In the original there are two more boys, who are following, disguised in a similar manner, and each of them holding a like scroll of parchment. The wit of this performance, I protest, I cannot discover.
XIV.—THE HORSE IN THE MORRIS-DANCE.
The prancing and curveting of horses was counterfeited in the hobby-horse, the usual concomitant of the morris-dance. I have already spoken on this subject; [790] and shall only add in this place an anecdote of prince Henry, the eldest son of James I.—"Some of his highness's young gentlemen, together with himself," says my author, "imitating in sport the curveting and high-going of horses, one that stood by said that they were like a company of horses; which his highness noting, answered, 'Is it not better to resemble a horse, which is a generous and courageous beast, than a dull slow-going ass as you are?'" The prince, we are told, was exceedingly young at the time he made this reply. [791]
XV.—COUNTERFEIT VOICES OF ANIMALS.
I have not been able to ascertain how far the ancient jugglers exerted their abilities in counterfeiting the articulation of animals; but we may reasonably suppose they would not have neglected so essential a requisite to make their imitations perfect.
In the reign of queen Anne, a man whose name was Clench, a native of Barnet, made his appearance at London. He performed at the corner of Bartholomew-lane, behind the Royal Exchange. His price for admittance was one shilling each person. I have his advertisement before me; [792] which states that he "imitated the horses, the huntsmen, and a pack of hounds, a sham doctor, an old woman, a drunken man, the bells, the flute, the double curtell, and the organ with three voices, by his own natural voice, to the greatest perfection." He then professes himself to "be the only man that could ever attain to so great an art." He had, however, a rival, who is noted in one of the papers of the Spectator, and called the whistling man. His excellency consisted in counterfeiting the notes of all kinds of singing birds. [793] The same performance was exhibited in great perfection by the bird-tutor associated with Breslaw the juggler, mentioned a few pages back. [794] This man assumed the name of Rosignol, [795] and, after he had quitted Breslaw, appeared on the stage at Covent-garden theatre, where, in addition to his imitation of the birds, he executed a concerto on a fiddle without strings; that is, he made the notes in a wonderful manner with his voice, and represented the bowing by drawing a small truncheon backwards and forwards over a stringless violin. His performance was received with great applause; and the success he met with produced many competitors, but none of them equalled him: it was, however, discovered, that the sounds were produced by an instrument contrived for the purpose, concealed in the mouth; and then the trick lost all its reputation. Six years ago, [796] I heard a poor rustic, a native of St. Alban's, imitate, with great exactness, the whole assemblage of animals belonging to a farm-yard; but especially he excelled in counterfeiting the grunting of swine, the squeaking of pigs, and the quarrelling of two dogs.
XVI.—ANIMALS TRAINED FOR BAITING.
Training of bulls, bears, horses, and other animals, for the purpose of baiting them with dogs, was certainly practised by the jugglers; and this vicious pastime has the sanction of high antiquity. Fitz-Stephen, who lived in the reign of Henry II., tells us that, in the forenoon of every holiday, during the winter season, the young Londoners were amused with boars opposed to each other in battle, or with bulls and full-grown bears baited by dogs. [797] This author makes no mention of horses; and I believe the baiting of these noble and useful animals was never a general practice: it was, however, no doubt, partially performed; and the manner in which it was carried into execution appears by the engraving No. 76. [798] Asses also were treated with the same inhumanity; but probably the poor beasts did not afford sufficient sport in the tormenting, and therefore were seldom brought forward as the objects of this barbarous diversion.
XVII.—PARIS GARDEN.
There were several places in the vicinity of the metropolis set apart for the baiting of beasts, and especially the district of Saint Savour's parish in Southwark, called Paris Garden; which place contained two bear-gardens, said to have been the first that were made near London; and in them, according to Stow, were scaffolds for the spectators to stand upon: [799] and this indulgence, we are told, they paid for in the following manner: "Those who go to Paris Garden, the Bell Savage, or Theatre, to behold bear-baiting, enterludes, or fence-play, must not account of any pleasant spectacle, unless first they pay one pennie at the gate, another at the entrie of the scaffold, and a third for quiet standing." [800] One Sunday afternoon in the year 1582, the scaffolds being overcharged with spectators, fell down during the performance; and a great number of persons were killed or maimed by the accident. [801]