https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XI_Astley_s/1835-05-09_Sketches_of_London_No.XI_Astleys.pdf 2c551524f8f21d35ef44a0aee1e45d2b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Short Fiction Identifier An unambiguous reference to the resource within a given context short-stories Contributor An entity responsible for making contributions to the resource Lydia Craig Scripto Transcription A written representation of a document. This collection (still in development) unites various short stories that Dickens wrote throughout his career for various publications, including newspapers and periodicals, and for inclusion in short story collections. Between 1833, when he tentatively submitted “A Dinner at Poplar Walk” for publication in The Monthly Magazine, and his death in 1870, Dickens as ‘BOZ,’ briefly, as ‘TIBBS,’ and as “Charles Dickens” wrote dozens of short stories and ‘sketches,’ which often moved easily between journalism and story. It was as Boz, the late Georgian literary persona, that he first endeared himself to the British reading public in the pages of such newspapers and periodicals as The Evening Chronicle, Bell’s Life in London, and Bentley's Miscellany with a unique blend of comedy and pathos. By turns scathing of observed social and personal injustices, and appreciative of London’s colourful, vibrant culture and the oddities of human nature, Boz followed in the literary footsteps of other recent metropolitan commentators like Charles Lamb (‘ELIA’), Leigh Hunt, Theodore Hook, Robert Surtees, Thomas Hood, and John Poole, and eighteenth-century Picaresque novelists, Tobias Smollett and Henry Fielding. Soon, Dickens established his own unique voice. Prior to and following the ascension of the young Queen Victoria in 1837, Boz became a prescient spectator of both the rising empire’s rapidly developing culture in public spaces and of the domestic dramas enacted in British homes. Global fame arrived with the serial publication of The Posthumous Papers of the Pickwick Club (1837), marking Dickens’s shift to writing novels. In tone, this rambling comedic travelogue owed much to Boz’s voice and incidentally featured several tales unrelated to the main narrative. Dickens would sporadically publish the Mudfog stories in 1836 and 1837, enlarging on them in Sketches by Boz, a collection of many of the sketches and stories first published by John Macrone in two volumes in 1836 and 1837 and illustrated by George Cruikshank. According to Robert L. Patten, ‘When Dickens gathered up previously published writing, anonymous and pseudonymous, for republication, he identified authorship with a particular subset of his journalistic pieces, the ‘sketches’ rather than the tales or portraits of characters, and with his pseudonym. Hence, after mooting several other titles, Dickens settled on Sketches by Boz’ (44). Sketches of Young Gentlemen (1838), a joking response to Rev. Edward Caswell, or “QUIZ’s” recent effort Sketches of Young Ladies (1838), and Sketches of Couples (1840) were published by Chapman and Hall and illustrated by Hablot Knight Browne, better known as ‘PHIZ’. After this point, Dickens’s short stories were published in his periodicals Household Words and All the Year Round, though after 1837 he never published them with any regularity, preferring instead to focus on writing and serialising novels. Occasionally, he contributed several chapters to a jointly authored short story, collection, or series; Christmas numbers of his periodicals provided the opportunity to feature multiple famous writers uniting to weave a Yule-tide yarn, such as The Haunted House (1859). Notably, his collaboration with Wilkie Collins resulted in such works as The Perils of Certain English Prisoners (1857) and No Thoroughfare (1867). Towards the end of his life, Dickens began to publish short stories again in American publications such as The New York Ledger, The Atlantic Monthly, and Our Young Folks. Until now, first printings of Dickens’s earliest short stories published between 1833 and 1836 have been difficult to find for those unable to visit the periodicals and newspaper holdings at eminent institutions such as The British Library. Similarly, the last ones written by Dickens have remained understudied due in part to their obscurity. Twentieth-century editions of the Sketches are generally based on the text of Chapman and Hall’s later 1839 single volume edition, which relies on the reissue serialised between 1837 and 1839, or the 1868 Charles Dickens Edition, which is based on the 1850 cheap (and further revised) edition. Other anthologies, for instance Selected Short Fiction (Penguin, 2005), edited by Deborah A. Thomas, choose excerpts from Dickens’s entire oeuvre in the short fiction genre. Several scholars have explored the drafting, publication, and impact of the early sketches and short stories, with notable studies including Dickens and the Short Story. (University of Philadelphia Press, 1982) by Deborah A. Thomas and Charles Dickens and ‘Boz’: The Birth of the Industrial-Age Author (Cambridge, 2012) by Patten.1 To date, the most comprehensive overview of the sketches is provided by The Oxford Edition of Charles Dickens’s Sketches by Boz (2021) edited by Paul Schlicke with David Hewitt. Others include Dickens's Uncollected Magazine and Newspaper Sketches as Originally Composed and Published 1833–1836 (2012), edited by Robert C. Hanna, and Sketches by Boz and Other Early Papers (1994), edited by Michael Slater. Because Dickens made many alterations, whether significant or incidental, between the first printing of a sketch and successive editions, these changes open up a window into his editorial process and developing intentions for the ‘Boz’ legacy. Now, with this Dickens Search collection, these emendations can be studied with greater ease than ever before. Our transcription field contains text Dickens is believed to have solely authored, though our pdfs of the short story collaborations will be provided in their entirety to facilitate easier engagement and comprehension of how his narrative might interact with those constructed by other writers. Ngram search and other text analysis tools will be applied to Dickens’s words only, to avoid skewing the results. While building this collection, we have consulted, and transcribed scans found on databases such as British Newspaper Archive (BNA), digital archives, and such open-access sites as Hathi Trust, Internet Archive, and Google Books; all items are linked to their original location on the internet. Please contact us with any errors, corrections, and suggestions, or to mention other short stories by Dickens that might have been overlooked. 1. See Dominic Rainsford. ‘“Luller-li-e-te”! Language, Personhood, and Sympathy in Sketches by Boz.’ In Some Keywords in Dickens. Edited by Michael Hollington, Francesca Orestano, and Nathalie Vanfasse. Vandenhoeck & Ruprecht, 2021, pp. 117-130; William F. Long. ‘“Our Space is Limited”: Fitting Sketches by Boz into the Morning Chronicle”. Dickens Quarterly 4 (December 2020): pp. 325-348; William F. Long. 'Dickens before Sketches by Boz: Earliest Reactions to his Earliest Works'. Dickensian (2018), 114.505, pp.170-176; Christina Jen. '"Drop the Curtain": Astonishment and the Anxieties of Authorship in Charles Dickens's Sketches by Boz. Dickens Studies Annual 49.2 (2018): pp. 249-278; Dianne F. Sadoff. ‘Boz and Beyond: “Oliver Twist” and the Dickens Legacy’. Dickens Studies Annual 45 (2014): pp. 23-44; Dickens's Uncollected Magazine and Newspaper Sketches, as Originally Composed and Published, 1833–1836, No. 46. Ed. Robert C. Hanna (2012): New York, AMS Press; Danielle Coriale. ‘Sketches by Boz, “So Frail a Machine”. SEL: Studies in English Literature 48.4 (2008): pp. 801-812; Paul Schlicke. ‘“Risen Like a Rocket”: The Impact of Sketches by Boz’. Dickens Quarterly 22.1 (2005): pp. 3-18; Ellen Miller Casey. ‘“Boz has got the Town by the ear”: Dickens and the “Athenæum Critics”’. Dickens Studies Annual 33 (2003): pp. 159-190; Richard Maxwell. ‘Dickens, the Two “Chronicles”, and the Publication of “Sketches by Boz”’. Dickens Studies Annual 9 (1981): pp. 21–32; Angus Easson. “Who is Boz? Dickens and His Sketches”. The Dickensian 18.1.405 (Spring 1985): pp. 13-22; Julian W. Breslow. 'The Narrator in Sketches by Boz.' ELH 44.1 (1977): pp. 127–49. Short Story Publication Type E.g. newspaper/serial Newspaper Publication The title of the newspaper/serial (if applicable) The Evening Chronicle Pseudonym The name under which the item was published BOZ Ngram Date Hidden from users and search. All items in a collection need to have the same data in the same format in order to show up in Ngram (either YYYY, YYYYMMDD, or YYYYMMDD). No combinations will work. For journalism, letters and poetry, if there is no month or day, default to the first of the month or January. So a poem with a date of March 1843 would be 18430301. A poem published in 1856 with no month or date information would be 18560101. 18350509 Ngram Text Hidden from users and search. Copy and paste from the Scripto transcription. Then check and uncheck HTML to strip out all formatting. Finally, search and remove any   (which is the HTML for spaces). This will prevent the Ngram picking up on irrelevant HTML. We never see any very large, staring, black Roman capitals in a book, or shop window, or placarded on a wall, without their immediately recalling to our mind an indistinct and confused recollection of the time when we were first initiated in the mysteries of the alphabet. We almost fancy we see the pen’s point following the letter, to impress its form more strongly on our bewildered imagination, and wince involuntarily, as we remember the hard knuckles with which the reverend old lady, who instilled into our mind the first principles of education for nine-pence per week, or ten and sixpence per quarter, was wont to poke our juvenile head occasionally by way of adjusting the confusion of ideas in which we were generally involved. The same kind of feeling pursues us in many other instances, but there is no place which recalls so strongly our recollections of childhood as Astley’s. It was not a "Royal Amphitheatre" in those days; nor had Ducrow arisen to shed the light of classic taste and portable gas over the saw-dust of the circus; but the whole character of the place was the same—the pieces were the same—the clown’s jokes were the same— the riding-masters were equally grand—the comic performers equally witty—the tragedians equally hoarse—and the "highly-trained chargers" equally spirited. Astley’s has altered for the better—we have changed for the worse. Our histrionic taste is gone; and with shame we confess, that we are far more delighted and amused with the audience, than