The Night Side of LondonRitchie, J. Ewing (James Ewing)
History
The Night Side of London
Ritchie, J. Ewing (James Ewing)
London (England) -- Social life and customs -- 19th century
And the apprentice or clerk, fresh from the country, and anxious to see
life, generally commences with a visit to the Grecian Saloon—Eagle
Tavern. As a rule, I do not think what are termed fast men go much to
theatres. To sit out a five-act tragedy and then a farce is a bore which
only quiet old fogies and people of a domestic turn can endure; and even
where, as in the Grecian Saloon, you have dancing, and singing, and
drinking added, it is not the fast men, but the family parties, that make
it pay. There you see Smith, Brown, Jones, and Robinson, with their
respective partners and the dear pledges of their well-regulated loves.
They come early, sit out _Jack Shepherd_ with a resolution worthy of a
better cause, listen to the singing from the Music Hall, return again to
witness the closing theatrical performances, and enjoy all the old stage
tricks as if they had not heard them for the last fifty years. These
worthy creatures see a splendour in the Grecian Saloon which I do not.
Then there are the juvenile swells. Anxious mothers in the country,
fearing the contaminations of London and the ruin it has brought on other
sons, lodge them in remote Islington, or Hoxton, still more remote. It
is in vain they do so. The Haymarket may be far off, but the Grecian
Saloon is near; and the young hopefuls come in at half-price, for
sixpence, and smoke their cigars, and do their pale ale, and adopt the
slang and the vices of their betters with too much ease. And then there
are the unfortunates from the City-road, with painted faces, brazen
looks, and gorgeous silks; mercenary in every thought and feeling, and
with hearts hard as adamant. God help the lad that gets entangled with
such as they! It requires no prophet to foretell his career.
Embezzlement—first with a view to replace the sum appropriated to guilty
pleasures,—then, embezzlement hopelessly continued because once
begun,—then discovery, and punishment, and shame, and despair. Youth
must have its pleasures, I know. Young blood is not torpid like that of
age; and song and woman will ever be dear till time furrows the brow and
silvers the hair. But why need we seek them where the air is
contaminated—where the evening’s amusement will not bear the morning’s
reflection—where, though pleasure lead the way, scattering sweet flowers,
vice and shame and premature old age bring up the rear? Look at those
lads; they cannot have been long emancipated from school. The erect
collar, the straight hat, the long coat, indicate the fact that they
belong to the Young England party; and here, listening to indifferent
songs, and witnessing inferior dramatic performances, and associating
with the refuse of the other sex, they are learning to be men. What a
manhood to look forward to! And if there be no excuse for them, there is
still less for what I may call the domestic part of the audience,—the fat
old women with their baskets filled with prog, the pursy old tradesmen
Public-domain text, read in full here on John Shaqi.
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