A powder boat laying almost under our bows was robbed, the powder removed, and its keeper carried away, without exciting any attention; so silently was the act performed.
As we were leaving for Macào, the clipper ship Witchcraft came in, disabled, as I have recorded in a previous chapter.
Whilst at Macào, this time, a very extensive fire occurred, amongst China houses near the Bazaar. About thirty were destroyed, and a great many goods. A silk merchant's loss was considerable. So frightened was the fellow, that he removed his goods into a house that was afterwards burned, his own shop escaping; literally "jumping out of the frying-pan into the fire."
On the nineteenth of December, ordered again to Whampoa, to relieve our consort, and protect American interests from that imaginary wolf, the rebellion. Christmas day passed by there gloomily, and the new year commenced unprofitably.
Went up to Canton, to witness a theatrical performance, by amateurs, and was delighted. The room was well fitted up, and the appointments excellent. The play was, "The Schoolfellows,"—a beautiful little drama, by Douglas Jerrold, I believe; and it was admirably cast. Mr. Murray as Tom Drops—a good-hearted, liquor-loving vaut-rien—was inimitable. He was waiter and hostler to a village inn; and the scene in which he, upon wine being called for by a customer, produces, condemns, and consumes, a bottle of the "black seal" was the perfection of acting, the different phases of ebriety were well portrayed, and in the course of the play, additional red patches appeared upon his face, to show the effects of his habits.
Box and Cox was the after-piece; and Mr. Clavering as Mrs. Bouncer, was the very beau-ideal of a landlady, "fair, fat, and forty." The prologue was excellent, and well delivered, and the amateur company had just reason to be proud of their performance.
Having been favored with a copy of the opening address, I transcribe it. Of course, it loses much from the effect given by its composer in its delivery.
"Fair ladies, and kind friends, who deign to smile
On our attempt an hour to beguile,
I'm hither by the actors sent, to pray
A gentle judgment on a first Essay.
They bid me state, their novel situation
Has set their hearts in such strange perturbation,
They dare not raise the curtain till they've pleaded
First, for the pardon will be so much needed.
I'm shocked to say, it sounds so of the oddest,
Our ladies want much practice to look modest;
The rough, strong voice, ill suits with feelings tender,
And 'tis such work to make their waists look slender!
As for the men, the case is little better;
Some, of the dialogue scarce know a letter:
All unacquainted with each classic rule,
We feel we've need enough to go to school;
And trembling stand, afraid to come before ye,
And of the Schoolfellows to tell the story.
Yet need this be? I see no critic here;
No surly newspaper have we to fear;
Our scenery may be bad, but this is certain,
Bright decorations are before the curtain,
Under whose influence, you may well believe,
We do not sigh for Stanfield, grieve for Grieve!
Yet not too far to carry innovation,
And to comply with settled regulation,
Prompter we have, our memories to ease;
But our best prompter is, the wish to please.
Then kindly say, to stumblers in their part,
What they have got, was surely got by heart;
And each, surrounded by his friends, so stands,
He will meet nought but kindness at their hands."
The Stanfield and Grieve, upon whose names the happy alliteration is made, are supposed to be celebrated English scene painters. But although the scenery meets with disparagement in the prologue, yet it was very superior; and the interior of the old schoolhouse, with the names of the boys cut into the oaken pannels of the door, and on which Jasper points out to Horace their initials intertwined, was a perfect picture.