https://www.dickenssearch.com/files/original/5/Sketches_of_London_No._XIX_Private_Theatres/1835-08-11_The_Evening_Chronicle_Sketches_of_London_No._XIX_Private_Theatres.pdf 3e60bf5dffd9cedc6678b2df000a38b3 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. 18350811 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. "RICHARD THE THIRD. DUKE OF GLO’STER 2l. EARL OF RICHMOND, 1l. DUKE OF BUCKINGHAM, 15s. CATESBY, 12s. TRESSEL, 10s. 6d. LORD STANLEY, 5s. LORD MAYOR OF LONDON, 2s. 6d." Such are the written placards wafered up in the gentlemen’s dressing-room or the green-room (where there is any) at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the idiotic donkies who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster's well worth two pounds, because he has it all to himself, must wear a real sword, and what is better still, must draw it several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then ther's the stabbing King Henry—decidedly cheap at three and sixpence; that’s eighteen and sixpence; bullying the coffin-bearers—say eighteen pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Anne, and the bustle of the fourth act can’t be dear at ten shillings more—that’s only one pound ten, including the "off with his head!"—which is sure to bring down the applause, and it is very easy to do—"Orf with is ed" (very quick and loud, then slow and sneeringly)—"So much for Bu-u-u-uckingham!;" lay the emphasis on the "uck;" get yourself gradually into a corner, and work with your right hand while your’e saying it, as if you were feeling your way; and its sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis; and everybody knows what an effect may be produced by a good combat. One—two— three—four—over; then, one—two—three—four— under; then thrust; then dodge and slide about; then fall down on one knee; then get up again and stagger. You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game. Nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child or a female in white increases the interest of a combat materially—indeed we don't think a regular legitimate terrific broad-sword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third; so the only thing to be done is, just to make the best of a bad bargain, and be as long as possible fighting it out. The principal patrons of private theatres are dirty boys; low copying-clerks, in attornies’ offices; capacious headed youths from city counting-houses; Jews, whose business, as lenders of fancy dresses, is a sure passport to the amateur stage; shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene painter, a low coffee-house keeper, a disappointed eighth-rate actor, a Chancery officer, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s-wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo bridge. The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; and the audiences are necessarily of much the same character as the performers, who receive in return for their contributions to the management tickets to the amount of the money they pay. All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own, and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from 15 to 21 years of age, who throw back their coats, and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broad-sword combat with six unknown bandits at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage, and other town—surprising theatrical announcements. These are your amateurs—these are the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—of a private theatre. See them at the neighbouring public-house or the theatrical coffee-shop! Why, they're the kings of the place, supposing no real performers to be present; and roll-about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. Look at that youth. You must have remarked the mingled air of envy and admiration with which his companions will regard him as he converses familiarly with the mouldy-looking man in a fancy neck-kerchief, whose partially corked eyebrows, and half rouged face, testify to the fact of his having just left the stage or the circle. Observe the indignation with which the man of mouldy appearance points to a newspaper of the day, and the perplexed air with which, after upsetting his half pint of coffee over that dirty scrap of paper, and then wiping it with his still dirtier pocket-handkerchief, his amateur friend attempts to scrawl a note, apparently to the editor. Poor creature! his visions of orthography are of the wildest; and he tortures pot-hooks into forms as distorted and unnatural as those into which his mouldy companion's unfortunate frame was twisted, when he first took lessons in the art of tumbling! With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious cognomens, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less-imposing titles of Jenkins, Walker, Thompson, Huggins, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it's an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trowsers—nay even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits: everybody is a gentleman at large for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless 'em) they're quite above any formal absurdities, the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and, as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again. A quarter before eight—There'll be a full house to-night—six parties in the boxes already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances) and have just begun the sixth. There'll be plenty of it though when it does begin, for there is enough in the bill to last six hours at least. That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s coal and tatur. He does Alfred Highflyer in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly; each member of the party, with his feet cocked up on the cushion in front of the box? They let 'em do these things here upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor's—opulent country managers, as he confidentially informs every individual among the crew behind the curtain— opulent country managers looking out for recruirts, a representation which Mr. Nathan the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once. The stout Jewess who has just entered is the mother of the pale bony little girl with the necklace of blue glass beads, sitting by her. She is being brought up to "the profession." Patomime is to be her line, and she's coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is deeply seared with the small-pox, and whose dirty shirt front is inlaid with open work, and embossed with coral studs like Lady Bird's, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards. The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes are being turned up, and the additional light thus afforded serves to show the presence of dirt and absence of paint, which forms a prominent feasure in the audience part of the house. As these preparations, however, announce the speedy commencement of the play, let us take a peep "behind," previous to the ringing-up. The little narrow passages beneath the stage are neither especially clean, nor too brilliantly lighted; and the absence of any flooring, together with the damp, mildewy smell which pervades the places, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the "properties"—the cauldron for the witches’ cave; and the three uncouth-looking figures with broken clothes-props in their hands, who are drinking gin and water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room common to the gentlemen performers, and the square hole in the ceiling is the trap door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cob-webs. The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure in front of the glass is Banquo, and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night—she is always selected to play the part, because she's tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He'll get on by degrees; he'll play Othello in a month, and in a month more will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the "gentlewoman." It's her first appearance, too—in that character. The boy of fourteen, who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics and dirty drab boots, are the "army." "Look sharp below there, gents," exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, "they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front." A general rush immediately takes place to the half dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes in breathless anxiety and motley confusion. "Now," cries the manager, consulting the written list which hangs behind the first P. S, wing, "Scene 1, open country—lamps down—thunder and lightning—all ready, White?" [this is addressed to one of the army]. "All ready"—"Very well, scene 2 - front chamber; is the front chamber down?" "Yes." "Very well—Jones."—[To the other army who is up in the flies:] "Hallo! Wind up the open country when we ring up." "I’ll take care," growls the elevated army.—"Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?" "All right," responds the functionary. "Very well. Clear the stage," adds the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. "Places, places, now then witches—Duncan—Malcolm—bloody officer—where’s that bloody officer?"—"Here!" replies the officer, who has been rose-pinking for the character. "Get ready, then; now, White, ring the second music bell." The actors who are to be discovered are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the whole audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings again, the tragedy (!) opens, and our description closes. TEI File Link to TEI file <a href="https://dickenssearch.com/teibp/dist/content/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres.xml" target="_blank" rel="noopener">'Sketches of London, No. XIX, Private Theatres.' The Evening Chronicle (11 August 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. XIX, Private Theatres' Description An account of the resource Published in The Evening Chronicle (11 August 1835). 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/0001315/18350811/016/0003" target="_blank" rel="noopener">https://www.britishnewspaperarchive.co.uk/viewer/bl/0001315/18350811/016/0003</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1835-08-11 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 1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres 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. XIX, Private Theatres' (11 August 1835). Dickens Search. Eds. Emily Middleton and Lydia Craig. Accessed [date]. <a href="https://dickenssearch.com/short-stories/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres">https://dickenssearch.com/short-stories/1835-08-11_The_Evening_Chronicle_Sketches_of_London_NoXIX_Private_Theatres</a>. Scripto Transcription A written representation of a document. "RICHARD THE THIRD. DUKE OF GLO’STER 2l. EARL OF RICHMOND, 1l. DUKE OF BUCKINGHAM, 15s. CATESBY, 12s. TRESSEL, 10s. 6d. LORD STANLEY, 5s. LORD MAYOR OF LONDON, 2s. 6d." Such are the written placards wafered up in the gentlemen’s dressing-room or the green-room (where there is any) at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the idiotic donkies who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster's well worth two pounds, because he has it all to himself, must wear a real sword, and what is better still, must draw it several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then ther's the stabbing King Henry—decidedly cheap at three and sixpence; that’s eighteen and sixpence; bullying the coffin-bearers—say eighteen pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Anne, and the bustle of the fourth act can’t be dear at ten shillings more—that’s only one pound ten, including the "off with his head!"—which is sure to bring down the applause, and it is very easy to do—"Orf with is ed" (very quick and loud, then slow and sneeringly)—"So much for Bu-u-u-uckingham!;" lay the emphasis on the "uck;" get yourself gradually into a corner, and work with your right hand while your’e saying it, as if you were feeling your way; and its sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis; and everybody knows what an effect may be produced by a good combat. One—two— three—four—over; then, one—two—three—four— under; then thrust; then dodge and slide about; then fall down on one knee; then get up again and stagger.  You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game. Nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child or a female in white increases the interest of a combat materially—indeed we don't think a regular legitimate terrific broad-sword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third; so the only thing to be done is, just to make the best of a bad bargain, and be as long as possible fighting it out. The principal patrons of private theatres are dirty boys; low copying-clerks, in attornies’ offices; capacious headed youths from city counting-houses; Jews, whose business, as lenders of fancy dresses, is a sure passport to the amateur stage; shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene painter, a low coffee-house keeper, a disappointed eighth-rate actor, a Chancery officer, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s-wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo bridge. The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; and the audiences are necessarily of much the