My first impression, when I found myself in the cab that was to carry me to the Brompton Road, where lodgings had been engaged for me, was one of bewilderment at the length of the streets. I had studied a plan of London, and thought from it that I could, in case of need, find my way easily on foot from King's Cross to Brompton. Now I discovered, to my dismay, that streets which had seemed no longer than those with which I was familiar at Newcastle stretched to a length that was apparently interminable; whilst instead of one unbroken thoroughfare I was rattled in my cab through squares and streets innumerable, the names of none of which had I been able to read upon my plan. My next impression was one of delight at the fidelity with which little bits of street scenery had been portrayed by John Leech in Punch. In Newcastle we knew nothing of the kitchen area and the portico. I was filled with joy when, in passing through the Bloomsbury squares, I recognised, as I thought, the very houses, porticoes, and areas that Leech had made the background for his magnificent flunkeys and neat parlour-maids.
The streets of London were a good deal dingier and dirtier in 1862 than they are to-day, and they were certainly vastly noisier. The wooden pavement was unknown, and the roar of traffic in crowded thoroughfares was positively deafening. The window-boxes filled with the flowers that are now so common and so pretty a feature of the London summer were rare, as also were the coloured awnings and outside blinds now almost universal in the better-class of thoroughfares. Hyde Park was untidy and neglected, flower-beds being practically unknown. The fine open space at Hyde Park Corner did not exist, and Piccadilly Circus was a circus really, and one of very narrow extent. But though far from possessing the magnificence of which it can now boast, London forty years ago had certain advantages over the city of to-day. There were no enormous piles of flats shutting out air and light from the streets, where both are so much needed. Few of the houses were more than four storeys in height, and the irregular architecture which then prevailed in Piccadilly—that most delightful of all the streets of the world—added to its attractiveness. But I must not be led into a digression upon London, a city so great and wonderful that a volume might easily be filled with the story of the associations it holds in my memory.
On the day after my arrival in town I was present at the State Opening of the Great Exhibition of 1862, the second—and apparently the last—of the international exhibitions held in London. Its interest was sensibly diminished by the fact that, in consequence of the death of the Prince Consort, neither the Queen nor any member of her family was present. The Duke of Cambridge, then in the prime of his manhood, took the leading part in the ceremony, and he had as his supporters Prince Frederick of Prussia, afterwards the Emperor Frederick, and the Prince of Hesse. We were not so clever in those days at arranging spectacles as we have since become, and, shortly before the hour fixed for the opening ceremony, a good deal of confusion still reigned upon the daïs set apart for the official notabilities. I was amused to see Lord Granville, who was, if I remember aright, chairman of the Royal Commissioners, broom in hand, vigorously sweeping the carpet in front of the State chairs only a few moments before he had to rush off to receive the Duke of Cambridge. My most vivid recollection of the opening ceremony is the singing of Tennyson's fine ode, composed for the occasion. I can still recall the cadence of the first lines as they fell upon my ears.
A visit to the House of Commons, where I remember hearing speeches from Lord Palmerston and Sir George Cornewall Lewis, and where I gazed with longing eyes upon the occupants of the reporters' gallery, fills up my memories of this first sight of London. I might, indeed, have included in them some reference to Sothern, the actor, who was then at the height of his glory in the famous part of Lord Dundreary. But it was at Newcastle, not in London, that I actually made Sothern's acquaintance. No actor ever made a single character so famous as this part of Dundreary was made by Sothern. When he came to Newcastle on his first provincial tour I met him, and spent some pleasant evenings with him after the play. He was a man of refined speech and good social gifts. His besetting weakness, as I learned even then, was that addiction to practical jokes which, on more than one occasion in his subsequent career, involved him in unpleasant situations. One of his favourite tricks was to select some portly and self-important gentleman whom he saw passing along Piccadilly or Oxford Street, and, rushing up to him, to claim him as his dearly loved but long-lost uncle. The more strenuously the victim denied the relationship, the more eloquently pathetic and indignant became Sothern. A crowd always collected quickly, and more than once the police were summoned to relieve the putative uncle from the presence of his unwelcome nephew.
