XXL—MR. AND MRS. KENDAL.
If one had waited for a few months, "The Kendals" would have been getting settled in their new home in Portland Place. But, then, the happiest associations are always centred around the old, and the pleasantest and frequently the dearest recollections are gathered about the familiar. That is why I went to them once more to their home of many years at 145, Harley Street.
It would be difficult to realize a woman of more striking characteristics than she who was for so many years known as "Madge" Robertson, and notwithstanding a very important visit one morning in August twenty-three years ago to St. Saviour's, Plymouth Grove, Manchester, when she became the wife of Mr. William Hunter Grimston, there are many who still know and speak of her by her happily-remembered maiden name. From that day husband and wife have never played apart—they have remained sweethearts on the stage and lovers in their own home. At night—the footlights; by day—home and children. Mrs. Kendal assured me that neither her eldest daughter, Margaret, nor Ethel, nor Dorothy—the youngest—nor "Dorrie," who is now at Cambridge, nor Harold, a "Marlborough" boy, would ever go on the stage. Home, husband, and children—home, wife, and children, are the embodiment of the life led by the Kendals.
THE DRAWING-ROOM
From a Photo by Elliott & Fry.
Together with Mr. Kendal we sat down in the drawing-room, and were joined for a moment by Miss Grimston, a quiet, unaffected young girl, who looked as though she could never rid herself of a smile, either in her eyes or about her mouth—a young maiden who suggested "sunshine." She was carrying Victoria, a pet dog. The mother's whole thoughts seemed to go out to her daughter.
"Our Jubilee dog," she cried. "I bought her on Jubilee Day, and, curiously enough, Mr. Kendal bought one too, neither of us telling the other we were going to make such canine purchases."
Then, when Miss Grimston had left the room, her mother turned to me quietly, and said:—
"The image of my brother Tom. The same hair, the same expression of eyes, the same kind and loving ways. I think he lives in my girl. Come with me and you shall see his portrait."
It hung in Miss Grimston's boudoir—an apartment the walls of which were decorated with pictures of the Comédie-Française Company, the original designs for the dresses in "A Wife's Secret"; while over the mantel-board are Mr. and Mrs. Kendal in "The Ironmaster," and many family portraits are about.
MISS GRIMSTON'S BOUDOIR.
From a Photo by Elliott & Fry.
"It is so amusing to hear people talk and write about my eldest brother Tom and me playing together as children," she said. "My mother was married when she was eighteen, and my brother was born when she was nineteen; I was born when she was forty-eight, and was her twenty-second child! So my brother was a grown man with a moustache when I knew him. I was brought up with his two children—little Tom and Maude, my own nephew and niece."
What a delightful story it was! Little Madge Robertson used to dress up as a policeman and take Maude into custody before Tom, the younger, as the judge. And this was the trial:—
"What is the prisoner charged with, constable?" asked the judge.
"Murder, my lord," replied the representative of law and order.
"Prisoner, are you guilty?"
"Yes, my lord," answered the poor prisoner.
"Prisoner, have you anything to say why sentence should not be passed upon you according to law?"
"Yes, my lord. I'm the daughter of the author of 'Caste'."
The prisoner always got off, and dear old William Robertson would watch this little scene and roar with laughter.
"Yes," Mrs. Kendal said quietly, as we again looked at "Tom's" picture, "my brother was kindness itself, even from his infancy. I remember hearing how, when he was a very small boy and living with his aunt, he went out one summer's day with a new velvet jacket on. He caught sight of a poor little beggar child his own size, who was in tatters, and, beckoning him across, at once divested himself of his new coat, put it on the wondering youngster, and ran away home as fast as he could. His aunt questioned him, and upon finding out the true circumstances of the case, and not wishing to damp the kind spirit in the little fellow's heart, said:—
"'Well, we'll go and try to find the boy you gave it to, and buy your jacket back.'
"Fortunately the search was successful, and the coat was bought back for no less a sum than half-a-sovereign.
"And in later years it was just the same with Tom. He could never pass by a common cookshop, in front of the windows of which was often a crowd of men, women, and children, looking on with longing eyes, without getting them inside and giving them a fill to their hearts' content. When out driving it was no different. He would stop the horse, and have all the watching hungry ones inside, and the next moment they would be revelling in the satisfying properties of thick slices of plum-pudding and roast beef."
The house throughout is most artistic. Mr. Kendal is a painter of great merit, and he "knows" a picture as soon as he sees it. Pictures are his hobby; hence there is not a room in the house—even to the kitchen—which does not find a place for some canvas, etching, or engraving. The entrance-hall is at once striking, with its quaint thirteenth century furniture, bronzes, and Venetian ware. There are some fine engravings of Miss Brunton—who became Countess of Craven—Kemble, Garrick, Phelps, and Mrs. Siddons. A picture of Mrs. Kendal in "The Falcon" was done at the express wish of, and paid for by, the late Poet Laureate. Tennyson said it reminded him of a woman he liked and admired. In the shadow is a fine bust of Macready, given by the great actor to the father of Mrs. Kendal; resting against the fireplace on either side are the two lances used in "The Queen's Shilling," and close by are two huge masks representing a couple of very hirsute individuals. They came from California, and represent "The King of the Devils" and "The King of the Winds."
THE HALL. (From a Photo, by Elliott & Fry.)
THE DINING ROOM. (From a Photo, by Elliott & Fry.)
The entrance to the dining-room is typical of all the other door decoration in the house—a carving of cream enamel of beautiful design and workmanship. The walls of this apartment are terra-cotta, with a finely carved oak-panelling. It is a little treasure room of canvases, the gem of which is probably C. Van Hannen's "Mask Shop in Venice"—a painter of a school which Luke Fildes, R.A., has done so much to popularize. Macbeth is represented by a couple of delightful efforts, and there are samples of the skill of Eugene Du Blas, Crofts, John Reid, Andriotti, Sadler, De Haas, Rivers; a grand landscape by Webb—nearly all of which are Academy works. The decorative articles are as artistic as in some cases they are peculiar. Running about above the oaken fireplace, amongst choice bronzes and blue ware, and a black boy who is trudging along with a very useful clock on his back, are many quaint animals of polished brass—even mice are not missing, with wonderfully long tails—that sparkle and glisten in the firelight. Ascending the staircase you find etchings after Alma Tadema, Briton Riviere, and others; the walls are covered with them.
SCENE FROM "THE SQUIRE." From the Picture by Mr. Kendal.
Here are a series of delightful pictures showing Mr. and Mrs. Kendal in Gilbert's "Sweethearts," and I am reminded that the gifted actor and actress were the first to appear before the Queen after a period of five-and-twenty years, during which Her Majesty had never seen a play, the performance that night consisting of "Sweethearts" and Theyre Smith's "Uncle's Will." And as one takes note of many rare works—the bedroom is almost entirely given up to Doré's marvellous creations, though near the window is a splendid specimen of the photographer's art: a head of Miss Mary Anderson—one cannot fail to observe the family spirit everywhere—sometimes portraits of children, sometimes small and dainty pencil studies made of them by their father. Occasionally theatrical sketches by Mr. Kendal appear. Here are some of the principal members of the old St. James's Company, who used to give Mr. Kendal sittings between the acts—here a capital bit of artistic work depicting a scene from "The Squire," made from stray memorandums and with the aid of a looking-glass for securing the actor-artist's face.
Leaving Mr. Kendal for a time, Mrs. Kendal and I returned to the drawing-room. It overlooks Harley Street and is a handsome two-roomed apartment, the prevailing tone of blue, cream, and gold harmonizing to perfection. It is positively one huge collection of curios.
The screen at the far end is rather shuddery, not to say creepy, to those of nervous temperament. It is decorated with tomahawks of fearful and wonderful shapes and sizes, and other Indian implements of warfare.
"These came from California," Mrs. Kendal explained. "No sooner are you out of the train than the Indians tomahawk you! Look at this bow and arrow."
The pots of palms and ferns all hold American flags. These colours—the stars and stripes—once surmounted baskets of flowers and floral emblems—five, six, and even seven feet high—handed to Mrs. Kendal during her recent tour in the States; and amongst the sweetly-perfumed blossoms diamonds, pearls, and other precious gems have glistened in the shape of ornaments. A table near the window tells you of the generosity of the Americans. It is crowded with silver ornaments and mementos. You may handle the diminutive silver candlesticks to light "The Kendals" away—silver jugs, souvenir spoons, frying-pans, coffee-pots—all in miniature. This silver dollar is only one of a hundred. You touch a spring, when, lo and behold! the portrait of the donor appears. All American women have dainty feet. These little ebony and silver lasts for your boots remind you of this. On this table is a letter from the Princess of Wales, thanking Mrs. Kendal for "the lovely silver wedding bells and flowers which you so kindly sent me on the tenth." You may examine George IV.'s cigar-case—a silver tube in which the King was wont to carry a single cigar. It is impossible to number all the treasured odds and ends, but still more difficult to total up the miniature articles set out in a pair of cabinets.
