Later on I remember writing a paper for my friends on how to dress on eighty pounds a year, which was my allowance at eighteen.
The cottages were beautifully clean and the furniture solid, all the men wore smock-frocks and very thick boots with large nails that lasted a year: no such thing as a blue suit and yellow boots would have been tolerated then. The best dressed wife wore a red cloak and neat black bonnet. The family Bible was found in every cottage, and my uncle gave two cottage Bible-readings every week of his life. There was no attempt at Cathedral services in country churches. The Communion service was reverently given once a month, and on the great feast-days my uncle preached in a black gown. And such a fuss was made when the black waistcoat now commonly worn by the clergy was introduced: it was called the M. B. Waistcoat (mark of the beast).
My uncle ultimately adopted it, when promoted to a canonry at Ely. What changes since those days, what luxury has crept in everywhere, and how often one sighs over the simplicity of the past, which certainly produced a stronger, if not a better race.
My father was very courteous, especially to ladies, cheery, full of life and spirits; liberal in heart though a strong Conservative in politics. If anything pleasant or amusing was on hand, such as a dance or our 'private theatricals,' he would wave his hands and say, 'Clear the decks! Clear the decks!' We often used to 'clear the decks' for games of Post and Magical Music!… Evenings at Wimpole were never dull. We attempted to keep up old traditions, and intellect and vitality were not wanting. There was always a sprinkling of rising men in all the practical departments of life among the guests at Wimpole, statesmen, agriculturists, shipbuilders and owners, besides intimates and relations; dear old 'Schetky' with his guitar among the most popular, and the delight of the children after dinner when he would sing his favourite ballad 'When on his Baccy Box he viewed.' Amateur music was greatly encouraged, not that it came up to the requisitions of the present day, but it was very pleasant. My mother's ballad singing was exceptional, and without accompaniment very interesting.
'Annie Laurie' and all Lady John Scott's ballads, besides 'Caller Herrin''—the Scotch cry for fresh herring—were her favourites and brought tears to one's eyes. Nothing was spared where education was concerned, and music and languages were among the great advantages afforded to myself and my sisters. To the latter I attribute one of the greatest enjoyments of my life, especially when in later years I often lived in Paris. Histrionic art also was cultivated in the holidays under the able management of uncle Eliot Yorke, M.P. The 'Wimpole Theatre' opened in 1796 with 'The Secret,' with Lady Anne, Lady Catherine and Lady Elizabeth Yorke and Viscount Royston as the caste. It was reopened in 1851 with the 'Court of Oberon: or The Three Wishes,' by the Dowager Countess of Hardwicke, with Viscount Royston, the Hon. Eliot Yorke, Mr. Sydney Yorke, Lady Elizabeth Yorke, the Hon. John Manners Yorke, Lady Agneta Yorke, the Hon. Victor Yorke, and the Hon. Alexander Yorke in the caste, and the Hon. Eliot Yorke, M.P., as stage manager. This company in 1853 repeated the 'Court of Oberon' with 'The Day after the Wedding.' In 1854 'The Day after the Wedding' was again given with a comic interlude 'Personation' by Charles Kemble and a popular farce 'Turning the Tables.'
In 1855 'Personation' and 'Popping the Question' were given before their Royal Highnesses the Duchess of Cambridge and Princess Mary. A very smart party was invited to meet their Royal Highnesses, and a great deal of merriment was our reward.
The excellent training of 'Uncle Eliot' during the dull winter evenings made the winter holidays a real joy; we rehearsed and acted in the Gallery, originally built to hold the Harleian Manuscripts, and divided by columns into three parts, making an admirable theatre and a handsome proscenium. On one great occasion we had Frank Matthews as prompter, and we none of us forget seeing him initiate Lady Agneta in the art of making a stage kiss. Oh! how we laughed. He cried so much during the performance that he prompted badly; but perhaps the dear man was touched by the family talent! A letter from Tom Taylor recommending plays suitable for our company will be read with interest.
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'There is a play called "Hearts are Trumps" which I think would suit your friends, from what you tell me of their troupe and requirements. We played a piece at Canterbury called "Palace and Prison" adapted by Simpson from "La Main gauche et la main droite" which, as far as I remember, is unobjectionable. I think Palgrave Simpson had it printed, though I do not think it has been acted in London. My little comedietta "Nine Points of the Law" is free from all critical situations and language, but perhaps Mr. Sterling's part may be too old for your jeune premier.
'There is a piece called the "Secret Agent" well suited to drawing-room theatricals; you might look at it. "You can't marry your Grandmother" is a good one-act piece, free from objectionable situation and dialogue. See also "Time tries all," "A Match in the Dark," and "Kill or Cure."