at length carried, and this motto from Shakespear was chosen. It is applicable in another sense; for the State House, where Congress sits, is directly opposite to it, both being in Chesnut-street, and both houses are often performing at the same time. Yet the Eagle (the emblem adopted by the American government) is no ways interrupted by the chattering of these mock birds with their mimic Tones.

Comments: Henry Wansey (1752?-1827) was an English antiquarian and traveller. In 1794 he visited the United States of America and two years later published an account of his travels, including meeting President George Washington. The play he saw at the Chestnut Street Theatre (aka The New Theatre), Every One Has His Fault, was written by Elizabeth Inchbald, not Hannah Cowley, while the operatic afterpiece No Song No Supper had music by Stephen Storace and a libretto by Prince Hoare. The lead actress was Elizabeth Whitlock, sister to Sarah Siddons. Philadelphia acted as the temporary capital of the United States, 1790–1800, while Washington D.C. was under construction. “The Eagle suffers little Birds to sing” comes from Titus Andronicus.

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A Fortnight’s Ramble to the Lakes

Source: Joseph Budworth, A Fortnight’s Ramble to the Lakes in Westmoreland, Lancashire, and Cumberland (London: J. Nichols, 1810 [orig. pub. 1792]), pp. 210-212

Production: William Shakespeare, The Merchant of Venice, Keswick, 1792

Text: In the evening we went to see the Merchant of Venice in an unroofed house. The sky was visible through niches of boards laid across the upper beams. The walls were decorated, or rather hid, with cast-off scenes, which shewed in many places a rough unplastered wall. Some of the actors performed very well, and some very middling. Their poverty shall stop the pen of criticism; and their endeavours were well expressed by their motto – “TO PLEASE.”

Between the acts a boy, seated upon an old rush chair in one corner of the stage, struck up a scrape of a fiddle. By his dress, which was once a livery, we suppose he was a servant of all work, and had belonged to the manager in better days. But I must do Shylock the justice to say, he performed well; and although no person bawled out “this is the Jew that Shakspeare drew,” when he was expressing his satisfaction at Antonio’s misfortunes, a little girl in the gallery roared, “O mammy! mammy! what a sad wicked fellar that man is!”

The house was as full as it could possibly cram, and my friend counted but thirty-six shillings’ worth of spectators in the pit, at eighteen pence a head, including a young child that squealed a second to the Crowdero of the house. Perhaps, as the actors were so near the audience, it was frightened by Shylock’s terrific look. Whilst I remained, not even the “Hush a be babby” of its mother had any effect.

I found it so extremely hot, and I felt some knees press so hard upon my back, against a piece of curtain which composed the separation of pit and gallery, that I took my departure, and enjoyed a walk to the head of Derwenter [sic] lake. The moon was in splendour, and had just escaped out of a cloud that had really a terrific look. Skiddow [sic] and the hills to the right were buried in blackness; and there was an easterly breeze which seemed to assist the moon in getting the better of her sable enemies.

Comments: Joseph Budworth (c.1756-1815) was a British soldier and writer. His A Fortnight’s Ramble to the Lakes, originally published as being by ‘A Rambler’, is an early tourist’s guide to the Lake District. his account is known in particular for the first description of the experience of climbing a mountain, and for his discovery of local beauty ‘The Maid of Buttermere’. He saw The Merchant of Venice in Keswick, by Derwentwater lake, presumably in a disused building, as there was no actual theatre in Keswick at this time.

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Journal of a Residence at Vienna and Berlin

Source: Henry Reeve, Journal of a Residence at Vienna and Berlin, in the eventful winter 1805-6 (London: Longmans, Green, 1877), pp. 64-65

Production: Ludwig van Beethoven and Joseph Sonnleithner, Fidelio, Theater an der Wien, Vienna, 21 November 1805

Text: Thursday, November 21. – Went to the Wieden Theatre to the new opera ‘Fidelio,’ the music composed by Beethoven. The story and plan of the piece are a miserable mixture of low manners and romantic situations; the airs, duets, and choruses equal to any praise. The several overtures, for there is an overture to each act, appeared to be too artificially composed to be generally pleasing, especially on being first heard. Intricacy is the character of Beethoven’s music, and it requires a well-practised ear, or a frequent repetition of the same piece, to understand and distinguish its beauties. This is the first opera he ever composed, and it was much applauded; a copy of complimentary verses was showered down from the upper gallery at the end of the piece. Beethoven presided at the pianoforte and directed the performance himself. He is a small dark young-looking man, wears spectacles, and is like Mr. Koenig. Few people present, though the house would have been crowded in every part but for the present state of public affairs.

