The first show was appropriated to the various exhibitions of vaulting, tumbling, balancing, and rope-dancing. The vicar expressed high delight on observing that the stage was decorated with branches. “In the ancient theatre,” said he, “the stage was originally planted with trees to shade the actors; hence scene, so called from the Greek word signifying a shade.”[[74]]
During the performances of the balancer, Tom Seymour’s attention was riveted on the artist; he watched every movement, and examined its effect in preserving the centre of gravity within the base. “Papa,” cried the delighted boy, “I never experienced so much interest in a performance of this kind, until I was capable of explaining the principles upon which it was conducted. I have attentively followed every change of position, and discovered the effect of such changes upon the line of direction.”[[75]] As to the wire-dancing, Tom observed, that he saw very plainly the swinging of the wire backwards and forwards diminished the difficulty, and assisted the actor in keeping his equipoise.
Mr. Seymour was highly delighted with these remarks; and, casting an intelligible look at Mr. Twaddleton, who was seated near him, he exclaimed, “Well, vicar, you will surely now admit that the pleasures which arise from sport are heightened by the admixture of science.”
“My dear Mr. Seymour,” replied the vicar, “you well know that I have long since become a convert to your principles; I confess, however, had that not been the case, the expression of satisfaction and delight which have just fallen from my little playmate, Tom, would have removed all my prejudices.”
“See, see!” exclaimed Louisa, “how very extraordinary! I declare that the plate, sword, key, and tobacco-pipe, are all balanced as they revolve on the chin of the performer.”
“And do you not know, Louisa,” replied Tom, “that the revolution of the plate and sword, which appears to render the execution so much more astonishing, actually diminishes the difficulty of the performance?”[[76]]
Thus did Tom Seymour continue to point out successively the philosophical principles upon which each of the tricks might be supposed to depend.
The next booth into which our party entered was that of Crank Smirky, the celebrated conjuror, who invited the company to witness his wonderful display of the art of legerdemain: he was dressed as an astrologer, with a loose gown of green velvet, and a red cap; he had a long grey beard, and his nose was bestraddled by a pair of green spectacles.
“Ladies and gentlemen,” said the mystic professor, “I shall have the honour of convincing you this day, that my single hand is more than a match for all the sharp eyes of Overton. You will admit that a beautiful eye makes silence eloquent,--a kind eye, contradiction an assent,--and an enraged eye, beauty deformed; but my hand shall, by its magic influence, make eloquence dumb, assent a contradiction, and deformity beautiful.”
So saying, the professor beckoned a villager, who sat near the stage, to approach and assist him in the performance of his first grand trick.