He found John Kemble at the theatre, who received him with all the grandeur and authority of demeanour which it was his habit to assume when he was about to insist upon something which he knew would be resisted. Grimaldi bowed, and Kemble formally and gravely touched his hat. "Joe," said Kemble, with great dignity, "what is the matter?" In reply, Grimaldi briefly stated his case, pointing out that he was engaged by his articles at Drury to play in last pieces at and after Easter, but not in pantomime; that at Sadler's Wells he was bound to perform in the first piece; that these distinct engagements had never before been interfered with by the management of either theatre in the most remote manner upon any one occasion; and that, however much he regretted the inconvenience to which his refusal might give rise, he could not possibly perform the part for which he had been announced at Drury Lane. Kemble listened to these representations with a grave and unmoved countenance; and when Grimaldi had finished, after waiting a moment, as if to make certain that he had really concluded, rose from his seat, and said in a solemn tone, "Joe, one word here, sir, is as good as a thousand--you _must_ come!" Joe felt excessively indignant at this, not merely because _must_ is a disagreeable word in itself, but because he conceived that the tone in which it was uttered rendered it additionally disagreeable; so, saying at once what the feeling of the moment prompted, he replied, "Very good, sir. In reply to _must_, there is only one thing that can very well be said:--I will _not_ come, sir." "Will not, Joe,--eh?" said Kemble. "I will not, sir," replied Grimaldi. "Not!" said Kemble again, with great emphasis. Grimaldi repeated the monosyllable with equal vehemence. "Then, Joe," said Kemble, taking off his hat, and bowing in a ghost-like manner, "I wish you a very good morning!" Grimaldi took off his hat, made another low bow, and wished Mr. Kemble good morning; and so they parted. Next day his name was taken from the bills, and that of some other performer, quite unknown to the London stage, was inserted instead; which performer, when he did come out, went in again--for he failed so signally that the pantomime was not played after the Monday night. In the short interval between this interview and the Easter holidays, Grimaldi was engaged in the study of a new part for Sadler's Wells, which was a very prominent character in a piece bearing the sonorous and attractive title of the "Great Devil."[28] He entertained very strong hopes that both the part and the piece would be very successful; and how far his expectations were borne out by subsequent occurrences, the next chapter will show. FOOTNOTES: