“This way, sir! Look down there where the Queen is burning in gas,” says an Englishman, with a cigar in his mouth, who has overheard the Doctor’s lament. And he added—“Light your weed at the flames of Victoria, and implore Her Gracious Majesty that she may be pleased to abolish the duty on tobacco.”
From that moment is Dr. Keif lost to the rest of our party. An Englishman, who, spurning all old-established customs and traditions, dares to address a stranger, and to address him too on a subject which has nothing whatever in common with the state of the weather—such an Englishman is a rara avis, and nothing could induce Dr. Keif to forego his acquaintance. Already has he engaged him in conversation, utterly oblivious of the friends who came with him, and of all the world besides. We must try to get on without the Doctor.
The gardens are crowded; dense masses are congregated around a sort of open temple, which at Vauxhall stands in lieu of a music-room. The first part of the performance is just over; and a lady, whose voice is rather the worse for wear, and who defies the cool of the evening with bare shoulders and arms, is in the act of being encored. She is delighted, and so are the audience. Many years ago this spot witnessed the performances of Grisi, Rubini, Lablache, and other first-class musical celebrities.
The crowd promenade these gardens in all directions. In the background is a gloomy avenue of trees, where loving couples walk, and where the night-air is tinged with the hue of romance. Even the bubbling of a fountain may be heard in the distance. We go in search of the sound; but, alas, we witness nothing save the triumph of the insane activity of the illuminator. A tiny rivulet forces its way through the grass; it is not deep enough to drown a herring, yet it is wide enough and babbling enough to impart an idyllic character to the scene. But how has this interesting little water-course fared under the hands of the illuminator? The wretch has studded its banks with rows of long arrow-headed gas-lights. Not satisfied with lighting up the trees, and walls, and dining-saloons, he must needs meddle with this lilliputian piece of water also. That is English taste, which delights in quantities: no Frenchman would ever have done such a thing!
Following the rivulet, we reach the bank of a gas-lit pond, with a gigantic Neptune and eight white sea-horses. To the left of the god opens another gloomy avenue, which leads us straightway to Fate, to the hermit, and the temple of Pythia, who, in the guise of a gipsy, reclining on straw under a straw-roofed shed, with a stable lanthorn at her side, is in the habit of reading the most brilliant Future on the palm of your hand, for the ridiculously low price of sixpence only. This is specially English; no house without its fortifications—no open-air amusements without gipsies. The prophetess of Vauxhall is by no means a person of repulsive appearance. You admire in her a comely brown daughter of Israel, with black hair and dark eyes; it is very agreeable to listen to her expounding your fate. She is good-tempered and agreeable, and has a Californian prophecy for all comers. She predicts faithful wives, length of days, a grave in a free soil to every one, even to the German.
The dwelling of the sage hermit is much less primitive, nor are believers permitted to enter it. They must stand on the threshold, from whence they may admire a weird and awful scenery—mountains, precipices and valleys, and the genius loci, a large cat with fiery eyes, all charmingly worked in canvas and pasteboard, with a strict and satisfactory regard for the laws of perspective. The old man, with his beard so white and his staff so strong, comes up from the mysterious depth of a pasteboard ravine; he asks a few questions and disappears again, and in a few minutes the believer receives his or her Future, carefully copied out on cream-coloured paper, and in verses, too, with his or her name as an anagram. Of course these papers are all ready written and prepared by the dozen, and as one lady of our party had the name of Hedwig—by no means a common name in England—she had to wait a good long while before she was favoured with a sight of her fate. This, of course, strengthened her belief in the hermit and the fidelity of her husband.
We, the Pilgrims of Vauxhall, leave the hermit’s cell. Our eyes have become accustomed to the twilight, and as we proceed we behold, in the background, the tower and battlements of a large and fantastically-built tower. Can this be Westminster Abbey, or is it a mere optical delusion? Let us see.
Hark! a gun is fired in the shrubbery. The promenaders, who are familiar with the place, turn round, and all rush in one direction, sweeping us along with them. Before we can collect ourselves, we have been pushed forward to a panoramic stage, on which Nelson, in plaster, is in the act of expiring, while Wellington, in pasteboard, rides over the battle-field of Waterloo. These two figures are the worst of their kind; still the public cheer the two national heroes. No house without its fortifications—no open-air amusements without gipsies—and no play without the old Admiral and the old General.
Wellington has scarcely triumphed over Napoleon, and silenced the French batteries, when the cannonade recommences in the shrubbery: one—two guns! it is the signal for the arena. Unless you purchase a seat in the boxes or the galleries, you have no chance of seeing the exhibition in the circus, for the pit, which is gratis, is crowded to suffocation. Englishmen care more for live horses than they do for pasteboard chargers, fraught though they be with national reminiscences.
The productions of horsemanship at Vauxhall are exactly on a par with similar exhibitions on the other side of the Channel. Britons are more at home on horseback, or on board a ship, than on the strings of the fiddle, or on the ivory keys of the pianoforte. And thus, then, do the men and women dance on unsaddled horses, play with balls and knives, and jump through paper and over boards; half a dozen of old and young clowns distort their joints; a lady dances on a rope, à la marionette; and Miss A., who was idolised at Berlin, and whom seven officers of the Horse Guards presented with a bracelet, on which their seven heroic faces were displayed, condescends to produce her precious bracelet and her precious person in this third-rate circus; and an American Gusikow makes music on wood, straw, and leather; and the horses are neighing, and the whips smacking, and the sand is being thrown up, and the boarding trembles with the tramp of the horses, and there is no end of cheering; and Miss A. re-appears and curtsies, with the seven gentlemen of the Horse Guards on her arm; and another gun is fired, and the public, leaving the circus, rush madly into the gardens. To the fireworks! they are the most brilliant exhibition of the evening. The gardens are bathed in a bluish light, and the many thousand lamps look all pale and ominous. The gigantic and fantastic city, which before loomed through the twilight of the distant future, burns now in Bengal fire. It is Moscow! it is the Kremlin, and they are burning it! Sounds of music, voices of lamentation, issue from the flames, guns are firing, rockets shoot up and burst with an awful noise, the walls give way—they fall, and from the general destruction issues a young girl, with very thin clothing and very little of it, who makes her escape over a rope at a dizzy height. The exhibition is more awful than agreeable; but the public cheer this, as they do any other neck-or-nothing feat. If the girl were to carry a baby on her perilous way, the cheering would be still greater.