NAPOLEON'S WRITING-TABLE From a Photo by Elliott & Fry.
"SHAKESPEARE AND BACON" From the Picture by A. E. Emslie.
Mrs. Kendal has a hobby—it lies in the collecting of the tiniest of tiny things. If her intimate friends come across any curiosity particularly choice and small, it is at once snapped up and dispatched to Harley Street. I had some little leaden mice in my hand the size of half-a-dozen pins' heads. Handkerchiefs an inch square, babies' woollen shoes, pinafores, shirts, all of the tiniest, but perfectly made, with buttons and button-holes complete, and even buns with currants no bigger than a pin's point. Sheep, dogs, cats, monkeys, pigs, giraffes—in short, convert the entire Zoo into miniature china knick-knacks, and you have a considerable portion of Mrs. Kendal's collection realized. One must needs stand for a moment at Napoleon's writing-table, near which rests a characteristic clay by Van Beers. The pictures here are many. Millais' work is well represented by several etchings, and a remarkably clever thing by Emslie, entitled "Shakespeare and Bacon," suggests the two extremes of taste to a nicety. Whilst a young enthusiast is declaiming Shakespeare, one of his listeners—doubtless, equally enthusiastic, but with an eye for victuals—is interrupting a soliloquy with the remark: "Now! who says bacon?" Every portrait has a history—Prince and Princess Henry of Battenberg in their wedding garments, the late Duke of Albany, Professor Huxley, Mrs. Beecher Stowe, Mr. and Mrs. Pinero, Mr. and Mrs. Bancroft, and many others. Three suggestive pictures, however, cannot be passed by. This dear little fellow is the son of Mr. B. J. Farjeon. Mr. Farjeon married "Rip Van Winkle" Jefferson's daughter, and the youngster is pictured dressed in the tattered garments of merry, rollicking Rip. You know how Rip always drinks your health? He holds the glass of hollands high up and cries, "Here's your health and your family's good health, and may they all live long and prosper!" but Mr. Farjeon's little boy cries out, "Here's your health, and your family's good health, and may you all live long and proper!"
GROUP IN CLAY BY JAN VAN BEERS.
MRS. KENDAL AS "GALATEA"
A photo, of Dr. Pancoast stands near a bust of Mrs. Kendal as Galatea, done when she was seventeen. Dr. Pancoast—a celebrated American physician—saved Mrs. Kendal's life when her maid accidentally administered a poisonous drug to her mistress. The poor girl herself nearly died of fright.
But perhaps the portrait of the late Duchess of Cambridge, which Mrs. Kendal now holds in her hand, is more interesting than them all. "Her late Royal Highness," Mrs. Kendal said, "always addressed me and wrote to me as Mrs. Grimston. She was paralyzed in her right hand and wrote with her left; perhaps that is why this letter, written in pencil and with great effort, is treasured more than it otherwise would have been."
It was one of the last letters written by Her Royal Highness. The letters and words were wonderfully legible; it read:—
"Dear Mrs. Grimston,—One line only to thank you for sending me the stalls for my dressers, who enjoyed your and Mr. Grimston's charming acting immensely. My first deaf one was able to follow perfectly, thanks to your having kindly let her have the book previously. Again thanking you,
"I remain,
"Yours very sincerely,
Augusta."
And in a little cabinet in the far corner is a beautiful Sèvres bowl. In the bowl is a telegram from "Princess Mary," asking Mrs. Kendal to come to St. James's Palace at once. Written on a black-edged envelope were these words: "To dearest Mrs. Grimston Kendal. A little souvenir. Found amongst the last wishes of her late Royal Highness the Duchess of Cambridge."
It is only just possible to hasten through the collection of substantial reminiscences which add to the charm of this corner of the house. The quaint white china hare was given to Mrs. Kendal many years ago by Mr. John Hare, when playing together at the Court. A curious but vividly suggestive idea of Japanese wit, in the shape of a couple of characteristically dressed figures, typifies "Health" and "Wealth"; the figure, representing "Health" has a countenance of the deepest red, the other a face all golden and as resplendent as the sun. In a small frame is the letter from the Goethe Club of New York, making Mrs. Kendal an honorary member. She is the only woman member of this club. And this pretty little doll dressed as a Quakeress—a charming compliment to the recipient—was presented by the Quakeresses of Philadelphia, who never, never, never go the play, yea, verily! So they sent this as a tribute of their admiration for the talents and character of the woman who has been called "The Matron of the Drama."
MRS. KENDALL'S LITTLE QUAKERESS.
We sat down on a settee in front of the fire. The cushions were of white lawn marked with the initial "M.," and were worked by the late Lady Eglinton.
Mrs. Kendal's happy and homely face is familiar to all. She has a truly tender and sympathetic expression there at all times. Her hair was once that of the fair one with golden locks, now it is of a rich brown colour—very neatly and naturally trimmed about her head. She is very kind—very motherly; just the woman you would single out in time of trouble and ask, "What would you advise me to do?" I gathered these impressions whilst listening to many things she said of which I need not write. Her views on theatrical life are strong, nay, severe. She is not afraid to speak, and she hits hard and sends her shots home. But you cannot mistake the earnestness of her manner, the true intent of her motives.
"I am only a common-place woman," she said to me. "I used to be ever so light-hearted—now, I'm a morbid creature. Here we are sitting down by the fireside. I may tell you happy reminiscences that may make one merry, and all the time I should be thinking about—what? Cancer! I return to my dressing-room from the stage at night. As I am passing along a fellow player may turn to me and say, 'How well the play has gone to-night!' I am only thinking of those who have trod that same stage before me. What are they now? Dust—earth—worms!"
I stirred the fire, and the bright glow from its burning embers lit up the corner where we sat. And we talked together.
Margaret Brunton Robertson was born at Great Grimsby on March 15th, 1849—curiously enough these lines will be read on the anniversary of her birthday. Her grandfather, father, and uncle were all actors.
"I lived alone with my father and mother," she said, "and the only real recollection I have of my father is his fine white beard, which he grew towards the latter days of his life, and a little advice he once gave me.
"'Always count twenty,' he said, 'when you are walking across the quay at Bristol, then you won't hear the sailors swear!' Yet he would use very bad language to me when he was teaching me my parts; for you know I commenced acting at a very early age. I was only three when I made my first appearance—and I ruined the play. It was at the Marylebone Theatre in the 'Three Poor Travellers,' and I was a blind child. My nurse was in the front row of the pit—that is, in the very first row, for there were no stalls. All I thought about was my new shoes—a very pretty, dainty little pair, and as soon as I stepped on the stage, I opened my eyes, caught sight of the delighted face of my nurse, and cried out:—
"'Oh! nursey, dear, look at my new shoes!'
"I played at Chute's Theatre in Bristol in many child's parts. When my father went to the wall over the Lincoln Circuit, Mr. Chute engaged him as an actor, and I went with him. I remember in 'A Midsummer Night's Dream'—I was Mustard Seed, I think, or Peas Blossom; at any rate, some small character that required very prettily dressing, and plenty of flowers on my little costume. I am as fond of flowers to-day as I was then. Well, when once I got on the stage in my pretty dress—of which I was particularly proud—before I would leave it, I had to be bought off with apples and oranges! There they would stand at the wings, and the price would go up—up—up—two oranges, three oranges, three oranges and two apples—until I inwardly murmured a childish equivalent for 'sold,' and toddled off.
"I acted Eva in 'Uncle Tom's Cabin' when I was eight. I think I was always a sad child—I looked forty when I was fifteen. After little Eva I used to play anything."
And they were hard times for little Madge—she worked like the brave little woman she was. Her childish thoughts were constantly with her parents—how best could she add to the weekly income. And this is what the same little Madge would do. Night after night, after playing in a serious piece, she would appear in burlesque, sing, dance, and crack her small jokes with the best of them. It was hard work that made her a woman—it was dearly-bought experience that gave birth to the sympathetic heart she has to-day.
MRS. KENDAL. From a Photo. by Bassano.
So at fourteen she was a woman grown—and at fifteen at Hull played Lady Macbeth to Phelps's Macbeth!
"I was dressed in my mother's clothes," Mrs. Kendal said, "and I fear I must have looked a fearful guy!"
At rehearsal Phelps looked upon the young woman.
"And who—who is this child?" asked the great actor.
"Madge Robertson," the manager answered; "a rare favourite here. It was a choice between her and a very old woman, Mr. Phelps."
"Then let the young woman play, by all means," Phelps said.
What a night it was! At the end of the play they wanted her on again, but Phelps was obdurate. A party of men came round, and threatened to throw Phelps into the Humber! Phelps remained firm.
"He was kindness itself through it all," Mrs. Kendal assured me, "and though I did not go on again, he proved his thoughtfulness a little later on by sending for me to play Lady Teazle. I played the leading parts during the three nights Phelps remained in Hull in 'The Man of the World,' 'Richelieu,' and 'Macbeth.' On July 29th, 1865, I made my début in London, at the Haymarket, as Ophelia to the Hamlet of Walter Montgomery. Poor Montgomery! He was what you would call a 'lady-killer'—very conceited, but, withal, very kind. He once wrote a letter to my father, and added a postscript, saying: 'Keep this letter. Should poverty fall upon you or yours, your great-grand-children may be able to sell it for a good sum of money!' I was only with him six weeks."