with the pageantry we once so highly appreciated. We like to watch a regular Astley’s party in the Easter or midsummer holidays—Pa and Ma, and nine or ten children, varying from five foot six to two foot eleven; from fourteen years of age to four. We had just taken our seat in one of the boxes in the centre of the house the other night, when the next was occupied by just such a party as we should have attempted to describe, had we depicted our beau ideal of a group of Astley’s visitors. First of all, there came three little boys and a little girl, who in pursuance of Pa’s directions, issued in a very audible voice from the box-door, occupied the front row; then two more little girls were ushered in by a young lady, evidently the governess. Then came three more little boys, dressed like the first, in blue jackets and trousers, with a lay-down shirt-collar; then a child in a braided frock and high state of astonishment, with very large round eyes, opened to their utmost width, was lifted over the seats—a process which occasioned a considerable display of little pink legs —then came Ma and Pa, and then the eldest son, a boy of about fourteen years old, who was evidently trying to look as if he didn't belong to the family. The first five minutes were occupied in taking the shawls off the little girls and adjusting the bows which ornamented their hair; then it was providentially discovered that one of the little boys was seated behind a pillar and couldn't see, so the governess was stuck behind the pillar, and the boy lifted into her place; then Pa drilled the boys, and directed the stowing away of their pocket handkerchiefs; and Ma having just nodded and winked to the governess to pull the girls’ frocks a little more off their shoulders, stood up to review the little troop—an inspection which appeared to terminate much to her own satisfaction, for she looked with a complacent air at Pa, who was standing up at the other end of the seat; and Pa returned the glance, and blew his nose very emphatically; and the poor governess peeped out from behind the pillar, and timidly tried to catch Ma’s eye with a look expressive of her high admiration of the whole family. Then two of the little boys who had been discussing the point whether Astley’s was more than twice as large as Drury-Lane, agreed to refer it to "George" for his decision; at which "George," who was no other than the young gentleman before noticed, waxed indignant, and remonstrated in no very gentle terms on the gross impropriety of having his name repeated in so loud a voice at a public place; on which all the children laughed very heartily, and one of the little boys wound up by expressing his opinion, that "George began to think himself quite a man now," whereupon both Pa and Ma laughed too; and George (who carried a dress cane and was cultivating whiskers) muttered that "William always was encouraged in his impertinence;" and assumed a look of profound contempt, which lasted the whole evening. The play began, and the interest of the little boys knew no bounds; Pa was clearly interested too, although he very unsuccessfully endeavoured to look as if he wasn’t. As for Ma, she was perfectly overcome by the drollery of the principal comedian, and laughed till every one of the immense bows on her ample cap trembled, at which the governess peeped out from behind the pillar again; and whenever she could catch Ma’s eye, put her handkerchief to her mouth, and appeared, as in duty bound, to be in convulsions of laughter also. Then when the man in the splendid armour vowed to rescue the lady or perish in the attempt, the little boys applauded vehemently, especially one little fellow who was apparently on a visit to the family, and had been carrying on a child’s flirtation the whole evening with a small coquette of twelve years old, who looked like a model of her Mama on a reduced scale; and who, in common with the other little girls (who generally speaking have even more coquettishness about them than much older ones), looked very properly shocked when the knight’s squire kissed the princess’s confidential chambermaid. When the scenes in the circle commenced, the children were more delighted than ever, and the wish to see what was going forward completely conquering Pa’s dignity, he stood up in the box, and applauded as loudly as any of them. Between each feat of horsemanship, the governess leant across to Ma, and retailed the clever remarks of the children on that which had preceded; and Ma, in the openness of her heart, offered the governess an acidulated drop; and the governess, gratified to be taken notice of, retired behind her pillar again with a brighter countenance; and the whole party seemed quite happy except the exquisite in the back of the box, who, being to grand to take and interest in the children, and too insignificant to be taken notice of by any body else, occupied himself, from time to time in rubbing the place where the whiskers ought to be, and was completely alone in his glory. We defy any one who has been to Astley’s two or three times, and is consequently capable of appreciating the perseverance with which precisely the same jokes are repeated night after night, and season after season, not to be amused with one part of the performances at least—we mean the scenes in the circle. For ourselves, we know that when the hoop, composed of jets of gas