The Works of Charles and Mary Lamb — Volume 2: Elia and The Last Essays of EliaLamb, Charles
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The Works of Charles and Mary Lamb — Volume 2: Elia and The Last Essays of Elia
Lamb, Charles
English essays
O, it was a rich scene,--but Sir A---- C----, the best of
story-tellers and surgeons, who mends a lame narrative almost as
well as he sets a fracture, alone could do justice to it--that I was
witness to, in the tarnished room (that had once been green) of that
same little Olympic. There, after his deposition from Imperial Drury,
he substituted a throne. That Olympic Hill was his "highest heaven;"
himself "Jove in his chair." There he sat in state, while before
him, on complaint of prompter, was brought for judgment--how shall
I describe her?--one of those little tawdry things that flirt at
the tails of choruses--a probationer for the town, in either of its
senses--the pertest little drab--a dirty fringe and appendage of the
lamps' smoke--who, it seems, on some disapprobation expressed by a
"highly respectable" audience, had precipitately quitted her station
on the boards, and withdrawn her small talents in disgust.
"And how dare you," said her Manager--assuming a censorial severity
which would have crushed the confidence of a Vestris, and disarmed
that beautiful Rebel herself of her professional caprices--I verily
believe, he thought _her_ standing before him--"how dare you, Madam,
withdraw yourself, without a notice, from your theatrical duties?" "I
was hissed, Sir." "And you have the presumption to decide upon the
taste of the town?" "I don't know that, Sir, but I will never stand
to be hissed," was the subjoinder of young Confidence--when gathering
up his features into one significant mass of wonder, pity, and
expostulatory indignation--in a lesson never to have been lost upon a
creature less forward than she who stood before him--his words were
these: "They have hissed _me_."
'Twas the identical argument _a fortiori_, which the son of Peleus
uses to Lycaon trembling under his lance, to persuade him to take his
destiny with a good grace. "I too am mortal." And it is to be believed
that in both cases the rhetoric missed of its application, for want
of a proper understanding with the faculties of the respective
recipients.
"Quite an Opera pit," he said to me, as he was courteously conducting
me over the benches of his Surrey Theatre, the last retreat, and
recess, of his every-day waning grandeur.
Public-domain text, read in full here on John Shaqi.
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