Sothern told me that he was driven nearly mad during the long run of Lord Dundreary—or, rather, Our American Cousin, as the play was named—at the Haymarket. He found it almost impossible to repeat his own jokes before a house in which he invariably recognised many familiar faces. He was constantly driven to vary his "gag," in order to amuse these veterans of the theatre, and it was in a large measure to escape from them that he made his provincial tour. In one of his conversations on the stage with the fair Georgina, who was endeavouring to entrap him into marriage, he used sometimes, at the moment when the lady thought that he was about to propose, to put a question of a very different kind: "Can you wag your left ear?" I asked him one day what had made him invent so ridiculous a question as this. "Because I can wag my left ear," was his prompt response, and straightway I saw the organ in question flapping about like a sail in a breeze. The Theatre Royal at Newcastle in those days was under the management of Mr. E. D. Davis, a well-known figure in the provincial theatrical world. It was before the days of touring companies, and Mr. Davis was supported by an excellent body of artists, including his brother and his son Alfred, as well as his niece Emily Cross. I went to the theatre in the dignified capacity of dramatic critic; but neither then, nor at any subsequent period of my life, did I fall a victim to that passion for the drama to which so many Pressmen succumb. Indeed, I have a lively recollection of incurring the well-merited reproof of pretty Miss Cross for having engaged in one of the stage boxes in a hot political discussion with another Newcastle journalist, Mr. Joseph Cowen to wit. Yet it was at Newcastle that I had my first and last association with dramatic authorship. One of the Davises had written a play which he had called Wild Flowers. He asked me to read the manuscript, and when I had done so I suggested that it should be entitled The Marriage Contract, an emendation which the author duly accepted.
My term of service on the Newcastle Press came to an end sooner than I had anticipated. The chief feature of my reporting experiences in 1863 was the meeting of the British Association in my native town. There was keen rivalry between the Journal and the Chronicle—Mr. Cowen's newspaper—with regard to the reporting of all local matters. Unfortunately for me, the Chronicle was a wealthy paper, and the Journal a very poor one. I had, therefore, to wage an unequal war with my richer rival. A British Association meeting throws a heavy strain upon the newspapers of the town in which it takes place. Half-a-dozen sections meet every day, and all must be reported; whilst there are, in addition, evening meetings and social functions, the story of which must be told from day to day. Sir William Armstrong, then just coming into fame as a maker of guns, though long known to Newcastle as a great mechanical engineer and the inventor of the hydraulic crane, was the president of the meeting. This added to the pride which the people of Newcastle felt in the fact that their town had been chosen for the scene of so distinguished a gathering. In those days local patriotism ran very high in the old town. We were intensely provincial, and our favourite belief was that Newcastle stood unrivalled among the cities of the earth. When any distinguished stranger came amongst us—as, for example, Mr. Gladstone, on the occasion to which I have already referred—we washed our face, and put on our best clothes in order to impress the visitor. We had something of the perfervid nature of the Scot in our characters, and rose to extraordinary heights of enthusiasm on very indifferent pretexts. It followed that when we had so distinguished a body as the British Association to receive as our guests, and when we had furnished in one of our own citizens the president of the meeting, we almost went out of our minds in our exultant delight. I do not know if Newcastle is still capable of these transports of enthusiasm. I rather think that the local patriotism which distinguished so many of our cities fifty years ago is now, in these days of incessant intercommunication, merged in the larger patriotism of the nation. Be this as it may, I must explain that my dissertation on the manner in which Newcastle received the British Association in 1863 is merely intended to account for the fact that, as a result of that meeting, I suffered from a serious illness, brought on by anxiety and overwork. I found that reporting, when you had to compete with a formidable rival possessing a staff three times as large as your own, was laborious, as well as exciting; and having a desire to attempt literary work upon a higher level, I gave up my position as a reporter, and adopted instead the vocation of a leader-writer.