is let down —the curtain drawn up, for the convenience of the half-price on their ejectment from the ring—the orange-peel cleared away, and the saw-dust shaken, with mathematical precision, into a complete circle—we feel as much enlivened as the youngest child present; and actually join in the laugh which follows the clown’s shrill shout of "Here we are!" just for old acquaintance sake. We can't even quite divest ourself of our old feeling of reverence for the riding-master, who follows the clown with a long whip in his hand, and bows to the audience with graceful dignity. We don't mean any of your second-rate riding-masters in nankeen dressing-gowns with brown frogs, but the regular gentleman attendant on the principal riders, who always wears a military uniform with a table-cloth inside the breast of the coat; in which costume he forcibly reminds one of a fowl trussed for roasting. He is—but why should we attempt to describe that of which no description can convey an adequate idea? Everybody knows the man, and everybody remembers his polished boots, his graceful demeanour stiff, as some misjudging persons have in their jealousy considered it, and the splendid head of black hair, parted high on the forehead, to impart to the countenance an appearance of deep thought and poetic melancholy. His soft and pleasing voice, too, is in perfect unison with his noble bearing, as he humours the clown by indulging in a little badinage, and the striking recollection of his own dignity, with which he exclaims, "Now, sir, if you please, inquire for Miss Woolford, sir," can never be forgotten. Again, the graceful air with which he introduces Miss Woolford into the arena, and after assisting her on to the saddle, follows her fairy courser round the circle, can never fail to create a deep impression in the bosom of every female servant present. When Miss Woolford and the horse, and the orchestra, all stop together to take breath, he urbanely takes part in some such dialogue as the following (commenced by the clown): "I say, sir!"—"Well, sir." (it’s always conducted in the politest manner.) "Did you ever happen to hear I was in the army, sir?"—"No, sir."— "Oh, yes, sir—I can go through my exercise, sir."— "Indeed, sir!"—"Shall I do it now, sir?"—"If you please, sir, come, Sir—make haste" (a cut with the long whip, and "Ha’ done now—I don’t like it, from the clown). Here the clown throws himself on the ground, and goes through a variety of gymnastic convulsions, doubling himself up and untying himself again, and making himself look very like a man in the most hopeless extreme of human agony, to the vociferous delight of the gallery, until he is interrupted by a second cut from the long whip, and a request to see "what Miss Woolford’s stopping for?" On which, to the inexpressible mirth of the gallery, he exclaims, "Now Miss Woolford, what can I come for to go for to fetch, for to bring, for to carry, for to do, for you, ma’am?" On the lady’s announcing with a sweet smile, that she wants the two flags, they are with sundry grimaces procured and handed up; the clown facetiously observing after the performance of the latter ceremony—"He, he, oh! I say sir, Miss Woolford knows me; she smiled at me." Another cut from the whip—a burst from the orchestra—a start from the horse, and round goes Miss Woolford again on her graceful performance, to the delight of every member of the audience, young or old. The next pause affords an opportunity for similar witticisms, the only additional fun being that of the clown making ludicrous grimaces at the riding-master every time his back is turned; and finally quitting the circle by jumping over his head, having previously directed his attention another way. Did any of our readers ever notice the class of people, who hang about the stage doors of our minor theatres in the day time? You will rarely pass one of these entrances without seeing a group of three or four men conversing on the pavement, with an indescribable public-house-parlour-swagger, and a kind of conscious air peculiar to people of this description. They always seem to think they are exhibiting; the lamps are ever before them. That young fellow in the faded brown coat, and very full light green trowsers, pulls down the wristbands of his check shirt as ostentatiously as if it were of the finest linen, and cocks the white hat of the summer before last as knowingly over his right eye as if it were a purchase of yesterday. Look at the dirty white berlin gloves, and the cheap silk handkerchief stuck in the bosom of his seedy coat. Is it possible to see him for an instant and not come to the conclusion that he is the walking gentleman who wears a blue surtout, clean collar, and white trowsers, for half an hour, and then shrinks into his worn-out scanty clothes; who has to boast night after night of his splendid fortune, with the painful consciousness of a pound a week and his boots to find; to talk of his father’s mansion in the country, with the dreary recollection of his own two-pair back, in the New Cut; and to be envied and flattered as the favoured lover of a rich heiress, remembering all the while that the ex-dancer at home, is in the family way, and out of an engagement! Next to him, perhaps, you will see a thin pale man, with a very long face, in a suit of shining black, thoughtfully knocking that part of his boot which once had a