This same W. Philips is suspected to have an important history of his own—indeed, to have been something besides a clown. He is believed to have been the author of the “Revengeful Queen,” published in 1698; also of “Alcamenes and Menelippa,” and of a farce called “Britons, Strike Home,” which was acted in a booth in Bartholomew Fair. Relating to him is also supposed to have been a book published in 1688, of which nothing but the title-page is now known to exist. This is preserved in the Harleian collection, viz., “The Comical History of the famous Merry Andrew, W. Phill., Giving an account of his Pleasant Humours, Various Adventures, Cheats, Frolicks, and Cunning Designs, both in City and Country.” A copy of this would now command a large price.
Another of the great show characters of this period was Joseph Clark, the “Posturer.” He is the “whimsical fellow” mentioned by Addison in the “Guardian,” No. 102. He was the son of a distiller in Shoe Lane, and was intended for the medical profession. This did not suit his views, nor did the trade of a mercer, to which he was next put. He probably became buffoon in the Court of the Duke of Buckingham. Finally he appeared in the Fair. His performance chiefly consisted in the imitation of every kind of human deformity; and he is said to have imposed so completely upon Molins, the famous surgeon, as to be dismissed by him as an incurable cripple! There is a notice of him in the “Philosophical Transactions,” where it is related that he “had such an absolute command of all his muscles and joints that he could disjoint almost his whole body.” A portrait in Tempest’s collection represents him in the act of shouldering his leg, an antic which is imitated by a monkey. Frost’s “Old showman,” p. 59.
1698. A Frenchman, Monsieur Sorbière, visiting London, says: “I was at Bartholomew Fair. It consists of most Toy Shops, also Fiance, and Picture, Ribbon Shops, no Books; many shops of Confectioners, where any woman may commodiously be treated. Knavery is here in perfection, dexterous Cut-purses and Pickpockets. I went to see the Dancing on the Ropes, which was admirable. Coming out, I met a man that would have took off my hat, but I secured it, and was going to draw my sword, crying out ‘Begar! Damn’d Rogue! Morbleu,’ &c., when on a sudden I heard a hundred People about me, crying, ‘Here Monsieur, see “Jephthah’s Rash Vow.”’ ‘Here, Monsieur, see “The Tall Dutchwoman.”’ ‘See “The Tiger,”’ says another. ‘See “The Horse and No Horse,” whose tail stands where his head should do.’ ‘See the “German Artist,” Monsieur.’ ‘See the “Siege of Namur,” Monsieur;’ so that betwixt Rudeness and Civility I was forc’d to get into a fiacre, and with an air of haste and a full trot, got home to my lodgings.”
CHAPTER XVIII.
EIGHTEENTH AND NINETEENTH CENTURIES.
1700.
Stage Plays and Interludes.—The Lord Mayor and Court of Aldermen resolved that no booths should be permitted to be erected in Smithfield this year; but on the 6th August it was announced that “the lessees of West Smithfield having on Friday last represented to the Court of Aldermen at Guildhall that it would be highly injurious to them to have the erection of all booths there totally prohibited, the Right Hon. Lord Mayor and the Court of Aldermen have, in consideration of the premises, granted licence to erect some booths during the time of Bartholomew Fair now approaching: but none are permitted for music-booths, or any that may be means to promote debauchery.” And on the 23rd, when the Lord Mayor went on horseback to proclaim the Fair, he ordered two music-booths to be taken down immediately.