them also, any morning before taking the seat of Solomon, look into the shops and dwellings all around the Temple, and first ask themselves ‘how much more can these poor people—many of whom keep themselves with difficulty enough out of the workhouse—bear?’
I had yet other matter for reflection as I journeyed home, inasmuch as, before I altogether departed from the neighbourhood of Mr. Baker’s trap, I had knocked at the gate of the workhouse of St. George’s-in-the-East, and had found it to be an establishment highly creditable to those parts, and thoroughly well administered by a most intelligent master. I remarked in it, an instance of the collateral harm that obstinate vanity and folly can do. ‘This was the Hall where those old paupers, male and female, whom I had just seen, met for the Church service, was it?’—‘Yes.’—‘Did they sing the Psalms to any instrument?’—‘They would like to, very much; they would have an extraordinary interest in doing so.’—‘And could none be got?’—‘Well, a piano could even have been got for nothing, but these unfortunate dissensions—’ Ah! better, far better, my Christian friend in the beautiful garment, to have let the singing boys alone, and left the multitude to sing for themselves! You should know better than I, but I think I have read that they did so, once upon a time, and that ‘when they had sung an hymn,’ Some one (not in a beautiful garment) went up into the Mount of Olives.
It made my heart ache to think of this miserable trifling, in the streets of a city where every stone seemed to call to me, as I walked along, ‘Turn this way, man, and see what waits to be done!’ So I decoyed myself into another train of thought to ease my heart. But, I don’t know that I did it, for I was so full of paupers, that it was, after all, only a change to a single pauper, who took possession of my remembrance instead of a thousand.
‘I beg your pardon, sir,’ he had said, in a confidential manner, on another occasion, taking me aside; ‘but I have seen better days.’
‘I am very sorry to hear it.’
‘Sir, I have a complaint to make against the master.’
‘I have no power here, I assure you. And if I had—’
‘But, allow me, sir, to mention it, as between yourself and a man who has seen better days, sir. The master and myself are both masons, sir, and I make him the sign continually; but, because I am in this unfortunate position, sir, he won’t give me the counter-sign!’
IV
TWO VIEWS OF A CHEAP THEATRE
As I shut the door of my lodging behind me, and came out into the streets at six on a drizzling Saturday evening in the last past month of January, all that neighbourhood of Covent-garden looked very desolate. It is so essentially a neighbourhood which has seen better days, that bad weather affects it sooner than another place which has not come down in the World. In its present reduced condition it bears a thaw almost worse than any place I know. It gets so dreadfully low-spirited when damp breaks forth. Those wonderful houses about Drury-lane Theatre, which in the palmy days of theatres were prosperous and long-settled places of business, and which now change hands every week, but never change their character of being divided and sub-divided on the ground floor into mouldy dens of shops where an orange and half-a-dozen nuts, or a pomatum-pot, one cake of fancy soap, and a cigar box, are offered for sale and never sold, were most ruefully contemplated that evening, by the statue of Shakespeare, with the rain-drops coursing one another down its innocent nose. Those inscrutable pigeon-hole offices, with nothing in them (not so much as an inkstand) but a model of a theatre before the curtain, where, in the Italian Opera season, tickets at reduced prices are kept on sale by nomadic gentlemen in smeary hats too tall for them, whom one occasionally seems to have seen on race-courses, not wholly unconnected with strips of cloth of various colours and a rolling ball—those Bedouin establishments, deserted by the tribe, and tenantless, except when sheltering in one corner an irregular row of ginger-beer bottles, which would have made one shudder on such a night, but for its being plain that they had nothing in them, shrunk from the shrill cries of the news-boys at their Exchange in the kennel of Catherine-street, like guilty things upon a fearful summons. At the pipe-shop in Great Russell-street, the Death’s-head pipes were like theatrical memento mori, admonishing beholders of the decline of the playhouse as an Institution. I walked up Bow-street, disposed to be angry with the shops there, that were letting out theatrical secrets by exhibiting to work-a-day humanity the stuff of which diadems and robes of kings are made. I noticed that some shops which had once been in the dramatic line, and had struggled out of it, were not getting on prosperously—like some actors I have known, who took to business and failed to make it answer. In a word, those streets looked so dull, and, considered as theatrical streets, so broken and bankrupt, that the Found Dead on the black board at the police station might have announced the decease of the Drama, and the pools of water outside the fire-engine maker’s at the corner of Long-acre might have been occasioned by his having brought out the whole of his stock to play upon its last smouldering ashes.
And yet, on such a night in so degenerate a time, the object of my journey was theatrical. And yet within half an hour I was in an immense theatre, capable of holding nearly five thousand people.
What Theatre? Her Majesty’s? Far better. Royal Italian Opera? Far better. Infinitely superior to the latter for hearing in; infinitely superior to both, for seeing in. To every part of this Theatre, spacious fire-proof ways of ingress and egress. For every part of it, convenient places of refreshment and retiring rooms. Everything to eat and drink carefully supervised as to quality, and sold at an appointed price; respectable female attendants ready for the commonest women in the audience; a general air of consideration, decorum, and supervision, most commendable; an unquestionably humanising influence in all the social arrangements of the place.
Surely a dear Theatre, then? Because there were in London (not very long ago) Theatres with entrance-prices up to half-a-guinea a head, whose arrangements were not half so civilised. Surely, therefore, a dear Theatre? Not very dear. A gallery at three-pence, another gallery at fourpence, a pit at sixpence, boxes and pit-stalls at a shilling, and a few private boxes at half-a-crown.
My uncommercial curiosity induced me to go into every nook of this great place, and among every class of the audience assembled in it—amounting that evening, as I calculated, to about two thousand and odd hundreds. Magnificently lighted by a firmament of sparkling chandeliers, the building was ventilated to perfection. My sense of smell, without being particularly delicate, has been so offended in some of the commoner places of public resort, that I have often been obliged to leave them when I have made an uncommercial journey expressly to look on. The air of this Theatre was fresh, cool, and wholesome. To help towards this end, very sensible precautions had been used, ingeniously combining the experience of hospitals and railway stations. Asphalt pavements substituted for wooden floors, honest bare walls of glazed brick and tile—even at the back of the boxes—for plaster and paper, no benches stuffed, and no carpeting or baize used; a cool material with a light glazed surface, being the covering of the seats.
These various contrivances are as well considered in the place in question as if it were a Fever Hospital; the result is, that it is sweet and healthful. It has been constructed from the ground to the roof, with a careful reference to sight and sound in every corner; the result is, that its form is beautiful, and that the appearance of the audience, as seen from the proscenium—with every face in it commanding the stage, and the whole so admirably raked and turned to that centre, that a hand can scarcely move in the great assemblage without the movement being seen from thence—is highly remarkable in its union of vastness with compactness. The stage itself, and all its appurtenances of machinery, cellarage, height and breadth, are on a scale more like the Scala at Milan, or the San Carlo at Naples, or the Grand Opera at Paris, than any notion a stranger would be likely to form of the Britannia Theatre at Hoxton, a mile north of St. Luke’s Hospital in the Old-street-road, London. The Forty Thieves might be played here, and every thief ride