heel, with an ash stick. He is the man who does the heavy business, such as prosy fathers, virtuous servants, curates, landlords, and so forth. By-the-bye, talking of fathers, we should very much like to see some piece in which all the dramatis personae were orphans. Fathers are invariably great nuisances on the stage, and always have to give the hero or heroine a long explanation of what was done before the curtain rose, usually commencing with "It is now nineteen years, my dear child, since your blessed mother (here the old villain’s voice faulters) confided you to my charge. You were then an infant," &c., &c. Or else they have to discover, all of a sudden, that somebody, whom they have been in constant communication with during three long acts, without the slightest suspicion, is their own child, in which case they exclaim, "Ah! what do I see! This bracelet! That smile! These documents! Those eyes! Can I believe my senses? It must be!—Yes—it is—it is—my child!" "My father!" exclaims the child, and they fall into each other’s arms, and look over each other’s shoulders; and the audience give three rounds of applause. To return from this digression; we were about to say that these are the sort of people whom you see talking, and attitudinizing outside the stage-doors of our minor theatres. At Astley’s they are always more numerous than at any other place; there is generally a groom or two sitting on the window-sill, and two or three dirty shabby-genteel men in checked neckerchiefs, and sallow linen, lounging about, and carrying, perhaps, under one arm a pair of stage shoes badly wrapped up in a piece of old newspaper. Some years ago we used to stand looking, open-mouthed, at these men with a feeling of mysterious curiosity, the very recollection of which provokes a smile at the moment we are writing. We could not believe that the beings of light and elegance, in milk-white tunics, salmon-coloured legs, and blue scarfs, who flitted on sleek cream-coloured horses before our eyes at night, with all the aid of lights, music, and artificial flowers, could be the pale, dissipated-looking creatures we beheld by day. We can hardly believe it now. Of the lower class of actors we have seen something, and it requires no great exercise of imagination to identify the walking gentleman with the "dirty swell," the comic singer with the public-house chairman, or the leading tragedian with drunkenness and distress, but the other men are mysterious beings, never seen out of the ring, never beheld but in the costume of gods and sylphs. With the exception of Ducrow, who can scarcely be classed among them—who ever knew a rider at Astley’s, or saw him, but on horseback? Can our friend in the military uniform ever appear in threadbare attire, or descend to the comparatively un-wadded costume of every-day life? Impossible! We cannot—we will not—believe it. It is to us matter of positive wonder and astonishment that the infectious disease commonly known by the name of "stage-struck," has never been eradicated, unless people really believe that the privilege of wearing velvet and feathers for an hour or two at night, is sufficient compensation for a life of wretchedness and misery. It is stranger still, that that denizens of attorneys' offices, merchants' counting-houses, haberdashers' shops, and coal sheds, should squander their own resources to enrich some wily vagabond by paying—actually paying, and dearly too—to make unmitigated and unqualified asses of themselves at a Private Theatre. Private theatres, so far as we know, are peculiar to London; they flourish just now, for we have half a dozen at our fingers' ends. We will take an early opportunity of introducing our readers to the Managers of one or two, and of sketching the interior of a Private Theatre, both before the curtain and behind it. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-05-09_The_Evening_Chronicle_Sketches_of_London_NoXI_Astleys.xml" target="_blank" rel="noopener">'Sketches of London, No. XI, Astley's.' The Evening Chronicle (9 May 1835).</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Sketches of London, No. XI, Astley's' Creator An entity primarily responsible for making the resource Dickens, Charles Source A related resource from which the described resource is derived The British Newspaper Archive, <a href="https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350509/014/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350509/014/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-05-09 Rights Information about rights held in and over the resource The British Newspaper Archive. Some rights reserved. This work permits non-commercial use, distribution, and reproduction in any medium, provided the original author and source are credited. Type The nature or genre of the resource Short Story Identifier An unambiguous reference to the resource within a given context 1835-05-09_The_Evening_Chronicle_Sketches_of_London_NoXI_Astleys Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dickens, Charles. 