"The jarvey drove Harry Furniss, when a boy, down to the old Theatre Royal, Dublin. On the way there Jehu enquired of the budding artist whether it was true that the roof was provided with a tank whence every part of the building could be deluged, shower-bath fashion, if necessary. 'Yes,' replied Raphael junior; 'and, you see, I always bring an umbrella in case of fire.'"
PHELPS, THE FIRST ACTOR I SAW.
I may confess that I have only once appeared in theatricals, and that was in high comedy as a member of the Dublin Amateur Theatrical Society. The play was "She Stoops to Conquer," and I took the part of—think!—Mrs. Hardcastle. I was only seventeen, and very small for my age, so I owe any success I may have made to the costumier and wig-maker. The Tony Lumpkin was so excellent that he adopted the stage as his profession, and became a very popular comedian; and our Diggory is now a judge—"and a good judge too"—in the High Court.
It was on a bright, breezy morning late in July, 1873, I shook the dust of "dear dirty Dublin" off my feet. With the exception of the Welsh railways, the Irish are notoriously the slowest in the world, and on that particular morning the mail train seemed to my impatient mind to progress pig-ways. The engine was attached to the rear of the train and faced the station, so that when it began to pull it was only the "parvarsity in the baste" caused it to go in the opposite direction, towards Kingstown, in an erratic, spasmodic, and uncertain fashion, so that the eight miles journey seemed to me eighty. It was quite a tedious journey to Salthill and Blackrock. At the latter station I saw for the last time the porter famous for being the slave of habit. For years it had been his duty to call out the name of the station, "Blackrock! Blackrock! Blackrock!" In due course he was removed to Salthill station, on the same line, and well do I remember how he puzzled many a Saxon tourist by his calling out continually, "Blackrock—Salthill-I-mane! Blackrock—Salthill-I-mane!" No doubt the
MRS. HARDCASTLE. MR. HARRY FURNISS,
FROM AN EARLY SKETCH. traveller put this chronic absent-mindedness down to "Irish humour." I must confess that I agree in a great measure with the opinion of the late T. W. Robertson (author of "Caste," "School," &c.), that the witticisms of Irish carmen and others are the ingenious inventions of Charles Lever, Samuel Lover, William Carleton, and other educated men.
Dickens failed to see Irish humour, or in fact to understand what was meant by it. So when he was on tour with his readings a friend of mine, who was his host, in the North, undertook to initiate him into the mysteries of Irish wit. As a sample he gave Dickens the following: A definition of nothing,—a footless stocking without a leg. This conveyed nothing whatever to the mind of the greatest of English humourists; but when my friend took him to a certain spot and showed him a wall built round a vacant space, and explained to him that the native masons were instructed to build a wall round an old ruined church to protect it, and pulled down the church for the material to build the wall, he laughed heartily, and acknowledged the Irish had a sense of humour after all,—if not, a quaint absence of it.
To me so-called Irish wit is a curious combination not wholly dependent on humour, and frequently unconscious. There is a story that when Mr. Beerbohm Tree arrived in Dublin he was received by a crowd of his admirers, and jumping on to a car said to his jarvey, "Splendid reception that, driver!"