“Of course she was, all the time.”
“I suppose so; and, my dear sir, I promised that you should be ‘in the same state’ at the end of five minutes, and as I believe you are so, I do not forfeit fifty dollars.”
I kept up this performance for several weeks, till I quite killed Peale’s “genuine” mesmerism in the rival establishment. After Peale, “Yankee” Hill undertook the management of that Museum, but in a little while he failed. It was then let to Henry Bennett, who reduced the entrance price to one shilling,—a half price which led me to characterize his concern as “cheap and nasty,”—and he began a serious rivalry with my Museum. His main reliances were burlesques and caricatures of whatever novelties I was exhibiting; thus, when I advertised an able company of vocalists, well-known as the Orphean Family, Bennett announced the “Orphan Family;” my Fejee Mermaid he offset with a figure made of a monkey and codfish joined together and called the “Fudg-ee Mermaid.” These things created some laughter at my expense, but they also served to advertise my Museum.
When the novelty of this opposition died away, Bennett did a decidedly losing business. I used to send a man with a shilling to his place every night and I knew exactly how much he was doing and what were his receipts. The holidays were coming and might tide him over a day or two, but he was at the very bottom and I said to him, one day:
“Bennett, if you can keep open one week after New Year’s I will give you a hundred dollars.”
He made every effort to win the money, and even went to the landlord and offered him the entire receipts for a week if he would only let him stay there; but he would not do it, and the day after New Year’s, January 2, 1843, Bennett shut up shop, having lost his last dollar and even failing to secure the handsome premium I offered him.
The entire collection fell into the hands of the landlord for arrearages of rent, and I privately purchased it for $7,000 cash, hired the building, and secretly engaged Bennett as my agent. We ran a very spirited opposition for a long time and abused each other terribly in public. It was very amusing when actors and performers failed to make terms with one of us and went to the other, carrying from one to the other the price each was willing to pay for an engagement. We thus used to hear extraordinary stories about each other’s “liberal terms,” but between the two we managed to secure such persons as we wanted at about the rates at which their services were really worth. While these people were thus running from one manager to the other, supposing we were rivals, Bennett said to me one day:
“You and I are like a pair of shears; we seem to cut each other, but we only cut what comes between.”
I ran my opposition long enough to beat myself. It answered every purpose, however, in awakening public attention to my Museum, and was an advantage in preventing others from starting a genuine opposition. At the end of six months, the whole establishment, including the splendid gallery of American portraits, was removed to the American Museum and I immediately advertised the great card of a “Double attraction” and “Two Museums in One,” without extra charge.
A Museum proper obviously depends for patronage largely upon country people who visit the city with a worthy curiosity to see the novelties of the town. As I had opened a dramatic entertainment in connection with my curiosities, it was clear that I must adapt my stage to the wants of my country customers. While I was disposed to amuse my provincial patrons, I was determined that there should be nothing in my establishment, where many of my visitors would derive their first impressions of city life, that could contaminate or corrupt them. At this period, it was customary to tolerate very considerable license on the stage. Things were said and done and permitted in theatres that elsewhere would have been pronounced highly improper. The public seemed to demand these things, and it is an axiom in political economy, that the demand must regulate the supply. But I determined, at the start, that, let the demand be what it might, the Museum dramatic entertainments should be unexceptionable on the score of morality.