Robert Trotter, schoolmaster of Dumfries, published a Compendium of Latin Grammar, ‘the conceitedness, envy, and errors’ of which were next year exposed in a brochure of Animadversions by John Love, the schoolmaster of Dumbarton. Not long after Love had thus disposed of Mr Trotter, he was himself put on the defensive before the kirk-session of his parish, on a charge of brewing on a Sunday. Probably the verb was only applicable in a neuter form—that is, nature, by continuing her fermenting process on the Sabbath, was the only delinquent—for the minister, ‘after a juridical trial, was obliged to make a public apology for having maliciously accused calumniated innocence.’[[720]] Love, who was the preceptor of Tobias Smollett, afterwards distinguished himself by a controversy with the notorious Lauder, who, by forgery, tried to derogate from the fame of Milton.
1733. May 14.
Since 1598 we have not heard of any foreigners coming into Scotland to play dangerous tricks upon long tight ropes; but now, unexpectedly, a pair of these diverting vagabonds, one described as an Italian who had performed his wonders in all the cities of Europe, the other as his son, presented themselves. A rope being fixed between the Half-moon Battery in the Castle, and a place on the south side of the Grassmarket, two hundred feet below, the father slid down in half a minute. The son performed the same feat, blowing a trumpet all the way, to the astonishment of ‘an infinite crowd of spectators.’ Three days afterwards, there was a repetition of the performance, at the desire of several persons of quality, when, after sliding down, the father made his way up again, firing a pistol, beating a drum, and playing a variety of antics by the way, proclaiming, moreover, that here he could defy all messengers, sheriffs’ officers, and macers of the Court of Session. Being sore fatigued at the end of the performance, he |1733.| offered a guinea to the sutler of the Castle for a draught of ale, which the fellow was churlish enough to refuse.
The two funambuli failed on a subsequent trial, ‘their equipage not at all answering.’ Not many weeks after, we learn that William Hamilton, mason in the Dean, trying the like tricks on a rope connected with Queensferry steeple, fell off the rope, and was killed.[[721]]
In the course of this year, a body called the Edinburgh Company of Players performed plays in the Tailors’ Hall, in the Cowgate. On the 6th June, they had the Beggars’ Opera for the benefit of the Edinburgh Infirmary. They afterwards acted Othello, Hamlet, Henry IV., Macbeth, and King Lear, ‘with great applause.’ In December, they presented before a large audience the Tempest, ‘every part, and even what required machinery, being performed in great order.’ In February 1734, the Conscious Lovers was performed ‘for the benefit of Mrs Woodward,’ ‘the doors not to be opened till four of the clock, performance to begin at six.’ In March, the Wonder is advertised, ‘the part of the Scots colonel by Mr Weir, and that of his servant Gibby, in Highland dress, by Mr Wescomb; and all the other parts to the best advantage.’ Allan Ramsay must have been deeply concerned in the speculation, because he appears in the office-copy of the newspaper (Caledonian Mercury) as the paymaster for the advertisements.
Nor was this nascent taste for the amusements of the stage confined to Edinburgh. In August, the company is reported as setting out early one morning for Dundee, Montrose, Aberdeen, &c., ‘in order to entertain the ladies and gentlemen in the different stations of their circuit.’ We soon after hear of their being honoured at Dundee with the patronage of the ancient and honourable society of freemasons, who marched in a body, with the grand-master at their head, to the playhouse, ‘in their proper apparel, with hautboys and other music playing before them;’ all this to hear the Jubilee and The Devil to Pay.
In December, the Edinburgh company was again in the Tailors’ Hall, and now it ventured on ‘a pantomime in grotesque characters,’ costing something in the getting up; wherefore ‘nothing less than full prices will be taken during the whole performance.’ In consideration of the need for space, it was ‘hoped that no gentleman whatever will take it amiss if they are refused admittance |1733.| behind the scenes.’ Soon after, we hear of the freemasons patronising the play of Henry IV., marching to the house ‘in procession, with aprons and white gloves, attended with flambeaux.’ Mrs Bulkely took her benefit on the 22d January in Oroonoko and a farce, in both of which she was to play; but ‘being weak, and almost incapable to walk, [she] cannot acquit herself to her friends’ satisfaction as usual; yet hopes to be favoured with their presence.’
It is observable that the plays represented in the Cowgate house were all of them of classic merit. This was, of course, prudential with regard to popular prejudices. Persons possessed of a love of literature were very naturally among those most easily reconciled to the stage; and amongst these we may be allowed to class certain schoolmasters, who about this time began to encourage their pupils to recite plays as a species of rhetorical exercise.
On Candlemas, 1734—when by custom the pupils in all schools in Scotland brought gifts to their masters, and had a holiday—the pupils of the Perth Grammar School made an exhibition of English and Latin readings in the church before the clergy, magistrates, and a large miscellaneous auditory. ‘The Tuesday after, they acted Cato in the school, which is one of the handsomest in Scotland, before three hundred gentlemen and ladies. The youth, though they had never seen a play acted, performed surprisingly both in action and pronunciation, which gave general satisfaction. After the play, the magistrates entertained the gentlemen at a tavern.’[[722]]
In August, ‘the young gentlemen of Dalkeith School acted, before a numerous crowd of spectators, the tragedy of Julius Cæsar and comedy of Æsop, with a judgment and address inimitable at their years.’ At the same time, the pupils in the grammar school of Kirkcaldy performed a piece composed by their master, entitled The Royal Council for Advice, or the Regular Education of Boys the Foundation of all other National Improvements. ‘The council consisted of a preses and twelve members, decently and gravely seated round a table like senators. The other boys were posted at a due distance in a crowd, representing people come to attend this meeting for advice: from whom entered in their turn and order, a tradesman, a farmer, a country gentleman, a nobleman, two schoolmasters, &c., and, last of all, a gentleman who complimented and congratulated the council on |1733.| their noble design and worthy performances.’ The whole exhibition is described as giving high satisfaction to the audience.