Aristocracy (Social class) -- England -- Juvenile fiction; Great Britain -- History -- Anne, 1702-1714 -- Juvenile fiction
Grey gazed at himself in astonishment. His fear of the eyes of quondam
friends vanished into thin air. Scarce would he have known himself.
That others would know him, he could not believe. He had had no idea of
the transforming properties of one of the great flowing wigs of the
period; but when his own brown curls were covered and hidden beneath
this mass of perfumed hair, his brows darkened and the skin of his face
olive-tinted, his figure padded and arrayed in full military finery such
as the Duke of Marlborough was wont to wear, he could almost believe
that he saw that great warrior before his eyes, so cunningly had the
artificers wrought. He looked younger than the General, but that was
intended—an impersonation of youth and manly beauty and war-like
prowess. This was what the author of the interlude aimed at, and this
Grey looked to perfection, as he stood habited in the garments in which
he was to appear before the public.
The Old Lion, himself transformed into an excellent presentment of
Father Time, stood gazing at the young man with glowing eyes, directing
the attendants to give a touch here or there to accentuate any point he
wished brought out. Satisfaction beamed from every feature of his face.
He seemed to see the town at his feet. In a week’s time all London
would be ringing with the fame of Jonathan Wylde.
It was just the sort of artificial scene likely to catch the popular
taste. There was a rage for semi-mythological representations—dryads
and nymphs and mermaids at the water theatre, Cupids and Psyches and
heathen or classical deities at other places, whilst stilted and absurd
allusions to Arcadian joys, nectar and ambrosia, spicy breezes of
Paphos, or Hymen’s seductive temples, fell trippingly from the tongues
of every dandy with any claim to be a man of fashion, and were echoed in
simpering accents by the ladies to whom this flowery nonsense was
addressed.
The setting of the dramatic interlude had been carefully arranged.
Father Time, with his flowing white beard, his scythe leaning against
him, and his hour-glass at his feet, was seated aloft at one side of the
stage overlooking a dim and vague expanse, which was supposed to
represent the earth. There was something very majestic in the aspect of
the old actor, whose name many still remembered, and a burst of applause
followed the rise of the curtain. Curiosity was raised to a high pitch
by the gossip already excited in dramatic circles, and the house was
crowded to the ceiling with breathless and eager spectators.
Public-domain text, read in full here on John Shaqi.
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