I was too young to have known much of women, but I was sternly resolved not to be overcome. Fancy me then téte à téte with Fenella and my friend Selden, supping on cold tongue, and sipping white sherry. At first I felt uneasy, but was still sure I should brave all consequences. Gradually as I looked upon the animated countenance of my hostess, the ice of my reserve was thawed, for my apparent coldness seemed to have inspired her with the determination to warm me into sentiments more complimentary at least to her powers of fascination. I afterwards learned that Selden had betrayed to her my ridicule of the devotion of her admirers. It was therefore merely natural that she should have resolved to rank me in the number. Nor had she misjudged her power, or the softness of my nature. I melted beneath her smile, like wax before the flame—and ere we rose from the table I had become aware of a new and indefinable sensation towards her: all I can say of it is, that it was not love, although it had a close affinity to that passion.
The freedom and ease of her conversation was new to me. She spoke of her numerous lovers without embarrassment, and in some instances with no little sarcasm; but she constantly qualified her raillery by confessing that they were good souls, and alluded to the presents which they made her in the most amiable terms.
Time rolled on, and a month or two found me a constant visiter at the lodgings of Fenella. I then flattered myself that I was a favorite. I gallanted her frequently to the theatre, and waiting in the green room until she had changed her dress, attended her home, supped with her, and often prolonged my stay to a late hour. I never talked love to her—for I did not know how—and she had so much experience in that matter that I feared I should make myself ridiculous. Her power over me was complete, yet I cannot charge her with having exerted it in a single instance unfairly. Her whole design against me seemed to have been confined to the excitement of a degree of admiration commensurate with her personal attractions. At that point she appeared satisfied; but as I grew in intimacy with her she shewed herself sincerely my friend, frequently checking my fool hardy impetuosity, and giving me good advice, which might have come with a better grace from the less lovely lips of my aunt Deborah. I soon accommodated my sentiments and conduct to those of Fenella, and while I became her most devoted friend, I dropped entirely the character and feelings of a lover. A tacit understanding soon became established between us; and I was admitted to liberties in my new character, which I could have enjoyed in no other. These familiarities were misunderstood by my friends; but in spite of their firm belief, there was nothing amatory in our intercourse.
About this time Fenella's benefit at the theatre was announced, an event of some importance to her, as the second season of the theatre had been particularly unproductive, and the limping manager had failed almost entirely to pay the salaries of his performers. I think Douglas was the play selected by her, in which she was to personate Lady Randolph; and in order to the effective cast of the piece, it was essential that Mc—— should perform Glenalvon. He had frequently treated Fenella with rudeness, and evidently disliked her; he objected to the part assigned him, and absented himself from the rehearsals of the tragedy. But as he was notoriously a devotee of the bottle, and frequently remiss in his duty, little was thought of his absence. The benefit night arrived; the time came for the curtain to rise; but no Glenalvon had appeared behind the scenes; and it was soon made known that Mc—— had not studied the part, and would not appear that night. The house was crowded; and to Fenella's great mortification, it was necessary that some other performer should read the part. This was done, and the play came off lamely enough.
Fenella was not destitute of spirit, and she resented this affront in the proper manner. Mc——'s benefit took place a few weeks after, and she resolutely refused to play for him. As she was the only actress in the company possessing any claim to talent, it was impossible to cast a piece without her; and the consequence of her name being absent from the bills for Mc——'s benefit was, that no one attended, or so few as to render it a most irksome task to go through the performances. The rage of the disappointed beneficiary was boundless: he vowed that he would be revenged upon Fenella for the injury she had done him, although in just resentment of an affront for which he deserved no better treatment.
Mc—— was a good draughtsman, and frequently sketched figures with great accuracy. He resorted to his pencil as the instrument of his revenge, and caricatured Fenella with so much skill, that while no one could mistake the original of the sketch, the incongruities of the details were such as to render it highly ludicrous.
The chief quality of a caricature seems to be disproportion—an unfitness of parts to each other. Simple exaggeration does not suffice to produce the effect desired, for if all the details of the picture be equally exaggerated, it may present a disagreeable likeness, but it does not produce that deep sense of the ridiculous which arises from an incongruous classification of the details. This rule is perhaps better tested than any other, by the reductio ad absurdum, and it is well illustrated by those extravagant French prints, in which heads of enormous comparative dimensions are placed upon bodies and limbs ridiculously diminutive, the effect of the disproportion being heightened by the accessaries of dress, &c. This is perhaps the most extravagant kind of caricature, but it requires far less skill than those sketches in which the more minute incongruities of features, form and costume, are resorted to. These sometimes exhibit much graphic ability, and it is a curious fact, that in pictures of this kind, where every feature is distorted, the strongest likenesses are sometimes preserved.2 It is truth presented through the medium of the ludicrous. Like the burlesque in writing, which exhibits an argument even more forcibly, because it presents the whole matter in a ridiculous light. But I am forgetting my story.
2 Some striking examples of this have been produced by the French caricaturists, who, though far inferior to their English brethren in broad humor, excel them in the subtilty of their conceptions. I remember a series of prints representing Charles X and his ministers, in the forms of various beasts. The king was personated by the Giraffe, then exhibiting at the Jardin des plantes in Paris—the ministers by other animals, whose instinctive qualities were intended to represent the several characteristics of those dignitaries. For instance, as well as I remember, the Fox played Prince Polignac, the Wolf, Count Peyronnet, &c. to indicate the cunning and rapacity of those ministers. The accuracy of the likenesses in those prints was remarkable. I believe Louis Phillippe and his ministers have more recently been shewn up in a similar manner.
I had not seen Fenella for several days, when passing along St. Paul street one morning, I met an acquaintance, who accosted me with,
"Bless me, Pertinax, where have you been so long? I was last evening at Fenella's, and she actually hinted a suspicion of your defection from her cause."