The only play of her brother's in which Mrs. Kendal has appeared was "Dreams," when the Gaiety first opened. At this time the managers always tried to induce Mrs. Kendal to appear in a riding habit—a costume in which she looked strikingly handsome.
"Alfred Wigan played in 'Dreams,'" continued Mrs. Kendal. "His wife was one of the kindest women I ever met. She gave me a gold bracelet for a very curious little service I used to render her husband every night. He had to sing a song in 'Dreams,' and one or two of the high notes were beyond his reach. I used to take these notes for him, and the audience never guessed the truth."
"And have you not played Desdemona?" I asked.
"Oh! yes—and to a real black man, and so he did not have to put his head up the chimney to make himself up for the part! His name was Ira Aldridge, and scandal said he was the dresser of some great actor whom he used to imitate. But he had very ingenious ideas as to the character of Othello. He thought him a brute, and played him as such. His great notion was to get the fairest woman possible for Desdemona—and I was selected, for at that time my hair was quite golden.
"In one part of the play he would cry out, 'Give me thy hand, Desdemona!' and certainly the effect of my hand in his huge grasp was impressive. Then in the last act he would pull me from the couch by the hair of my head. Oh! there was something in his realism, I can tell you!"
Miss Robertson made a great sensation when she appeared as Blanche Dumont, in Dr. Westland Marston's "Hero of Romance," when it was performed for the first time at the Haymarket Theatre, on March 14th, 1868. Seventeen months after this, on August 7th, 1869, she was Madge Robertson no longer. On that day she was married to Mr. William Hunter Grimston, whose stage name is Kendal. It is a charming little story.
It occurred at Manchester. Mr. Kendal and Miss Robertson were on tour with the elder Compton, and they were—sweethearts. A convenient time seemed to have arrived for their wedding day, for on the Thursday, Friday, and Saturday nights pieces were to be played in which neither of them would be required. This would mean a nice little honeymoon—and the two lovers would reappear on the Monday night. So the day was fixed—Thursday; the church chosen—St. Saviour's, Plymouth Grove; and the best man booked—Walter Gowing, who used to play under the name of Walter Gordon.
Then bad news came. Compton's brother was taken ill, and he had to hurry away from Cottonopolis. Another play had to be put in the bill, both Mr. Kendal and Miss Robertson would be needed—for it was "As You Like It," and the one would be wanted for Orlando and the other for Rosalind. Still, the wedding was proceeded with on Thursday morning, quietly and happily, and in the evening husband and wife met on the stage in the Forest of Arden. There, with Celia as the priest, amidst the leafy trees and grassy pathways, Orlando turns to the merry Celia, and pointing to the far, far happier Rosalind, cries out:—
"Pray thee, marry us!"
"Will you, Orlando, have to wife this Rosalind?"
"I will."
"Then," Rosalind pertly remarks, "you must say, 'I take thee, Rosalind, for wife.'"
"I take thee, Rosalind, for wife," said Orlando, earnestly.
Then Rosalind asked, "Now tell me how long you would have her after you have possessed her?"
And Orlando replied—both in the words of Shakespeare and in the language of his own heart—"For ever and a day!"
That is the true story of the wedding of Mr. and Mrs. Kendal. It was a natural desire of each never to play apart from the other, and from that day they have never separated. For some seven years Mr. and Mrs. Kendal played at the Haymarket, under Buckstone's management, and the gifted actress merrily referred to the little jokes played on "Bucky" by some of the actors. He was stone deaf, and could only take his cues when to speak from the movements of his fellow-actors' lips, so they would annoy him by continuing the lip movement, and "Bucky" sometimes got "stuck."
THE DRAWING-ROOM. From a Photo. by Elliott & Fry.
Little need be said of Mrs. Kendal's subsequent work—her acting at the Court, the Prince of Wales's, and her labours at the St. James's, when, in 1881, she appeared there under the joint management of Mr. Kendal and Mr. Hare. Not only in this country has her name become fondly familiar in the homes of those who "go to the theatre" and those who "never would," but in America the artistic acting of herself and husband has been instantly and enthusiastically recognised.
I left the drawing-room—pausing, before entering Mr. Kendal's study, to admire the aviary—a veritable home of song—and to notice one diminutive member of the feathered tribe in particular, who has been taught by Miss Grimston to perform tricks ad lib., in addition to giving forth the sweetest of notes.
The study is a very delicate apartment in terra-cotta and gold—here and there are quaint blue china vases and many exquisite bronzes. The window in the recess where the table is—a typical study table, suggesting plenty of work—is of stained glass, the quartet of divisions representing the four seasons. A glance round the walls of this room at once reveals the substantial side of Mr. Kendal's artistic hobby—pictures. In this apartment there is nothing but water-colours, save a very clever pen-and-ink sketch by a New York artist, called "Six Months After Marriage," which Jefferson caught sight of at the New York Dramatic Bazaar, and reminded Mr. Kendal to "keep his eye on," and a portrait or two of Mrs. Kendal and the children. "Hetty Sorrell" at her butter pats, with her thoughts very far from the churning-pan, is a gem. "The Last of St. Bartholomew" is a magnificent bit of painting, and the Venetian views at once carry one back to the home of the merry gondolier and perfect moonlight nights. This picture of Salvini—who its possessor assured me was the finest tragedian he had ever seen—was painted by Mr. Kendal himself. The bookcase, running along opposite the window, contains many rare first editions, of which Mr. Kendal is a very persevering and successful collector, and a bound manuscript copy of every play produced by him, together with the original sketches for the scenery. You may look over the "Scrap of Paper," "The Falcon," "Queen's Shilling," "Ladies' Battle," "Clancarty," "The Ironmaster," "The Money Spinner," and "The Squire"—Pinero's play, of which somebody wrote that it wafted the scent of the new-mown hay across the footlights.
PORTRAIT OF SALVANI, BY MR. KENDAL.
It is interesting to learn how Mr. Kendal first came across Pinero.
"I only knew him as an actor at the Lyceum," he said, "and had never met him. He wrote and asked if we would let him read a play to us. As a rule we never do that; but, remembering that Pinero was himself a player, we made an exception. So it came about that one day, after a rehearsal, the actor playwright read his piece to us in the foyer of the St. James's. We never expected anything at first, but the reading ended in our taking the play immediately, though we scarcely knew what we should do with it, seeing it was a two-act play. We found an opportunity, however, and you know the success it was. It was called 'The Money Spinner.'"
Mr. Kendal is a striking-looking man—the very ideal of a picturesque soldier, with a constitution of steel. He talks to you frankly, easily, for there is not two penny-worth of presumption about him. He lives and labours very quietly—he enjoys his days, and a good cigar. He divides his talents between the stage and the brush. His pencil and palette have been with him in far-off places, and there is always a corner in his bag for them if he only travels twenty miles from Harley Street. His peculiarity of painting—so to speak—lies in the fact that he never fails to chronicle the view obtained from any hotel where he may be staying. He showed me a book full of these hasty impressions—all of which were most beautifully done—many of them he could only give ten minutes or a quarter of an hour to. Two of these I brought away for reproduction in these pages; they are both unfinished, however—the pencil reminders of certain little additions tell that.
SKETCH FROM THE QUEEN's HOTEL, MANCHESTER, BY MR. KENDAL.
The first of these is a view of the Infirmary as seen from Mr. Kendal's window at the Queen's Hotel, Manchester; the second—done in a quarter of an hour—shows the way the Americans erect their buildings for exhibiting a cyclorama—popularly known here as a panorama. It was done from a back window in an hotel in Cleveland, U.S.A. The actor-artist never learnt drawing, save for a few hours' lessons he took at the Slade Schools under the tuition of Le Gros. He draws everything that impresses him—his painting memory is remarkable. He sees a man's face in the street, carries it home in his mind, and it will be very faithfully put on paper or canvas.
We talked for a long time on "pictures"—he was so happy and earnest about it that it was some time before we made an attempt to tread the boards and get behind the footlights.
Mr. Kendal—William Hunter Grimston—was born at Notting Hill, and just outside the sound of Bow Bells, on December 16th, 1843. His parents belonged to the Low Church, and their views of the theatre in general, and on adopting the stage as a profession in particular, will be readily understood. Mr. Kendal was intended for the Army—how he came to "go on" the stage is best told in his own words:
"I had only been to three or four pantomimes previously," he said, "and one night—I was about eighteen years of age at the time—I found myself in the stalls of the old Soho Theatre, in Dean Street, Soho, now known as the Royalty Theatre. My paper and pencil were out, and I was busily engaged in making sketches of the various actors and actresses. The piece was 'Billie Taylor.' Suddenly I felt a gentle tap on the shoulder from behind. I turned round.
"'Would you allow me to take those sketches round and show the 'parties' interested?' a gentleman asked.