Comments: Henry Reeve (1780–1814) was an English physician who undertook a tour through Europe over 1805-06, visiting the theatre on many occasions. Beethoven‘s opera Fidelio, with libretto by Joseph Sonnleithner, premiered at Vienna’s Theater an der Wien on 20 November 1805; Reeve saw it the following day. There was one further performance, after which Beethoven reduced the opera from three acts to two, with a new overture. It was further revised in 1814. The ‘present state of public affairs’ to which Reeve refers was the French military occupation of Vienna during the Napoleonic wars.

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The Torrington Diaries

Source: C. Bruyn Andrews (ed., abridged into one by volume by Fanny Andrews), The Torrington Diaries: A selection from the tours of the Hon. John Byng (later Fifth Viscount Torrington) between the years 1781 and 1794 (London: Eyre & Spottiswoode), pp. 375-376

Production: George Colman the Younger and Samuel Arnold, Inkle and Yarico, Biggleswade, 19 July 1791

Text: July 19th … After dinner sent to my Jonas, as it appear’d a very fishable day, and he appointed me to come to him at 4 o’clock. G– soon arrived, with the mare, who now wants grass, and rest, and she shall have them. At 4 o’clock I walk’d to the barber’s, who weaves lines, and wigs, (a connectd trade) and with him walk’d a mile to a pleasant spot; but no fish; the air now turn’d cold, making me repent thus trying the chance of illness. I ask’d him after the players? ‘Why they are still here, Sir; and perform to night’. ‘Then I suppose they are so hampered by debt, that they cannot move, and must stay till pity and forgiveness permit them to go?’ ‘Sir, I believe they are very poor; and that my son, who dresses the company, will never see a penny of payment’. from idleness, or from curiosity, (put charity out of the case) I went again; greater wretchedness is not to be seen! How much they should envy the haymakers. The play was Inkle and Yarico, with variety of other entertainments: it would be right if they were not tolerated. Tho’ they get little, they get all that this town can give; and that is too much by every sixpence: nothing could approach nearer to Hogarth’s Barm, for many faces were seen peeping thro’ the holes of the barn, which we who had paid, and were in the castle, thought unfair, and repulsed these assailants. I sat next to Mr Knight and his niece, but left them at 10 o’clock, when the play finish’d, and half the sports were to come; so this threw me into fashionable hours and I did not retire till 12 o’clock.

Comments: John Byng, Fifth Viscount Torrington (1743-1813) produced several volumes of diaries covering the period 1781–1794, during which he travelled all over England and Wales. During a country tour he stayed at Biggleswade and saw a local troupe of players performing in a barn. Inkle and Yarico was a popular comic opera set in the West Indies, with libretto by George Colman the Younger and music by Samuel Arnold, first performed in 1787.

The Torrington Diaries

Source: C. Bruyn Andrews (ed., abridged into one by volume by Fanny Andrews), The Torrington Diaries: A selection from the tours of the Hon. John Byng (later Fifth Viscount Torrington) between the years 1781 and 1794 (London: Eyre & Spottiswoode), pp. 479-480

Production: John Fletcher/William Shakespeare, Henry VIII, Drury Lane, London, 14 May 1794

Text: May 14th. My next morning was employ’d in walking about my detestation, London; waiting upon my lawyer; and lounging about till what I thought a good hour of dining: When I put in at the Piazza Coffee House Covent Garden and had the room to myself at such an unatural hour: Thence like an old country put, I adjourned to Drury Lane Playhouse where I enjoy’d the highly wrought exhibition of Mrs Siddons’s performance in Catherine in Henry 8th, altho’ lost and sent to waste in this wild wide theatre, where close observation cannot be maintain’d, nor quick applause received!

Restore me, ye overuling powers to the drama, to the warm close, observant, seats of Old Drury where I may comfortably criticise and enjoy the delights of scenic fancy: These now are past! The nice discriminations, of the actors face, and of the actors feeling, are now all lost in the vast void of the new theatre of Drury Lane.