My last bit of work as a reporter for the Newcastle Journal was in describing the accident which happened at Bradfield, near Sheffield, in the spring of 1864. The dam of the great reservoir from which Sheffield drew its water supply burst, and a torrent of water, many feet in depth, and nearly a quarter of a mile in width, suddenly rushed down a narrow valley, and flooded the lower part of Sheffield. The tragic occurrence was subsequently described by Charles Reade in his novel, "Put Yourself in His Place." Reade was not an eye-witness of the scene that was presented after the flood had spent its force, but I can bear testimony to the fact that he described it accurately. Certainly it was a wonderful and terrible sight that was presented when I visited the place a few hours after the bursting of the dam. The streets of Sheffield were ploughed up to the depth of many feet; lamp-posts were twisted like wire, and many houses either stood tottering with one of their sides clean swept away, or lay a mere heap of ruins. Hundreds of lives were lost. A great battle could not have dealt death more freely than did this flood. Most of the victims were drowned in their beds, and it was a terrible sight to see the long rows of corpses, clad in night-dresses, that were laid out in the public building that had been hastily turned into a mortuary. I think, indeed, the horror of that spectacle surpassed even that of the scene at Hartley New Pit, when the victims of the accident there were disinterred.
The newspaper reporter has still, in the discharge of his duty, to see many strange and painful things, but he is now spared some of the most trying sights to which he was exposed in my reporting days. Among these, none was so painful and so revolting as a public execution. I attended several executions during my connection with the Newcastle Press, and I was a witness in 1868 of the last public execution in England—that of Barrett, the Fenian, of whom I shall have more to say by-and-by. I am thankful to know that the necessity of attendance at these dreadful scenes is no longer imposed upon the journalist, and I feel a profound pity for those officials who are compelled by an imperative duty to be present at the private strangling of their fellow-creatures. It is true, however, that use hardens the heart and deadens the nerves. I remember how, on the first occasion of witnessing an execution, as I stood trembling at the foot of the scaffold on which the victim was about to appear, I noticed an old reporter, for whom I entertained a great personal respect, pacing up and down beside me, reading the New Testament. In the passion of horror and pity that filled my young heart, I concluded that my friend was seeking spiritual comfort in view of the event in which we were about to take part as spectators and recorders. I said something to him about the horror of the act we were shortly to witness. He looked up with a placid smile from his reading, and said gently—for he was essentially a gentle man—"Yes, very sad, very sad; but let us be thankful it isn't raining." And then he calmly returned to his daily reading of the Word. If even gentle hearts can thus grow callous, what must be the "moral effect" of an execution upon those who are already brutalised?
Another unpleasant sight which reporters are now spared is the flogging of garrotters. When the Act authorising this punishment was passed, provision was made that the representatives of the Press should be present when it was inflicted. More than once I have had to witness these floggings in the course of my ordinary duty. I confess that they did not affect me as they seemed to affect most of my colleagues. An execution, with the violent thrusting of a human soul into the unknown, moved me deeply; but the physical punishment of a ruffian who had himself inflicted atrocious suffering upon some innocent person seemed to be such well-deserved retribution that even the coward's shrieks for mercy made no impression upon my nerves; and yet I have seen reporters who could laugh and joke at an execution faint at the flogging of a garrotter. So differently are human beings constituted!
At the end of June, 1864, I left my native town, and went to Preston to undertake editorial duties in connection with the Preston Guardian—the leading Liberal paper in North Lancashire. It was a custom amongst journalists in those days always to give a farewell entertainment to a brother of the Press when he quitted a town where he had been engaged for any length of time. I was entertained at the usual complimentary dinner, and was made the recipient of a very handsome testimonial. I felt most unfeignedly that I had not deserved it, yet the possession of the gold watch and collection of standard books subscribed for out of the scanty earnings of my colleagues was a real comfort to me when, with a sad heart, I left the sacred shelter of my home and quitted the town in which the whole of my life up to that moment had been spent. I reached Preston one summer evening as homesick as any lad could have been. I did not know the name of a single person in the town except that of the proprietor of the Guardian, Mr. Toulmin. I did not even know the name of an hotel at which to stay for the night. A porter at the railway station told me the name of the chief inn, and thither I repaired with my belongings.