"'Certainly; with pleasure,' I replied.
"'Perhaps you would like to come behind the scenes as well?'
"It was just what I wanted, so I followed the person who had so kindly interested himself in my scribble. He proved to be Mr. Mowbray, the manager of the theatre. The picture behind the scenes that night was a perfect Elysium to me. I think Mowbray must have noticed the impression it made upon me, for he asked if I would like to go on the stage. I did—as a sort of super."
SKETCH FROM HOTEL WINDOW, CLEVELAND, U.S.A., BY MR. KENDAL.
Mr. Kendal's first important engagement lasted four or five years at the Theatre Royal, Glasgow. Here he met and played with such people as Helen Faucit (Lady Martin), G. V. Brooke, Mr. and Mrs. Charles Kean, Dion Boucicault, Fechter, Miss Bateman (Mrs. Crowe), and the elder Sothern. When Sothern left, the accomplished young actor played Dundreary, and found himself straying in the footsteps of the famous originator of the part, even to the hop. One would have thought that people would have praised the actor for taking such a worthy example—but it displeased Tom Taylor, and he wrote very wrathfully. Then Mr. Kendal went to the Haymarket, met Miss Robertson, and from their wedding day their lives may be said to have been the same in thought, word, and deed.
As an organizer and man of business his tact and judgment were tested and proved during his joint management of the St. James's with Mr. Hare in 1881. For some time previous to this Mr. Kendal had been on the look-out for a theatre, and his mind wandered towards the St. James's, but it required a large sum of money spending on it before it could be opened.
"One night I was talking to Lord Newry at my club," said Mr. Kendal, "and happened to say that if £2,000 or so were spent on the St. James's I might feel inclined to take it.
"'Suppose I spend that amount of money on the place, will you take it?' Lord Newry asked.
"My only reply was that I would think about it. In the meantime I went to the Court, from there to the Prince of Wales's to play in 'Diplomacy'—it ran a year—'Peril' and 'London Assurance.' Then I returned to the Court again, and during this time Lord Newry had practically gutted the old and unlucky St. James's, turned it inside out—John Hare, my wife and self entered, and we remained there nearly ten years."
Mr. and Mrs. Kendal share the same opinion of America—it is the land of to-day, the land of the future. As to its theatres in comparison with ours, Mrs. Kendal—who had now joined us—was most enthusiastic. I had reached the pillars, from which hung curtains of intricate Japanese workmanship, leading to the hall. Victoria, the Jubilee dog, was barking a friendly "Good-bye," and the lusty throats of Miss Grimston's two-and-twenty canaries forced their sweet notes from a far-away room into the passage.
"I will give you some idea of what an American theatre is like," said Mrs. Kendal. "You reach your destination by rail at some small place for a one-night stay. If it is raining and the ground is wet, men in long jack-boots catch hold of you and gallantly take you across the puddles. You do not see a soul about—and you are in fear and trembling as to where your night's audience is coming from. You get to your hotel, and then your next thought is—where is the theatre? You expect to find a little, uncomfortable, band-box of a place, and you set out to see it with a heavy heart. It is a palace—a marble palace—a positive poem! And your heart leaps happily—only to drop dull again, for you suddenly remember that you have seen—nobody, not even the oldest inhabitant. You turn to the manager.
"'Yes, yes—but, what about an audience, how are you going to fill it?' you ask.
"'Wall,' he replies, 'I don't trouble myself much about that. I reckon that every seat in this theatre is sold for to-night, that's all!'"
Harry How.
MR. KENDAL. From a Photo. by Maurice Stephens, Harrogat.
"Author! Author!"
By E. W. Hornung.
This story has to do with two men and a play, instead of a woman, and it is none of mine. I had it from an old gentleman I love: only he ought to have written it himself. This, however, he will never do; having known intimately in his young days one of the two men concerned. But I have his leave to repeat the story more or less as he told it—if I can. And I am going to him for my rebuke—when I dare.
"You want to hear the story of poor old Pharazyn and his play? I'm now going to tell it you.
"Ah, well! My recollection of the matter dates from one summer's night at my old rooms in the Adelphi, when he spoilt my night's work by coming in flushed with an idea of his own. I remember banging the drawer into which I threw my papers to lock them away for the night; but in a few minutes I had forgotten my unfinished article, and was glad that Pharazyn had come. We were young writers, both of us; and, let me tell you, my good fellow, young writing wasn't in those days what it is now. I am thinking less of merit than of high prices, and less of high prices than of cheap notoriety. Neither of us had ever had our names before the public—not even in the advertised contents of an unread and unreadable magazine. No one cared about names in my day, save for the half-dozen great ones that were then among us; so Pharazyn's and mine never used to appear in the newspapers, though some of them used our stuff.
"In a manner we were rivals, for we were writing the same sort of thing for the same sort of publications, and that was how we had come together; but never was rivalry friendlier, or mutually more helpful. Our parts were strangely complementary; if I could understand for the life of me the secret of collaboration, which has always been a mystery to me, I should say that I might have collaborated with Pharazyn almost ideally. I had the better of him in point of education, and would have turned single sentences against him for all he was worth; and I don't mind saying so, for there my superiority ended. When he had a story to tell, he told it with a swing and impetus which I coveted him, as well I might to this day; and if he was oftener without anything to write about, his ideas would pay twenty shillings in the pound, in strength and originality, where mine made some contemptible composition in pence. That is why I have been a failure at fiction—oh, yes, I have! That is why Pharazyn would have succeeded, if only he had stuck to plain ordinary narrative prose.
"HE SKETCHED THE NEW STORY."
"The idea he was unable to keep within his own breast, on the evening of which I am telling you, was as new, and simple, and dramatic as any that ever intoxicated the soul of story-teller or made a brother author green with envy. I can see him now, as I watched him that night, flinging to and fro with his quick, nervous stride, while he sketched the new story—bit by bit, and often the wrong bit foremost; but all with his own flashing vividness, which makes me so sorry—so sorry whenever I think of it. At moments he would stand still before the chair on which I sat intent, and beat one hand upon the other, and look down at me with a grand, wondering smile, as though he himself could hardly believe what the gods had put into his head, or that the gift was real gold, it glittered so at first sight. On that point I could reassure him. My open jealousy made me admire soberly. But when he told me, quite suddenly, as though on an afterthought, that he meant to make a play of it and not a story, I had the solid satisfaction at that moment of calling him a fool.
"The ordinary author of my day, you see, had a certain timorous respect for the technique of the stage. It never occurred to us to make light of those literary conventions which it was not our business to understand. We were behind you fellows in every way. But Pharazyn was a sort of forerunner: he said that any intelligent person could write a play, if he wanted to, and provided he could write at all. He said his story was a born play; and it was, in a way; but I told him I doubted whether he could train it up with his own hand to be a good-acting one. I knew I was right. He had neither the experience nor the innate constructive faculty, one or other of which is absolutely necessary for the writing of possible plays. I implored him to turn the thing into a good dramatic novel, and so make his mark at one blow. But no; the fatal fit was on him, and I saw that it must run its course. Already he could see and hear his audience laughing and crying, so he said, and I daresay he could also feel the crinkle of crisp weekly receipts. I only know that we sat up all night over it, arguing and smoking and drinking whisky until my windows overlooking the river caught the rising sun at an angle. Then I gave in. For poor old Pharazyn was more obstinate than ever, though he thanked me with the greatest good temper for my well-meant advice.
"'And look here, my boy,' says he, as he puts on his hat, 'you shan't hear another word about this till the play's written; and you are to ask no questions. Is that a bargain? Very well, then. When I've finished it—down to the very last touches—you shall come and sit up all night with me, and I'll read you every word. And by gad, old chap, if they give me a call the first night, and want a speech—and I see you sitting in your stall, like a blessed old fool as you are—by gad, sir, I'll hold up you and your judgment to the ridicule of the house, so help me never!'
"I COULD SMELL HIS PIPE THROUGH THE KEYHOLE."
"Well, I am coming to that first night presently. Meanwhile, for the next six months, I saw very little of Pharazyn, and less still in the new year. He seldom came to my rooms now; when he did I could never get him to stay and sit up with me; and once when I climbed up to his garret (it was literally that), he would not answer me, though I could smell his pipe through the key-hole, in which he had turned the key. Yet he was perfectly friendly whenever we did meet. He said he was working very hard, and indeed I could imagine it; his personal appearance, which he had never cherished, being even untidier, and I am obliged to add seedier, than of old. He continued to send me odd magazines in which his stuff happened to appear, or occasionally a proof for one's opinion and suggestions; we had done this to each other all along; but either I did not think about it, or somehow he led me to suppose that his things were more or less hot from the pen, whereas many of mine had been written a twelvemonth before one saw them in type. One way or another, I gathered that he was at work in our common groove, and had shelved, for the present at all events, his proposed play, about which you will remember I had undertaken to ask no questions.
"I was quite mistaken. One night in the following March he came to me with a haggard face, a beaming eye, and a stout, clean manuscript, which he brought down with a thud on my desk. It was the play he had sketched out to me eight or nine months before. I was horrified to hear he had been at work upon it alone from that night to this. He had written, so he said, during all this time, not another line, only each line of his play some ten times over.
"I recollect looking curiously at his shabby clothes, and then reminding him that it was at his place, not mine, I was to have heard him read the play: and how he confessed that he had no chair for me there—that his room was, in fact, three parts dismantled—that he had sacrificed everything to the play, which was worth it. I was extremely angry. I could have helped him so easily, independent as I was of the calling I loved to follow. But there was about him always an accursed, unnecessary independence, which has since struck me—and I think I may say so after all these years—as the mark of a rather humble, very honest origin.
"He read me the play, and I cried over the third act, and so did he. I thought then, and still think, that there was genius in that third act—it took you off your feet. And to me, certainly, it seemed as if the piece must act as well as it read, though indeed, as I took care to say and to repeat, my opinion was well-nigh valueless on that point. I only knew that I could see the thing playing itself, as I walked about the room (for this time I was the person who was too excited to sit still), and that was enough to make one sanguine. I became as enthusiastic about it as though the work were mine (which it never, never would or could have been), yet I was unable to suggest a single improvement, or to have so much as a finger-tip in the pie. Nor could I afterwards account for its invariable reception at the hands of managers, whose ways were then unknown to me. That night we talked only of one kind of reception. We were still talking when the sun came slanting up the river to my windows; you could hardly see them for tobacco-smoke, and we had emptied a bottle of whisky to the success of Pharazyn's immortal play.
"HIS MANUSCRIPT RAGGED BUT UNREAD."
"Oh, those nights—those nights once in a way! God forgive me, but I'd sacrifice many things to be young again and feel clever, and to know the man who would sit up all night with me to rule the world over a bottle of honest grog. In the pale light of subsequent revelations I ought, perhaps, to recall such a night, with that particular companion, silently and in spiritual ashes. But it is ridiculous, in my opinion, to fit some sort of consequence to every little insulated act; nor will I ever admit that poor Pharazyn's ultimate failing was in any appreciable degree promoted or prepared for by those our youthful full-souled orgies. I know very well that afterwards, when his life was spent in waylaying those aforesaid managers, in cold passages, on stage doorsteps, or, in desperation, under the public portico on the street; and when a hundred snubs and subterfuges would culminate in the return of his manuscript, ragged but unread: I know, and I knew then, that the wreck who would dodge me in Fleet Street, or cut me in the Strand, had taken to his glass more seriously and more steadily than a man should. But I am not sure that it matters much—much, you understand me—when that man's heart is broken.
"The last words I was ever to exchange with my poor old friend keep ringing in my head to this day, whenever I think of him; and I can repeat them every one. It was some few years after our intimacy had ceased, and when I only knew that he had degenerated into a Fleet Street loafer of the most dilapidated type, that I caught sight of him one day outside a theatre. It was the theatre which was for some years a gold-mine to one Morton Morrison, of whom you may never have heard; but he was a public pet in his day, I can tell you, and his day was just then at its high noon. Well, there stood Pharazyn, with his hands in his pockets and a cutty-pipe sticking out between his ragged beard and moustache, and his shoulders against the pit door, so that for once he could not escape me. But he wouldn't take a hand out of his pocket to shake mine; and when I asked him how he was, without thinking, he laughed in my face, and it made me feel cruel. He was dreadfully emaciated, and almost in rags. And as I wondered what I ought to do, and what to say next, he gave a cough, and spat upon the pavement, and I could see the blood.
"THERE STOOD PHARAZYN."
"I don't know what you would have done for him—but for all I knew what had brought him to this, I could think of nothing but a drink. It was mid-winter, and I tell you the man was in rags. I felt that if I could get him to a bar he might eat something, too, and that I should get a hold of him this time which I would never again let go. Judge of my surprise when he flatly refused to come with me even for a drink.
"'Can't you see? he said in his hollow voice. 'There'll be a crowd here directly, and I want the best seat in the pit—the best in the house. I've been going dry for it these two days, and I'm going dry till I've seen the piece. No, I've been here an hour already, and there's three hours more, I know; but I'm not going to risk it, thanks all the same.'
"By this I had remembered that Morton Morrison was to re-open that night with a new piece. Indeed, I ought not to have forgotten that, seeing that I had my order about me somewhere, and it meant a column from my pen between twelve and one that night. But this sudden, sorry meeting had put all other thoughts out of my head.
"'My dear fellow,' I said, with a sort of laugh, 'are you a first-nighter, too?'
"'Only at this theatre.'
"He looked me queerly in the face.
"'You admire Morrison very much?'
"'I love him!'
"I suppose my eyes thawed him, though God knows how hard I was trying not to hurt him with pitying looks. At all events he began to explain himself of his own accord, very impetuously; indeed I rather think the outburst was purely involuntary.
"'Look here,' he said, with his hoarse voice lowered: 'I hoped never to see your face again. I hoped you'd never see mine. But now you are here, don't go this minute, and I'll tell you why I think so much of Morton Morrison. I don't know him, mind you—he doesn't know me from Adam—but once long ago I had something to do with him. And God bless him, but damn every other manager in London, for he was the only one of the lot that gave me a civil hearing and a kind word!'
"I knew what he was talking about, and he knew that I knew, for we had understood one another in the old days.
"'I took it to him last of all,' he went on, wiping his damp lips with his hand. 'When I began hawking it about he was an unknown man; when his turn came he was here. He let me read it to him. Then he asked me to leave it with him for a week; and when I went back to him, he said what they had all said—that it would never act! But Morton Morrison said it nicely. And when he saw how it cut me up, into little bits, he got me to tell him all about everything; and then he persuaded me to burn the play, instead of ruining my life for it; and I burnt it in his dressing-room fire, but the ruin was too far gone to mend. I wrote that thing with my heart's blood—old man, you know I did! And none of them would think of it! My God! But Morrison was good about it—he's a good soul—and that's why you'll see me at every first night of his until the drink finishes its work.'
"I had not followed him quite to the end. One thing had amazed me too much.
"'You burnt your play,' I could only murmur, 'when it would have turned into such a novel! Surely you have some draft of it still?'
"'I burnt the lot when I got home,' Pharazyn replied; 'and by-and-by I shall join 'em and burn too!'
"I had nothing to answer to that, and was, besides, tenacious of my point. 'I don't think much of the kindness that makes one man persuade another to burn his work and throw up the sponge,' said I, with a good deal of indignation, for I did feel wroth with that fellow Morrison—a bread-and-butter drawing-room actor, whose very vogue used to irritate me.
"WHAT DO YOU THINK OF THIS?"
"'Then what do you think of this?' asked Pharazyn, as he dipped a hand within his shabby coat, and cautiously unclenched it under my nose.
"'Why, it's a five-pound note!'
"'I know; but wasn't that kind, then?'
"'So Morrison gave you this!' I exclaimed.
"Two or three persons had stopped to join us at the pit door, and Pharazyn hastily put the note back in his pocket. As he did so, his dreadfully shabby condition gave my heart a fresh cut.
"'Are you never going to spend that?' I asked in a whisper; and in a whisper he answered:—
"'Never! It is all my play has brought me—all. It was given me as a charity, but I took it as my earnings—my earnings for all the work and waiting, and blood and tears, that one thing cost me. Spend it? Not I! It will bury me as decently as I deserve.'
"We could converse no more. And the presence of other people prevented me from giving him my overcoat, though I spoke of it into his ear, begging and imploring him to come away and take it while there was still time for him to clip back and get a seat in the front row. But he would not hear of it, and the way he refused reminded me of his old stubborn independence; all I got was a promise that he would have a bite with me after the performance. And so I left him in the frosty dusk, ill-clad and unkempt, with the new-lit lamp over the pit door shining down upon the haggard mask that had once been the eager, memorable face of my cleverest friend.
"I saw him next the moment I entered the theatre that evening, and I nodded my head to him, which he rebuked with the slightest shake of his own. So I looked no more at him before the play began, comprehending that he desired me not to do so. The temptation, however, was too strong to go on resisting, for while Pharazyn was in the very centre of the front row in the pit, I was at one end of the last row of the stalls; and I was very anxious about him, wanting to make sure that he was there and not going to escape me again, and nervous of having him out of my sight for five minutes together.
"Thus I know more about the gradual change which came over Pharazyn's poor face, as scene followed scene, than of the developments and merits of those scenes themselves. My mind was in any case running more on my lost friend than on the piece; but it was not till near the end of the first act that the growing oddity of his look first struck me.
"His eyebrows were raised; it was a look of incredulity chiefly; yet I could see nothing to impale for improbability in the play as far as it had gone. I was but lightly attending, for my own purposes, as you youngsters skim your betters for review; but thus far the situation struck me as at once feasible and promising. Also it seemed not a little familiar to me; I could not say why, for watching Pharazyn's face. And it was his face that told me at last, in the second act. By God, it was his own play!
"It was Pharazyn's play, superficially altered all through, nowhere substantially; but the only play for me, when I knew that, was being acted in the front row of the pit, and not on the stage, to which I had turned the side of my head. I watched my old friend's face writhe and work until it stiffened in a savage calm; and watching, I thought of the 'first night' he had pictured jovially in the old days, when the bare idea of the piece was bursting his soul; and thinking, I wondered whether it could add a drop to his bitterness to remember that too.
"Yet, through all my thoughts, I was listening, intently enough, now. And in the third act I heard the very words my friend had written: they had not meddled with his lines in the great scene which had moved us both to tears long ago in my rooms. And this I swear to, whether you believe it or no—that at the crisis of that scene, which was just as Pharazyn made it, the calm ferocity transfiguring his face died away all at once, and I saw it shining with the sweetest tears our eyes can shed—the tears of an artist over his own work.
"And when the act was over he sat with his head on his hand for some minutes, drinking in the applause, as I well knew; then he left his seat and squeezed out on my side of the house, and I made sure he was coming to speak to me over the barrier; and I got up to speak to him; but he would not see me, but stood against the barrier with a mien as white and set as chiselled marble.
"What followed on the first fall of the curtain I shall relate as rapidly as it happened. Louder call for an author I never heard, and I turned my eyes to the stage in my intense curiosity to see who would come forward; for the piece had been brought out anonymously; and I divined that Morrison himself was about to father it. And so he did; but as the lie passed his lips, and in the interval before the applause—the tiny interval between flash and peal—the lie was given him in a roar of fury from my left; there fell a thud of feet at my side, and Pharazyn was over the barrier and bolting down the gangway towards the stage. I think he was near making a leap for the footlights and confronting Morrison on his own boards; but the orchestra came between, and the fiddlers rose in their places. Then he turned wildly to us pressmen, and I will say he had our ear, if not that of the whole house besides, for the few words he was allowed to utter.
"'Gentlemen!' he cried at the top of his voice—'Gentlemen, I'm one of you! I'm a writing man like yourselves, and I wrote this play that you've seen. That man never wrote it at all—I wrote it myself! That man has only altered it. I read it to him two years ago—two years ago, gentlemen! He kept it for a week, and then got me to burn it as rubbish—when he had made a copy of it! And he gave me this, gentlemen—he gave me this that I give him back!'
"It was a matter of only a few seconds, but not till my own last hour shall I forget Morrison's painted face on the stage, or that sweating white one beneath the boxes; or the fluttering from Pharazyn's poor fingers of the five-pound note he had treasured for two years; or the hush all over the house until the first hand was laid upon his dirty collar.
"'What!' he screamed, 'do none of you believe me? Will none of you stand by me—isn't there a man—not one man among you——'
"And they threw him out with my name on his lips. And I followed, and floored a brute who was handling him roughly. And nothing happened to me—because of what happened to Pharazyn!"
The dear old boy sat silent, his grey head on his hand. Presently he went on, more to himself than to me: "What could I do? What proof had I? He had burnt them every one. And as long as the public would stand him, Morrison kept his good name at least. And that play was his great success!"
"HE GAVE ME THIS."
I ventured gently to inquire what had happened to Pharazyn.
"He died in my arms," my old friend cried, throwing up his head with an oath and a tear. "He died in a few minutes, outside the theatre. I could hear them clapping after he was dead—clapping his piece."
If the gentle reader, full of a general desire for knowledge and a particular enthusiasm for natural history, will refer to any one of the great standard works on birds, and, turning to the index, seek for the family title of the Conkaves, I have every hope and confidence that he will not find it; because, as a matter of fact, it is a little invention of my own, and, I may modestly urge, rather a neat thing in scientific nomenclature, on the whole. It has the advantage of including in one family the storks and the pelicans, which in all orthodox books on birds are planted far apart and out of sight of each other, with many orders, tribes, and families between. Under my title they are gathered amicably together in the common possession of very long bills, like two tailors on a man's doorstep. The word is derived, in the proper and regular manner, from ancient sources; from conk, a venerable Eastern word, signifying a nose or beak, and the Latin avis, a bird. And I offer the term freely as my humble, but I trust useful, contribution to science; my first contribution.
The stork is regarded, in many countries, with a certain semi-superstitious reverence and esteem. After many prolonged and serious attempts to saturate myself with a similar feeling, I regret to confess to a certain smallness of esteem for the stork. You can't esteem a bird that makes ugly digs at your feet and heels with such a very big beak. Out in their summer quarters the storks are kept in by close wire, and close wire will give an air of inoffensiveness to most things. But, away in a by-yard, with a gate marked "private," there stands a shed wherein the storks are kept warm in winter, behind wooden bars; and between these bars stork-heads have a way of dropping at the toes of the favoured passer-by, like to action of a row of roadmen's picks.
PICKS AND CHEWS.
The stork has come off well in the matter of bodily endowment. The pelican has a tremendous beak—achieved, it would seem, by a skimping of material in the legs; but the stork has the tremendous beak and legs of surprising growth as well. His wings, too, are something more than respectable. At flying, at eating, at portentous solemnity of demeanour—in all these and in other things the pelican and the stork score fairly evenly; but at walking the pelican is left behind at once. This makes one suspect the stork's honesty. The pelican has a good beak and wings, and pays for them, like an honest bird, out of its legs, just as the ostrich pays for its neck and legs out of its wings. But the stork is abnormally lucky in beak, neck, legs, and wings together, and even then has material left to lay out in superfluous knobs and wens to hang round its neck, which leads to a suspicion that many of its personal fittings belong properly to some other bird. I've a notion that the unlucky kiwi might identify some of the property.
THE PELICAN LEFT.
ARMY.
Perhaps the adjutant should be acknowledged king of the conkavians. Billy, the Zoo adjutant, has, I believe, no doubt on the subject at all. Billy is an ornament to the military profession—a very fine fellow, with a thing on the back of his neck like a Tangerine orange, and a wen on the front of it, which he can blow out whenever he wants to amuse himself, and everything else handsome about him. He is an old soldier, too, is Billy, having been Adjutant of the Regent's Park Conkavian Corps for seventeen years; but if you knew nothing of his age, still you would call Billy an old soldier—upon a little acquaintance with his habits.
LAW.
There seems no valid reason why the professional aspirations of the stork should be restricted to the army. If an adjutant, why not a dean? Why not a proctor? There is the making of a most presentable don about a stork; and I have caught a stork in an attitude of judicial meditation that might do honour to any bench. There is no reason why "sober as a judge" should not be made to read "sober as a stork," except that the stork is the more solemn creature of the two; and I think that some species of stork—say the marabou, for instance—might fairly claim brevet rank as judge, after the example of the adjutant. The elevation of a beak to the bench might be considered an irregular piece of legal procedure; but, bless you, it's nothing unusual with a stork. Put any bench with something to eat on it anywhere within reach of a stork's beak in this place, and you shall witness that same elevation, precedent or no precedent.
UNIVERSITIES.
A common white stork hasn't half the solid gravity of an adjutant or a marabou. He has a feline habit of expressing his displeasure by blowing and swearing—a habit bad and immoral in a cat, but worse in a stork accustomed to Church. Church, by-the-bye, is the keeper of all the conkavians, as well as of the herons, the flamingoes, the ibises, the egrets, and a number of other birds with names more difficult to spell. It is impossible to treat disrespectfully a man with such widespread responsibilities as this, or there might be a temptation to mention that he is not an unusually high Church, although his services are not always simple, often involving a matter of doctorin'. But, then, some people will say anything, temptation or none. And after all, it is pleasant to know that, whatever a stork or a pelican wants, he always goes to Church.
SWEARING.
CHURCH.
This being the case, there is a proverb about cleanliness that makes one wonder why the marabou stork doesn't wash himself. It isn't as though he never wanted it. I have a horrible suspicion about this philosophic old sloven. I believe his profession of philosophic contemplation is assumed, because it is the easiest excuse for indolence. Now, a pelican is not a bird of graceful outline, but he is careful about his feathers. The pelican is a scrupulous old Dutchman, and the stork is an uncleanly old Hindu. And uncleanly he must be left, for it takes a deal to shame a stork. You can't shame a bird that wraps itself in a convenient philosophy. "Look here—look at me!" you can imagine a pelican cleanliness-missionary saying to the stork. "See how white and clean I keep all my feathers!" "Um," says the stork, "it only makes 'em a different colour." "But observe! I just comb through my pinions with my beak, so, and they all lie neat and straight!" "Well, and what's the good of that?" grunts the stork. "And then you see," says the pelican, ignoring the question, "with a good long beak you can reach everywhere, over your back and under your wings; see, I'm as clean under my wings as anywhere else, although it's covered up!" "Beastly vanity," growls the old Hindu, getting bored. "Then," continues the Dutchman, "you give yourself a good shake, and there you are!" "And then," says the philosopher sarcastically, "to-morrow, I suppose, you'll have to do it all over again?" "Of course!" "Oh! I hate a fool!" says the stork, and closes the lecture.