'Sketches of London, No. XI, Astley's' (09 May 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-05-09_The_Evening_Chronicle_Sketches_of_London_NoXI_Astleys">https://dickenssearch.com/short-stories/1835-05-09_The_Evening_Chronicle_Sketches_of_London_NoXI_Astleys</a>. Description An account of the resource Published in The Evening Chronicle (9 May 1835). Scripto Transcription A written representation of a document. We never see any very large, staring, black Roman capitals in a book, or shop window, or placarded on a wall, without their immediately recalling to our mind an indistinct and confused recollection of the time when we were first initiated in the mysteries of the alphabet. We almost fancy we see the pen’s point following the letter, to impress its form more strongly on our bewildered imagination, and wince involuntarily, as we remember the hard knuckles with which the reverend old lady, who instilled into our mind the first principles of education for nine-pence per week, or ten and sixpence per quarter, was wont to poke our juvenile head occasionally by way of adjusting the confusion of ideas in which we were generally involved. The same kind of feeling pursues us in many other instances, but there is no place which recalls so strongly our recollections of childhood as Astley’s. It was not a "Royal Amphitheatre" in those days; nor had Ducrow arisen to shed the light of classic taste and portable gas over the saw-dust of the circus; but the whole character of the place was the same—the pieces were the same—the clown’s jokes were the same— the riding-masters were equally grand—the comic performers equally witty—the tragedians equally hoarse—and the "highly-trained chargers" equally spirited. Astley’s has altered for the better—we have changed for the worse. Our histrionic taste is gone; and with shame we confess, that we are far more delighted and amused with the audience, than with the pageantry we once so highly appreciated. We like to watch a regular Astley’s party in the Easter or midsummer holidays—Pa and Ma, and nine or ten children, varying from five foot six to two foot eleven; from fourteen years of age to four. We had just taken our seat in one of the boxes in the centre of the house the other night, when the next was occupied by just such a party as we should have attempted to describe, had we depicted our beau ideal of a group of Astley’s visitors. First of all, there came three little boys and a little girl, who in pursuance of Pa’s directions, issued in a very audible voice from the box-door, occupied the front row; then two more little girls were ushered in by a young lady, evidently the governess. Then came three more little boys, dressed like the first, in blue jackets and trousers, with a lay-down shirt-collar; then a child in a braided frock and high state of astonishment, with very large round eyes, opened to their utmost width, was lifted over the seats—a process which occasioned a considerable display of little pink legs —then came Ma and Pa, and then the eldest son, a boy of about fourteen years old, who was evidently trying to look as if he didn't belong to the family. The first five minutes were occupied in taking the shawls off the little girls and adjusting the bows which ornamented their hair; then it was providentially discovered that one of the little boys was seated behind a pillar and couldn't see, so the governess was stuck behind the pillar, and the boy lifted into her place; then Pa drilled the boys, and directed the stowing away of their pocket handkerchiefs; and Ma having just nodded and winked to the governess to pull the girls’ frocks a little more off their shoulders, stood up to review the little troop—an inspection which appeared to terminate much to her own satisfaction, for she looked with a complacent air at Pa, who was standing up at the other end of the seat; and Pa returned the glance, and blew his nose very emphatically; and the poor governess peeped out from behind the pillar, and timidly tried to catch Ma’s eye with a look expressive of her high admiration of the whole family. Then two of the little boys who had been discussing the point whether Astley’s was more than twice as large as Drury-Lane, agreed to refer it to "George" for his decision; at which "George," who was no other than the young gentleman before noticed, waxed indignant, and remonstrated in no very gentle terms on the gross impropriety of having his name repeated in so loud a voice at a public place; on which all the children laughed very heartily, and one of the little boys wound up by expressing his opinion, that "George began to think himself quite a man now," whereupon both Pa and Ma laughed too; and George (who carried a dress cane and was cultivating whiskers) muttered that "William always was encouraged in his impertinence;" and assumed a look of profound contempt, which lasted the whole evening. The play began, and the interest of the little boys knew no bounds; Pa was clearly interested too, although he very unsuccessfully endeavoured to look as if he wasn’t. As for Ma, she was perfectly overcome by the drollery of the principal comedian, and laughed till every one of the immense bows on her ample cap trembled, at which the governess peeped out from behind the pillar again; and whenever she could catch Ma’s eye, put her handkerchief to her mouth, and appeared, as in duty bound, to be in convulsions of laughter also. Then when the man in the splendid armour vowed to rescue the lady or perish in the attempt, the little boys applauded vehemently, especially one little fellow who was apparently on a visit to the family, and had been carrying on a child’s flirtation the whole evening with a small coquette of twelve years old, who looked like a model of her Mama on a reduced scale; and who, in common with the other little girls (who generally speaking have even more coquettishness about them than much older ones), looked very properly shocked when the knight’s squire kissed the princess’s confidential chambermaid. When the scenes in the circle commenced, the children were more delighted than ever, and the wish to see what was going forward completely conquering Pa’s dignity, he stood up in the box, and applauded as loudly as any of them. Between each feat of horsemanship, the governess leant across to Ma, and retailed the clever remarks of the children on that which had preceded; and Ma, in the openness of her heart, offered the governess an acidulated drop; and the governess, gratified to be taken notice of, retired behind her pillar again with a brighter countenance; and the whole party seemed quite happy except the exquisite in the back of the box, who, being to grand to take and interest in the children, and too insignificant to be taken notice of by any body else, occupied himself, from time to time in rubbing the place where the whiskers ought to be, and was completely alone in his glory. We defy any one who has been to Astley’s two or three times, and is consequently capable of appreciating the perseverance with which precisely the same jokes are repeated night after night, and season after season, not to be amused with one part of the performances at least—we mean the scenes in the circle. For ourselves, we know that when the hoop, composed of jets of gas is let down —the curtain drawn up, for the convenience of the half-price on their ejectment from the ring—the orange-peel cleared away, and the saw-dust shaken, with mathematical precision, into a complete circle—we feel as much enlivened as the youngest child present; and actually join in the laugh which follows the clown’s shrill shout of "Here we are!" just for old acquaintance sake. We can't even quite divest ourself of our old feeling of reverence for the riding-master, who follows the clown with a long whip in his hand, and bows to the audience with graceful dignity. We don't mean any of your second-rate riding-masters in nankeen dressing-gowns with brown frogs, but the regular gentleman attendant on the principal riders, who always wears a military uniform with a table-cloth inside the breast of the coat; in which costume he forcibly reminds one of a fowl trussed for roasting. He is—but why should we attempt to describe that of which no description can convey an adequate idea? Everybody knows the man, and everybody remembers his polished boots, his graceful demeanour stiff, as some misjudging persons have in their jealousy considered it, and the splendid head of black hair, parted high on the forehead, to impart to the countenance an appearance of deep thought and poetic melancholy. His soft and pleasing voice, too, is in perfect unison with his noble bearing, as he humours the clown by indulging in a little badinage, and the striking recollection of his own dignity, with which he exclaims, "Now, sir, if you please, inquire for Miss Woolford, sir," can never be forgotten. Again, the graceful air with which he introduces Miss Woolford into the arena, and after assisting her on to the saddle, follows her fairy courser round the circle, can never fail to create a deep impression in the bosom of every female servant present. When Miss Woolford and the horse, and the orchestra, all stop together to take breath, he urbanely takes part in some such dialogue as the following (commenced by the clown): "I say, sir!"—"Well, sir." (it’s always conducted in the politest manner.) "Did you ever happen to hear I was in the army, sir?"—"No, sir."— "Oh, yes, sir—I can go through my exercise, sir."— "Indeed, sir!"—"Shall I do it now, sir?"—"If you please, sir, come, Sir—make haste" (a cut with the long whip, and "Ha’ done now—I don’t like it, from the clown). Here the clown throws himself on the ground, and goes through a variety of gymnastic convulsions, doubling himself up and untying himself again, and making himself look very like a man in the most hopeless extreme of human agony, to the vociferous delight of the gallery, until he is interrupted by a second cut from the long whip, and a request to see "what Miss Woolford’s stopping for?" On which, to the inexpressible mirth of the gallery, he exclaims, "Now Miss Woolford, what can I come for to go for to fetch, for to bring, for to carry, for to do, for you, ma’am?" On the lady’s announcing with a sweet smile, that she wants the two flags, they are with sundry grimaces procured and handed up; the clown facetiously observing after the performance of the latter ceremony—"He, he, oh! I say sir, Miss Woolford knows me; she smiled at me." Another cut from the whip—a burst from the orchestra—a start from the horse, and round goes Miss Woolford again on her graceful performance, to the delight of every member of the audience, young or old. The next pause affords an opportunity for similar witticisms, the only additional fun being that of the clown making ludicrous grimaces at the riding-master every time his back is turned; and finally quitting the circle by jumping over his head, having previously directed his attention another way. Did any of our readers ever notice the class of people, who hang about the stage doors of our minor