[144] Another, which for many reasons we may regret went also into the limbo of unrealized designs, is sketched in the subjoined (7th of January, 1848). "Mac and I think of going to Ireland for six weeks in the spring, and seeing whether anything is to be done there, in the way of a book? I fancy it might turn out well." The Mac of course is Maclise.
[145] "Here we are" (23rd of August) "in the noble old premises; and very nice they look, all things considered. . . . Trifles happen to me which occur to nobody else. My portmanteau 'fell off' a cab last night somewhere between London-bridge and here. It contained on a moderate calculation £70 worth of clothes. I have no shirt to put on, and am obliged to send out to a barber to come and shave me."
[146] "Do you see anything to object to in it? I have never had so much difficulty, I think, in setting about any slight thing; for I really didn't know that I had a word to say, and nothing seems to live 'twixt what I have said and silence. The advantage of it is, that the latter part opens an idea for future prefaces all through the series, and may serve perhaps to make a feature of them." (7th of September, 1847.)
[147] From his notes on these matters I may quote. "The Leeds appears to be a very important institution, and I am glad to see that George Stephenson will be there, besides the local lights, inclusive of all the Baineses. They talk at Glasgow of 6,000 people." (26th of November.) "You have got Southey's Holly Tree. I have not. Put it in your pocket to-day. It occurs to me (up to the eyes in a mass of Glasgow Athenæum papers) that I could quote it with good effect in the North." (24th of December.) "A most brilliant demonstration last night, and I think I never did better. Newspaper reports bad." (29th of December.)
[148] "Tremendous distress at Glasgow, and a truly damnable jail, exhibiting the separate system in a most absurd and hideous form. Governor practical and intelligent; very anxious for the associated silent system; and much comforted by my fault-finding." (30th of December.)
[149] It would amuse the reader, but occupy too much space, to add to my former illustrations of his managerial troubles; but from an elaborate paper of rules for rehearsals, which I have found in his handwriting, I quote the opening and the close. "Remembering the very imperfect condition of all our plays at present, the general expectation in reference to them, the kind of audience before which they will be presented, and the near approach of the nights of performance, I hope everybody concerned will abide by the following regulations, and will aid in strictly carrying them out." Elaborate are the regulations set forth, but I take only the three last. "Silence, on the stage and in the theatre, to be faithfully observed; the lobbies &c. being always available for conversation. No book to be referred to on the stage; but those who are imperfect to take their words from the prompter. Everyone to act, as nearly as possible, as on the night of performance; everyone to speak out, so as to be audible through the house. And every mistake of exit, entrance, or situation, to be corrected three times successively." He closes thus. "All who were concerned in the first getting up of Every Man in his Humour, and remember how carefully the stage was always kept then, and who have been engaged in the late rehearsals of the Merry Wives, and have experienced the difficulty of getting on, or off: of being heard, or of hearing anybody else: will, I am sure, acknowledge the indispensable necessity of these regulations."
[150] I give the sums taken at the several theatres. Haymarket, £319 14s.; Manchester, £266 12s. 6d.; Liverpool, £467 6s. 6d.; Birmingham, £327 10s., and £262 18s. 6d.; Edinburgh, £325 1s. 6d.; Glasgow, £471 7s. 8d., and (at half the prices of the first night) £210 10s.
[151] "Those Rabbits have more nature in them than you commonly find in Rabbits"—the self-commendatory remark of an aspiring animal-painter showing his piece to the most distinguished master in that line—was here in my friend's mind.
[152] Mr. Tonson was a small part in the comedy entrusted with much appropriateness to Mr. Charles Knight, whose Autobiography has this allusion to the first performance, which, as Mr. Pepys says, is "pretty to observe." "The actors and the audience were so close together that as Mr. Jacob Tonson sat in Wills's Coffee-house he could have touched with his clouded cane the Duke of Wellington." (iii. 116.)
[153] My friend Mr. Shirley Brooks sends me a "characteristic" cutting from an autograph catalogue in which these few lines are given from an early letter in the Doughty-street days. "I always pay my taxes when they won't call any longer, in order to get a bad name in the parish and so escape all honours." It is a touch of character, certainly; but though his motive in later life was the same, his method was not. He attended to the tax-collector, but of any other parochial or political application took no notice whatever.