in a morning wrapper, with a little cap stuck upon the top of her head. Mr Curdle wore a loose robe on his back, and his right forefinger on his forehead after the portraits of Sterne, to whom somebody or other had once said he bore a striking resemblance.
‘I venture to call, for the purpose of asking whether you would put your name to my bespeak, ma’am,’ said Miss Snevellicci, producing documents.
‘Oh! I really don’t know what to say,’ replied Mrs. Curdle. ‘It’s not as if the theatre was in its high and palmy days—you needn’t stand, Miss Snevellicci—the drama is gone, perfectly gone.’
‘As an exquisite embodiment of the poet’s visions, and a realisation of human intellectuality, gilding with refulgent light our dreamy moments, and laying open a new and magic world before the mental eye, the drama is gone, perfectly gone,’ said Mr. Curdle.
‘What man is there, now living, who can present before us all those changing and prismatic colours with which the character of Hamlet is invested?’ exclaimed Mrs. Curdle.
‘What man indeed—upon the stage,’ said Mr. Curdle, with a small reservation in favour of himself. ‘Hamlet! Pooh! ridiculous! Hamlet is gone, perfectly gone.’
Quite overcome by these dismal reflections, Mr. and Mrs. Curdle sighed, and sat for some short time without speaking. At length, the lady, turning to Miss Snevellicci, inquired what play she proposed to have.
‘Quite a new one,’ said Miss Snevellicci, ‘of which this gentleman is the author, and in which he plays; being his first appearance on any stage. Mr Johnson is the gentleman’s name.’
‘I hope you have preserved the unities, sir?’ said Mr. Curdle.
‘The original piece is a French one,’ said Nicholas. ‘There is abundance of incident, sprightly dialogue, strongly-marked characters—’
‘—All unavailing without a strict observance of the unities, sir,’ returned Mr. Curdle. ‘The unities of the drama, before everything.’
‘Might I ask you,’ said Nicholas, hesitating between the respect he ought to assume, and his love of the whimsical, ‘might I ask you what the unities are?’
Mr. Curdle coughed and considered. ‘The unities, sir,’ he said, ‘are a completeness—a kind of universal dovetailedness with regard to place and time—a sort of a general oneness, if I may be allowed to use so strong an expression. I take those to be the dramatic unities, so far as I have been enabled to bestow attention upon them, and I have read much upon the subject, and thought much. I find, running through the performances of this child,’ said Mr. Curdle, turning to the phenomenon, ‘a unity of feeling, a breadth, a light and shade, a warmth of colouring, a tone, a harmony, a glow, an artistical development of original conceptions, which I look for, in vain, among older performers—I don’t know whether I make myself understood?’
‘Perfectly,’ replied Nicholas.
‘Just so,’ said Mr. Curdle, pulling up his neckcloth. ‘That is my definition of the unities of the drama.’
Mrs. Curdle had sat listening to this lucid explanation with great complacency. It being finished, she inquired what Mr. Curdle thought, about putting down their names.
‘I don’t know, my dear; upon my word I don’t know,’ said Mr. Curdle. ‘If we do, it must be distinctly understood that we do not pledge ourselves to the quality of the performances. Let it go forth to the world, that we do not give them the sanction of our names, but that we confer the distinction merely upon Miss Snevellicci. That being clearly stated, I take it to be, as it were, a duty, that we should extend our patronage to a degraded stage, even for the sake of the associations with which it is entwined. Have you got two-and-sixpence for half-a-crown, Miss Snevellicci?’ said Mr. Curdle, turning over four of those pieces of money.
Miss Snevellicci felt in all the corners of the pink reticule, but there was nothing in any of them. Nicholas murmured a jest about his being an author, and thought it best not to go through the form of feeling in his own pockets at all.
‘Let me see,’ said Mr. Curdle; ‘twice four’s eight—four shillings a-piece to the boxes, Miss Snevellicci, is exceedingly dear in the present state of the drama—three half-crowns is seven-and-six; we shall not differ about sixpence, I suppose? Sixpence will not part us, Miss Snevellicci?’
Poor Miss Snevellicci took the three half-crowns, with many smiles and bends, and Mrs. Curdle, adding several supplementary directions relative to keeping the places for them, and dusting the seat, and sending two clean bills as soon as they came out, rang the bell, as a signal for breaking up the conference.
‘Odd people those,’ said Nicholas, when they got clear of the house.
‘I assure you,’ said Miss Snevellicci, taking his arm, ‘that I think myself very lucky they did not owe all the money instead of being sixpence short. Now, if you were to succeed, they would give people to understand that they had always patronised you; and if you were to fail, they would have been quite certain of that from the very beginning.’
At the next house they visited, they were in great glory; for, there, resided the six children who were so enraptured with the public actions of the phenomenon, and who, being called down from the nursery to be treated with a private view of that young lady, proceeded to poke their fingers into her eyes, and tread upon her toes, and show her many other little attentions peculiar to their time of life.
‘I shall certainly persuade Mr. Borum to take a private box,’ said the lady of the house, after a most gracious reception. ‘I shall only take two of the children, and will make up the rest of the party, of gentlemen—your admirers, Miss Snevellicci. Augustus, you naughty boy, leave the little girl alone.’
This was addressed to a young gentleman who was pinching the phenomenon behind, apparently with a view of ascertaining whether she was real.
‘I am sure you must be very tired,’ said the mama, turning to Miss Snevellicci. ‘I cannot think of allowing you to go, without first taking a glass of wine. Fie, Charlotte, I am ashamed of you! Miss Lane, my dear, pray see to the children.’
Miss Lane was the governess, and this entreaty was rendered necessary by the abrupt behaviour of the youngest Miss Borum, who, having filched the phenomenon’s little green parasol, was now carrying it bodily off, while the distracted infant looked helplessly on.
‘I am sure, where you ever learnt to act as you do,’ said good-natured Mrs Borum, turning again to Miss Snevellicci, ‘I cannot understand (Emma, don’t stare so); laughing in one piece, and crying in the next, and so natural in all—oh, dear!’
‘I am very happy to hear you express so favourable an opinion,’ said Miss Snevellicci. ‘It’s quite delightful to think you like it.’
‘Like it!’ cried Mrs. Borum. ‘Who can help liking it? I would go to the play, twice a week if I could: I dote upon it—only you’re too affecting sometimes. You do put me in such a state—into such fits of crying! Goodness gracious me, Miss Lane, how can you let them torment that poor child so!’
The phenomenon was really in a fair way of being torn limb from limb; for two strong little boys, one holding on by each of her hands, were dragging her in different directions as a trial of strength. However, Miss Lane (who had herself been too much occupied in contemplating the grown-up actors, to pay the necessary attention to these proceedings) rescued the unhappy infant at this juncture, who, being recruited with a glass of wine, was shortly afterwards taken away by her friends, after sustaining no more serious damage than a flattening of the pink gauze bonnet, and a rather extensive creasing of the white frock and trousers.
It was a trying morning; for there were a great many calls to make, and everybody wanted a different thing. Some wanted tragedies, and others comedies; some objected to dancing; some wanted scarcely anything else. Some thought the comic singer decidedly low, and others hoped he would have more to do than