theatres in the day time? You will rarely pass one of these entrances without seeing a group of three or four men conversing on the pavement, with an indescribable public-house-parlour-swagger, and a kind of conscious air peculiar to people of this description. They always seem to think they are exhibiting; the lamps are ever before them. That young fellow in the faded brown coat, and very full light green trowsers, pulls down the wristbands of his check shirt as ostentatiously as if it were of the finest linen, and cocks the white hat of the summer before last as knowingly over his right eye as if it were a purchase of yesterday. Look at the dirty white berlin gloves, and the cheap silk handkerchief stuck in the bosom of his seedy coat. Is it possible to see him for an instant and not come to the conclusion that he is the walking gentleman who wears a blue surtout, clean collar, and white trowsers, for half an hour, and then shrinks into his worn-out scanty clothes; who has to boast night after night of his splendid fortune, with the painful consciousness of a pound a week and his boots to find; to talk of his father’s mansion in the country, with the dreary recollection of his own two-pair back, in the New Cut; and to be envied and flattered as the favoured lover of a rich heiress, remembering all the while that the ex-dancer at home, is in the family way, and out of an engagement! Next to him, perhaps, you will see a thin pale man, with a very long face, in a suit of shining black, thoughtfully knocking that part of his boot which once had a heel, with an ash stick. He is the man who does the heavy business, such as prosy fathers, virtuous servants, curates, landlords, and so forth. By-the-bye, talking of fathers, we should very much like to see some piece in which all the dramatis personae were orphans. Fathers are invariably great nuisances on the stage, and always have to give the hero or heroine a long explanation of what was done before the curtain rose, usually commencing with "It is now nineteen years, my dear child, since your blessed mother (here the old villain’s voice faulters) confided you to my charge. You were then an infant," &c., &c. Or else they have to discover, all of a sudden, that somebody, whom they have been in constant communication with during three long acts, without the slightest suspicion, is their own child, in which case they exclaim, "Ah! what do I see! This bracelet! That smile! These documents! Those eyes! Can I believe my senses? It must be!—Yes—it is—it is—my child!" "My father!" exclaims the child, and they fall into each other’s arms, and look over each other’s shoulders; and the audience give three rounds of applause. To return from this digression; we were about to say that these are the sort of people whom you see talking, and attitudinizing outside the stage-doors of our minor theatres. At Astley’s they are always more numerous than at any other place; there is generally a groom or two sitting on the window-sill, and two or three dirty shabby-genteel men in checked neckerchiefs, and sallow linen, lounging about, and carrying, perhaps, under one arm a pair of stage shoes badly wrapped up in a piece of old newspaper. Some years ago we used to stand looking, open-mouthed, at these men with a feeling of mysterious curiosity, the very recollection of which provokes a smile at the moment we are writing. We could not believe that the beings of light and elegance, in milk-white tunics, salmon-coloured legs, and blue scarfs, who flitted on sleek cream-coloured horses before our eyes at night, with all the aid of lights, music, and artificial flowers, could be the pale, dissipated-looking creatures we beheld by day. We can hardly believe it now. Of the lower class of actors we have seen something, and it requires no great exercise of imagination to identify the walking gentleman with the "dirty swell," the comic singer with the public-house chairman, or the leading tragedian with drunkenness and distress, but the other men are mysterious beings, never seen out of the ring, never beheld but in the costume of gods and sylphs. With the exception of Ducrow, who can scarcely be classed among them—who ever knew a rider at Astley’s, or saw him, but on horseback? Can our friend in the military uniform ever appear in threadbare attire, or descend to the comparatively un-wadded costume of every-day life? Impossible! We cannot—we will not—believe it. It is to us matter of positive wonder and astonishment that the infectious disease commonly known by the name of "stage-struck," has never been eradicated, unless people really believe that the privilege of wearing velvet and feathers for an hour or two at night, is sufficient compensation for a life of wretchedness and misery. It is stranger still, that that denizens of attorneys' offices, merchants' counting-houses, haberdashers' shops, and coal sheds, should squander their own resources to enrich some wily vagabond by paying—actually paying, and dearly too—to make unmitigated and unqualified asses of themselves at a Private Theatre. Private theatres, so far as we know, are peculiar to London; they flourish just now, for we have half a dozen at our fingers' ends. We will take an early opportunity of introducing our readers to the Managers of one or two, and of sketching the interior of a Private Theatre, both before the curtain and behind it.