Garrick – thou didst retire at the proper time – for wer’t thou restor’d to the stage, in vain, would now thy finesse, thy bye play, thy whisper, thy aside, and even thine eye, assist thee.

Thus do I crawl about in London I Where are my old friends? All gone before me!!! Where are thy new ones? Why, they understand me not; they speak a new language, they prescribe fashions, I think they do not understand comforts. ‘Why here is a fine theatre,’ say they? ‘Aye, it may be fine, it may be magnificent; but I neither hear, nor see in it! !’ ‘Thats your misfortune.’ ‘So it is I allow; but not yet my failing.’

‘Does it proceed from the narrowness of my faculties; or the width of your new stage? Answer me that? Is my decrease equal to your increase?’ No; No; fill your stage with monsters – gigantic cars, and long train’d processions – whilst the air vibrates with the sound of trumpets, and kettle drums: These will beat all your actors, and actresses out of the field. Who will listen to, or who can hear the soliloquies of Shakespeare, the inward terrors of the mind-perturbed imaginations and the strugglings of a guilty conscience?

To see a fellow hunting a dagger about the stage; or an old princess wasting in a great chair?

Who will go hereafter to see their tiresome attitudes? To hear them none will attempt, so let us have the battlements, the combat, the sulphur, the torches, the town in flames, and the chorus.

The countryman came home; and went early to bed.

Comments: John Byng, Fifth Viscount Torrington (1743-1813) produced several volumes of diaries covering the period 1781–1794, during which he travelled all over England and Wales. The production of Henry VIII was a redaction of Shakespeare and Fletcher’s original, undertaken by Charles Kemble, who played Cromwell. His sister, Sarah Siddons, played Katherine. Byng saw it at Drury Lane Theatre, London on 14 May 1794. The third theatre on the Drury Lane site had opened on 12 March 1794, having replaced the previous Theatre Royal which closed in 1791. The new theatre could seat 3,611 people, as opposed to the 2,000 offered by its previous incarnation.

Letters written during a short residence in Spain and Portugal

Source: Robert Southey, Letters written during a short residence in Spain and Portugal (Bristol: Printed by Bulgin and Rosser, for Joseph Cottle, and G.G. and J.Robinson, and Cadell and Davies, London, 1797), pp. 9-13

Text: Letter II. Tuesday Night.

I am just returned from the Spanish Comedy. The Theatre is painted with a muddy light blue, and a dirty yellow, without gilding, or any kind of ornament. The boxes are engaged by the season: and subscribers only, with their friends, admitted to them, paying a pesetta each. In the pit are the men, seated as in a great arm’d chair; the lower class stand behind these seats: above are the women; for the sexes are separated, and so strictly, that an officer was broke at Madrid, for intruding into the female places. The boxes, of course, hold family parties. The centre box, over the entrance of the pit, is appointed for the magistrates; covered in the front with red fluff, and ornamented with the royal arms. The motto is a curious one, “Silencio y no fumar.” Silence and no smoaking.” The Comedy, of course, was very dull to one who could not understand it. I was told that it contained some wit, and more obscenity; but the only comprehensible joke to me, was “Ah !” said in a loud voice by one man, and “Oh!” replied equally equally loud by another, to the great amusement of the audience. To this succeeded a Comic Opera; the characters were represented by the most ill-looking man and woman I ever saw. My Swedish friend’s island of hares and rabbits could not have a fitter king and queen. The man’s dress was a thread-bare brown coat lined with silk, that had once been white, and dirty corduroy waistcoat and breeches; his beard was black, and his neckcloth and shoes dirty: but his face! Jack-ketch might sell the reversion of his fee for him, and be in no danger of defrauding the purchaser. A soldier was the other character, in old black velveret breeches; with a pair of gaters reaching above the knee, that appeared to have been made out of some blacksmith’s old leathern apron. A farce followed, and the hemp-stretch man again made his appearance; having blacked one of his eyes to look blind. M. observed that he looked better with one eye than with two; and we agreed, that the loss of his head would be an addition to his beauty. The prompter stands in the middle of the stage, about half way above it; before a little tin screen, not unlike a man in a cheese-toaster. He read the whole play with the actors, in a tone of voice equally loud; and, when one of the performers added a little of his own wit, he was so provoked as to abuse him aloud, and shake the book at him. Another prompter made his appearance to the Opera, unshaved, and dirty beyond description: they both used as much action as the actors. The scene that falls between the acts would disgrace a puppet-show at an English fair; on one side is a hill, in size and shape like a sugar-loaf, with a temple on the summit, exactly like a watch-box; on the other Parnassus, with Pegasus striking the top in his flight, and so giving a source to the waters of Helicon: but, such is the proportion of the horse to the mountain, that you would imagine him to bet only taking a flying leap over a large ant-hill; and think he would destroy the whole oeconomy of the state, by kicking it to pieces. Between the hills lay a city; and in the air sits a duck-legged Minerva, surrounded by flabby Cupids. I could see the hair-dressing behind the scenes: a child was suffered to play on the stage, and amuse himself by sitting on the scene, and swinging backward and forward, so as to endanger setting it on fire. Five chandeliers were lighted by only twenty candles. To represent night, they turned up two rough planks, about eight inches broad, before the stage lamps and the musicians, whenever they retired, blew out their tallow candles. But the most singular thing, is their mode of drawing up the curtain. A man climbs up to the roof, catches hold of a rope, and then jumps down; the weight of his body raising the curtain, and that of the curtain breaking his fall. I did not see one actor with a clean pair of shoes. The women wore in their hair a tortoise-shell comb to part it; the back of which is concave, and so large as to resemble the front of a small bonnet. This would not have been inelegant, if their hair had been clean and without powder, or even appeared decent with it. I must now to supper. When a man must diet on what is disagreeable, it is some consolation to reflect that it is wholesome; and this is the case with the wine: but the bread here is half gravel, owing to the soft nature of their grind-stones. Instead of tea, a man ought to drink Adams’s solvent with his breakfast.