Thus the marabou. The ordinary white stork is comparatively respectable, and so is the adjutant—or comparatively almost respectable, let us say; you can't be too cautious in giving a personal character to a stork. For long, long, the stork has enjoyed a reputation for solemn wisdom, for philosophical dignity. Now for the first time I venture to question this reputation—to impeach the stork as a humbug. It is easy to achieve a reputation for profound and ponderous wisdom, so long as one looks very solemn and says nothing. This is the stork's recipe. Go up to Billy here, or one of the marabous, as he stands with his shoulders humped up about his head, and make a joke. He won't see it. He will lift his eyebrows with a certain look of contempt, and continue to cogitate—about nothing. If the joke is a very bad pun—such a frightful pun that even a stork will see and resent it—perhaps he will chatter his beak savagely, with a noise like the clatter of the lid on an empty cigar-box; but he will continue his sham meditations. "Ah, my friend," he seems to say, "you are empty and frivolous—I cogitate the profounder immensities of esoteric cogibundity." The fact being that he is very seedy after his previous night's dissipation.
That is the chief secret of the stork's solemnity, I am convinced. He has a certain reputation to maintain before visitors, but after hours, when the gates are shut and the keepers are not there to see, the marabou stork is a sad dog. I haven't quite made up my mind what he drinks, but if he has brandies and sodas he leaves out too much soda. Look at that awful nose! It is long past the crimson and pimply stage—it is taking a decided tinge of blue. It looks worse than brandy and soda—almost like bad gin—but we will be as charitable as possible, and only call it brandy and soda.
I should like to see the marabou stork on his nightly ran-tan, if only to gloat over his lapse of dignity, just as one would give much to see Benjamin Franklin with his face blacked, drunk and disorderly and being locked up. But, as a shocking example, the marabou is quite bad enough with his awful head in the morning; his awful head and his disreputable nose, that looks to want a good scraping. I respect Billy, the adjutant, for his long service and the Tangerine at the back of his neck. The ordinary stork (although he swears and snaps) I also respect, because the goody books used to tell pious lies about him. The whale-headed stork, which is also called the shoe-bird, I respect as a sort of relative of the shoo-fly that didn't bother somebody. But the marabou has forfeited all respect—converted it into nose-tint. I must talk to Church seriously about the marabou.
THE RAN-TAN.
Now, the pelican is no humbug. There is nothing like concealment about his little dissipations; and he is perfectly sober. Any little irregularity at the pelican club just opposite the eastern aviary never goes beyond a quiet round or two for a little fish dinner. It is quite a select and a most proper club. Indeed, the first rule is, that if any loose fish be found on the club premises, he is got rid of at once by the first member who detects him. And the club spirit is such that disputes frequently occur among members for the honour of carrying out this salutary rule. The chairman of the club is an old crested pelican, who, by some oversight, has never been provided with a private name of his own. I think he should be called Peter, because he can take such a miraculous draught of fishes. It is a draught; you know—a pelican doesn't eat fishes—he drinks them down in bulk. For Peter, a dozen or so fresh herrings is a mere swill round of the mouth.
A QUIET ROUND OR TWO.
Peter walks about the club premises with much dignity, deferred to on all sides by the other members. His kingship is rarely disputed, having been achieved by the sort of conquest most familiar in the pelican club; and his divine right is as much respected as his tremendous left.
A pelican never bears malice; he hasn't time, especially now, with competition so keen in the fish business, and Church's fish pails only of the ordinary size. There is never any ill-feeling after a little spar, and each proceeds, in the most amicable way, to steal some other pelican's fish. A spar at this club, by-the-bye, is a joyous and hilarious sight. Two big birds with stumpy legs and top-heavy beaks, solemnly prancing and manœuvring before one another with an accompaniment of valiant gobbles and a punctuation of occasional pecks—a gleesome spectacle.
PETER.
A SWILL ROUND.
Another sport much exhibited at the pelican club is that of the broadsword. The school of fence is that of Mr. Vincent Crummies—one—two—three—four—over; one—two—three—four—under. You see, when a dozen or two birds with beaks a couple of feet long or so get together in a small area, and now and again rush all in the same direction for fish, fencing is certain to develop, sooner or later. So here you have it, secundum artem—one—two—three—four—over; one—two—three—four—under; and although none have yet attained the Crummleian degree of knocking out sparks, there is a deal of hollow noise, as of thumping on a wooden box. But there is never any after-malice, and in less than five minutes either combatant will swallow a fish rightfully belonging to the other, with perfect affability.
There is a good deal of the philosopher about the pelican, and of a more genuine sort than characterizes the stork. The pelican always makes the best of a bad job, without going into an unnecessary tantrum over it. If another member of the club snatches a fish first, the pelican doesn't bother, but devotes his attention to the next that Church throws; a fish in the pouch is worth a shoal in somebody else's. Now and again Peter loses his temper for a moment if the others catch the first snack, and lays about him with his bill—but then, when a fellow's chairman, and a lot of other fellows come snatching the lunch from under his nose—why, hang it all, you know.... But it is only for a moment, and Peter is soon in position for the next pouchful. He is artful about this position. When Church appears at the rails with a pailful of fish most of the members rush to those rails, jostle together and shove their beaks through them and over them—any way to get nearer the pail. But the chairman knows very well that Church doesn't throw the fish outside the rails, but into the inclosure, somewhere near the middle; and near the middle the sagacious Peter waits, to his early profit—unless Church is unusually slow about throwing the fish, in which case Peter is apt to let his excitement steal his sagacity, and to rush into the pell-mell, anxious to investigate the delay.
A LITTLE SOLEING AND HEELING.
There is a deal of excellent wear in a pelican. One has been here about thirty years, and two more have been established on the same premises for a quarter of a century. All these three are in capital working repair and will probably last, with a patch or two, and a little soleing and heeling, for a century or two more; no respectable pelican is ever bowled out for less than three figures.
In the winter the club takes up its quarters in the shed behind the inclosure; a shed sumptuously furnished with certain benches and forms, whereon the club stands in rows, with a general appearance of a number of very solemn naughty boys in a Board school. In winter, too, Church will often put his bucketful of fish on the ground, so that the club may dine in a clubbier way. But whether you watch this club feeding together from the pail, each member doing his best to put away the whole pailful at a gulp, or whether you observe them playing a sort of greedy game of lacrosse with fish which Church throws them, you will be equally amazed that the pelican was used as a symbol of charity and brotherly love in early and middle Christian art.
SCHOOL.
CLUB DINNER.
I have seen a pelican enact a most instructive moral lesson at a pail-dinner. Observe the bill and pouch of a pelican. The pouch is an elastic fishing-net, and the lower mandible is a mere flexible frame to carry it. Now, I have observed a pelican to make a bounce at the fish-pail, with outspread wings, and scoop the whole supply. But then his trouble began. The whole catch hung weightily low in the end of the pouch, and jerk and heave as he might, he could never lift the load at the end of that long beak sufficiently high to bolt it. Meanwhile, his friends collected about him and remonstrated, with many flops and gobbles, betting him all his fish to nothing that he would lose it after all; this way they chased that bag, and that way, while the bagger, in much trepidation and with many desperate heaves, wildly sought remote corners away from his persecutors. Now, by the corner of the club premises stands an appliance, the emblem of authority, the instrument of justice, and the terror of the evilly-disposed pelican—a birch-broom. This, brandished in the hands of Church, caused a sudden and awful collapse of the drag-nets, an opening, a shower of fish and many snaps; wherefrom walked away many pelicans with fish, and one with none, who had looked to take all. The moral is plain to the verge of ugliness.
.
.
.
.
A pelican has no tongue—or none to speak of. It is a mere little knob scarcely the size of a cherry. The long, long meditations of the pelican (lasting between feeding times) are given up to consideration whether or not the disgrace of this deficiency is counter-balanced by the greater capacity for fish which it gives the pouch. After all, it is only another instance of that commercial honesty which makes the pelican pay for his beak out of his legs; he gives his tongue for a pouch. There should be a legend of the pelican applying honestly to Adam to buy a pouch, and the wily stork waiting and waiting on the chance of snatching one without paying for it, until all had been served out; afterwards living all its life on earth in covetous dudgeon, unconsoled by its wealth of beak, legs, wings, and neck, and pining hopelessly for the lost pouch. There are many legends of this sort which ought to exist, but don't, owing to the negligence of Indian solar myth merchants, or whoever it is has charge of that class of misrepresentation.
.
The pelican can fly, although you would never believe it, to look at the club members here. To a Zoo pelican a flight of two feet is an undertaking to be approached with much circumspection and preparation, and a summoning of resolution and screwing of courage proper to the magnitude of the feat. It takes a long time to learn to fly on to a bottom-up bucket. The Zoo pelican begins on a shadow—not a very dark one at first—and works his way up by jumping over, darker shadows to straws and pebbles, before he tries a bucket. The accomplished bucket-jumper makes a long preliminary survey and circumnavigation of his bucket before performing, and when he does begin it is with a number of wild rushes and irresolute stops. When at last he gets the proper length of run, and the right foot in front, and doesn't see anything to baulk him, he rises with a great effort, and all the lookers-on who don't know him stare up over the trees, and are astonished to find him, after all, only on the bucket. His pinions are cut, poor fellow! If they were not, what would become of the fishmongers' shops?