same character as the performers, who receive in return for their contributions to the management tickets to the amount of the money they pay. All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own, and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from 15 to 21 years of age, who throw back their coats, and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broad-sword combat with six unknown bandits at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage, and other town—surprising theatrical announcements. These are your amateurs—these are the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—of a private theatre. See them at the neighbouring public-house or the theatrical coffee-shop! Why, they're the kings of the place, supposing no real performers to be present; and roll-about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. Look at that youth. You must have remarked the mingled air of envy and admiration with which his companions will regard him as he converses familiarly with the mouldy-looking man in a fancy neck-kerchief, whose partially corked eyebrows, and half rouged face, testify to the fact of his having just left the stage or the circle. Observe the indignation with which the man of mouldy appearance points to a newspaper of the day, and the perplexed air with which, after upsetting his half pint of coffee over that dirty scrap of paper, and then wiping it with his still dirtier pocket-handkerchief, his amateur friend attempts to scrawl a note, apparently to the editor. Poor creature! his visions of orthography are of the wildest; and he tortures pot-hooks into forms as distorted and unnatural as those into which his mouldy companion's unfortunate frame was twisted, when he first took lessons in the art of tumbling! With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious cognomens, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less-imposing titles of Jenkins, Walker, Thompson, Huggins, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it's an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trowsers—nay even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits: everybody is a gentleman at large for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless 'em) they're quite above any formal absurdities, the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and, as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again. A quarter before eight—There'll be a full house to-night—six parties in the boxes already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances) and have just begun the sixth. There'll be plenty of it though when it does begin, for there is enough in the bill to last six hours at least. That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s coal and tatur. He does Alfred Highflyer in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly; each member of the party, with his feet cocked up on the cushion in front of the box? They let 'em do these things here upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor's—opulent country managers, as he confidentially informs every individual among the crew behind the curtain— opulent country managers looking out for recruirts, a representation which Mr. Nathan the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once. The stout Jewess who has just entered is the mother of the pale bony little girl with the necklace of blue glass beads, sitting by her. She is being brought up to "the profession."  Patomime is to be her line, and she's coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is deeply seared with the small-pox, and whose dirty shirt front is inlaid with open work, and embossed with coral studs like Lady Bird's, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards. The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes are being turned up, and the additional light thus afforded serves to show the presence of dirt and absence of paint, which forms a prominent feasure in the audience part of the house.  As these preparations, however, announce the speedy commencement of the play, let us take a peep "behind," previous to the ringing-up. The little narrow passages beneath the stage are neither especially clean, nor too brilliantly lighted; and the absence of any flooring, together with the damp, mildewy smell which pervades the places, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the "properties"—the cauldron for the witches’ cave; and the three uncouth-looking figures with broken clothes-props in their hands, who are drinking gin and water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room common to the gentlemen performers, and the square hole in the ceiling is the trap door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cob-webs. The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure in front of the glass is Banquo, and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night—she is always selected to play the part, because she's tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He'll get on by degrees; he'll play Othello in a month, and in a month more will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the "gentlewoman." It's her first appearance, too—in that character. The boy of fourteen, who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics and dirty drab boots, are the "army." "Look sharp below there, gents," exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, "they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front." A general rush immediately takes place to the half dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes in breathless anxiety and motley confusion. "Now," cries the manager, consulting the written list which hangs behind the first P. S, wing, "Scene 1, open country—lamps down—thunder and lightning—all ready, White?" [this is addressed to one of the army]. "All ready"—"Very well, scene 2 - front chamber; is the front chamber down?" "Yes." "Very well—Jones."—[To the other army who is up in the flies:] "Hallo! Wind up the open country when we ring up." "I’ll take care," growls the elevated army.—"Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?" "All right," responds the functionary. "Very well. Clear the stage," adds the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. "Places, places, now then witches—Duncan—Malcolm—bloody officer—where’s that bloody officer?"—"Here!" replies the officer, who has been rose-pinking for the character. "Get ready, then; now, White, ring the second music bell." The actors who are to be discovered are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the whole audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings again, the tragedy (!) opens, and our description closes.