Comments: Robert Southey (1774-1843) was a British poet, historian and biographer, serving as Poet Laureate for the last thirty years of his life. He travelled to Portugal and Spain in 1795, staying with an uncle who was chaplain to the British community in Lisbon. Southey’s account of his stay was his first published prose work.

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Memoirs of Theobald Wolfe Tone

Source: William Theobald Wolfe Tone (ed.), Memoirs of Theobald Wolfe Tone, written by himself; comprising a complete journal of his negotiations to procure the aid of the French for the liberation of Ireland, with selections from his diary whilst agent to the Irish Catholics (London: H. Colburn, 1827), vol. 1, pp. 290-291

Production: William Shakespeare, Othello, Paris, 21 March 1796

Text: [21 March 1796] Went to see Othello; not translated, but only taken from the English. Poor Shakspeare! I felt for him. The French tragedy is a pitiful performance, filled with false sentiment; the Moor whines most abominably, and Iago is a person of a very pretty morality: the author apologizes for softening the villany of the latter character, as well as for saving the life of Desdemona and substituting a happy termination in place of the sublime and terrible conclusion of the English tragedy, by saying that the humanity of the French nation, and their morality, would be shocked by such exhibitions! “Marry come up, indeed! People’s ears are sometimes the nicest part about them.” I admire a nation that will guillotine sixty people a day for months, (men, women, and children,) and cannot bear the catastrophe of a dramatic exhibition! Yet certainly the author knows best, and I have had occasion repeatedly to observe, that the French are more struck with any little incident of tenderness on the stage, a thousand times, than the English, — which is strange. In short, the French are a humane people when they are not mad, and I like them with all their faults, and the guillotine at the head of them, better, a thousand times, than the English. And I like the Irish better than either; and as no one can doubt my impartiality, I expect my opinion will be received with proper respect and deference by all whom it may concern. I have nothing to add.

Comments: Wolfe Tone (1763-1798) was an Irish republican who led the Irish rebellion of 1798. He went to Paris in February 1796 to persuade the revolutionary government to assist in an invasion of Ireland. The production of Othello that he saw was probably an 1792 adaptation by Jean-François Ducis, which radically altered the plot (hence Desdemona survives and Iago is pardoned by Othello). Ducis’s adaptations were billed under his name rather than Shakespeare‘s. The plays were nevertheless a significant step in the belated appreciation of Shakespeare in France.

Links: Copy at Hathi Trust