Shafts from an Eastern Quiver.
IX.—MAW-SAYAH: THE KEEPER OF THE GREAT BURMAN NAT.
By Charles J. Mansford, B.A.
I.
"The fine points of an elephant, sahib," said our guide Hassan, "are a colour approaching to white, the nails perfectly black, and an intact tail."
"I am glad to hear that an elephant has some qualities which recommend it," said Denviers, good-humouredly. "I should think that the one upon which we are riding is about as lazy as it is possible to be. I suppose slowness is an unusually good point, isn't it, Hassan?" The Arab, who was sitting before us on the elephant, gave it a stir with the sharply-pointed spear which he held in his hand to urge it on, and then glancing back at us, as we reclined lazily in the cushioned howdah, he said inquiringly: "Are the sahibs tired already of travelling thus? Yet we have fully two hours' journey before us."
"Hassan," I interposed, "this is a good opportunity for you to tell us exactly what you heard about that Maw-Sayah when we were at Bhamo. It is in consequence of that, indeed, that we are going to try to get among these strange Kachyens; but as we are not quite sure of the details, you may as well repeat them."
"The sahib shall be obeyed," responded our guide, and although careful to keep a good watch in front, he turned his body slightly towards us as he prepared to begin the narrative.
"THE SAHIB SHALL BE OBEYED."
On reaching Burmah we stayed for several days in Rangoon, the Queen of the East as it is called nowadays, although only remarkable formerly for its famous monasteries of Talapoins and as a halting-place for the bands of pilgrims on their way to the mighty Shway Dagohn pagoda. Thence we journeyed up the Irawaddy, and having duly paid reverence to some of the nine thousand nine hundred and ninety-nine pagodas of Pagan—the outcast slaves of which city seemed a strange contrast to its otherwise absolute desertion—we continued our journey by steamer as far as Mandalay. Having endured the doubtful pleasure of a jaunt in a seatless, jolting bullock-carriage—the bruises from which were not easily forgotten—we eventually reached Bhamo, where Hassan entered into conversation with a hill-man. From the latter he learnt a strange story, which was later on told to us and the truth of which we hoped before long to fully test, for soon afterwards we set out on an elephant, our faithful guide in this new adventure again proving himself of the greatest service.
"Now, Hassan," said Denviers, "we are quite ready to hear this story fully, but don't add any imaginary details of your own."
"By the Koran, sahib," began the Arab, "these are the words which were those of him to whom I spoke under the shade of the log stockade."
"Which are, of course, unimpeachable," responded Denviers. "Anyone could tell that from his shifty eyes, which failed to rest upon us fixed even for a minute when we spoke to him afterwards." The Arab seemed a little disconcerted at this, but soon continued:—
"The great Spirits or Nats, who guard the prosperity of Burmah, have become greatly incensed with the Kachyens, not because they failed to resist stoutly when the monarch was deposed a few years ago——"
"Then we are to have a modern story, this time, Hassan?" interrupted Denviers. "I quite expected that you would commence with some long worn-out tradition."
"The sahibs shall hear," the Arab went on. "No one who offends the Nats of Burmah need expect anything but evil to follow. There are the Nats of the sky, the Nats of the earth, the Nats of the Irawaddy, the Nats of the five hundred little rivers, and the thousand Nats which guarded the sacred person of the monarch——"
"Yes, Hassan," said Denviers, impatiently, "you mentioned them all before. We haven't time to hear the list enumerated now; go on about this one particular Nat which you say is causing such havoc among the hill-tribes."
"Patience, sahib. The Nats were justly roused to anger because the deposed monarch was not afterwards taken to the water's edge riding upon an elephant instead of in a bullock-carriage."
"Well, Hassan," said Denviers, "judging from our own experience the Nats seem to be pretty sensible, I must say—but how do they affect the peace of mind of the Kachyens?"
"Listen, sahib. High among the hills which may be seen stretching before us lies a village in which many of the Kachyens dwell, their occupation being sometimes that of tillers of the land, but more often consisting in planning and carrying out raids upon other hill-men, or of descending at times to the plains, and there looting the towns wherein dwell more peaceable tribes. In all their forays they had been successful, for whenever their trusty dahs or swords were drawn, those who opposed them invariably obtained the worst of the encounter. So powerful did they become that at last those dwelling in the plains—Shans, Karenns, and Talaings, too—made no resistance against their attacks; and when they saw the produce of their fields carried away, thought themselves happy not to have been slain. The reason why the Kachyens became so successful in all they undertook was that a powerful forest Nat placed them under its protection, and hence they could not be harmed by their foes.
"Now it chanced that the King was in great danger through following the advice of his impetuous ministers, whereupon he summoned the Kachyens to his assistance—for their fame as warriors had reached his ears long before. But they, confident of securing their own safety whatever happened to the monarch, refused to obey his command to march against the Burman foes. The consequence was that when the indignity which I have mentioned was offered to the deposed monarch, the Nats throughout Burmah were furious with that one who ruled the village in which the Kachyens dwelt, and they sent some of their number to destroy it. The latter, however, appeased them by making a grim promise, which has been only too faithfully kept.
"A few days afterwards a hill-man, who was clearing a part of the land on the woody slope of the height, saw the Nat, which had never before been visible, and, terrified at the strange form which it had assumed, he ran hastily to the rest of the tribe, and, gathering them together, held a consultation as to what should be done to appease it. Some suggested that upon every tree trunk should be scratched appealing messages, which the Nat might read; others were in favour of placing a huge heap of spears and swords near the spot where the embodied Nat had been seen in order that it might be tempted to destroy all those who urged it to injure them. The messages and weapons, however, when placed for the Nat to observe did no good, for one dreadful night a rattling was heard of the bamboos, which lay before one of the Kachyen's huts, and the man, going hastily to see what caused it, was swiftly carried away in the darkness without apparently uttering a single cry! For many nights in succession a similar scene was enacted, for he at whose door the dire summons came dared not refuse to answer it lest the whole household might perish.
"Nothing more was ever seen of those thus strangely carried off, and the Kachyens, each of whom feared that his own end might come next, determined to consult some famous Buddhist priests who dwelt not far from them, and who held charge over the famous marble slabs which the great War Prince of Burmah had caused to be engraved concerning their illustrious traditions. The man whom ye saw me conversing with by the stockade was the one whom the tribe intrusted with the task; but the priests, after much consideration among themselves of the object of his visit, refused to have anything to do with such a tragic affair, and thereupon dismissed their suppliant.
"THE BUDDHIST PRIESTS."
"This Kachyen, when sorrowfully returning towards the hills, fearing that the tribe would destroy him because of his non-success, chanced to meet on his way a Mogul, to whom he repeated the story. The latter, laying his hand on his red-dyed and fierce-looking beard, advised the Kachyen to enter a hole in the mountain side and to consult a famous Maw-Sayah, or juggler, who dwelt there. This juggler promised assistance if the tribe would pay him a great reward in the event of his success, and when they agreed to this he entered the village and waited for dusk to arrive. Again the dreadful rattling was heard, and another Kachyen stepped out to meet his fate. None of the tribe dared to look at what transpired, except the juggler, and he too disappeared! The next morning, however, he came into the village and called its inhabitants together. When they had solemnly agreed to his conditions, he stated that the Nat was bent upon destroying them all, and that to attempt to escape by means of flight would only lead to quicker death. Then he told them what the result of his intercession for them had been.
"The Nat had been persuaded to destroy only one victim on each seventh evening at dusk, and had appointed him to see that certain conditions were not broken. He was to have a hut at his disposal, and into this the men were to go by lot, and thus the Nat would obtain a victim when the time came round. They were forbidden to wander about after sunset, and whatever noises were made not to hearken to them, since the Maw-Sayah would see that the others were unharmed. So long had this dreadful destruction lasted that more than one-half of the men in the Kachyen village, or town, as it might well be called from the large number who inhabited it, had perished, and yet the Nat still demanded a victim, and the Maw-Sayah is there to see that the compact is fulfilled. The man who told this story, sahibs, declares that the keeper of the Nat has by this means obtained sway over the Kachyens to such an extent that they have become his abject slaves, for the custom of drawing lots has been abolished, and he selects whom he will to sacrifice to the Nat. By some means this Kachyen offended the Maw-Sayah, who thereupon condemned him, but he, in terror of the sudden and silent death in store for him, fled to Bhamo, where he lives in momentary fear of destruction. Such then, sahibs, is the story, and it is to see this Maw-Sayah and the Nat at their fell work to-night that even now our faces are turned to the high land before us, up which we must climb, for there is but one narrow pathway leading to the village."
Hassan ceased, and then Denviers turned to me as he said:—
"I think that this Maw-Sayah, as Hassan calls him, has about as much faith in Nats as we have. It suits his purpose to league himself with something mysterious; whatever it is we will try to find out," and he glanced at the weapons which we carried.