The Works of Max Beerbohm by Max Beerbohm (reading like a writer .txt) 📕

came. Fashion, Virtue, and Intellect thronged the house. Nothing could have been more cordial than the temper of the gallery. All were eager to applaud the new Romeo. Presently, when the varlets of Verona had brawled, there stepped into the square⁠—what!⁠—a mountebank, a monstrosity. Hurrah died upon every lip. The house was thunderstruck. Whose legs were in those scarlet pantaloons? Whose face grinned over that bolster-cravat, and under that Charles II wig and opera-hat? From whose shoulders hung that spangled sky-blue cloak? Was this bedizened scarecrow the Amateur of Fashion, for sight of whom they had paid their shillings? At length a voice from the gallery cried, “Good evening, Mr. Coates,” and, as the Antiguan⁠—for he it was⁠—bowed low, the theatre was filled with yells of merriment. Only the people in the boxes were still silent, staring coldly at the protégé who had played them so odious a prank. Lady Belmore rose and called for her chariot. Her example was followed by several ladies of rank. The rest sat spellbound, and of their number was Miss Tylney Long, at whose rigid face many glasses were, of course, directed. Meanwhile the play proceeded. Those lines that were not drowned in laughter Mr. Coates spoke in the most foolish and extravagant manner. He cut little capers at odd moments. He laid his hand on his heart and bowed, now to this, now to that part of the house, always with a grin. In the balcony-scene he produced a snuffbox, and, after taking a pinch, offered it to the bewildered Juliet. Coming down to the footlights, he laid it on the cushion of the stage-box and begged the inmates to refresh themselves, and to “pass the golden trifle on.” The performance, so obviously grotesque, was just the kind of thing to please the gods. The limp of Hephaestus could not have called laughter so unquenchable from their lips. It is no trifle to set Englishmen laughing, but once you have done it, you can hardly stop them. Act after act of the beautiful love-play was performed without one sign of satiety from the seers of it. The laughter rather swelled in volume. Romeo died in so ludicrous a way that a cry of “encore” arose and the death was actually twice repeated. At the fall of the curtain there was prolonged applause. Mr. Coates came forward, and the good-humoured public pelted him with fragments of the benches. One splinter struck his right temple, inflicting a scar, of which Mr. Coates was, in his old age, not a little proud. Such is the traditional account of this curious début. Mr. Pryse Gordon, however, in his memoirs tells another tale. He professes to have seen nothing peculiar in Romeo’s dress, save its display of fine diamonds, and to have admired the whole interpretation. The attitude of the audience he attributes to a hostile cabal. John R. and Hunter H. Robinson, in their memoir of Romeo Coates, echo Mr. Pryse Gordon’s tale. They would have done well to weigh their authorities more accurately.

I had often wondered at this discrepancy between document and tradition. Last spring, when I was in Bath for a few days, my mind brooded especially on the question. Indeed, Bath, with her faded memories, her tristesse, drives one to reverie. Fashion no longer smiles from her windows nor dances in her sunshine, and in her deserted parks the invalids build up their constitutions. Now and again, as one of the frequent chairs glided past me, I wondered if its shadowy freight were the ghost of poor Romeo. I felt sure that the traditional account of his début was mainly correct. How could it, indeed, be false? Tradition is always a safer guide to truth than is the tale of one man. I might amuse myself here, in Bath, by verifying my notion of the début or proving it false.

One morning I was walking through a narrow street in the western quarter of Bath, and came to the window of a very little shop, which was full of dusty books, prints and engravings. I spied in one corner of it the discoloured print of a queer, lean figure, posturing in a garden. In one hand this figure held a snuffbox, in the other an opera-hat. Its sharp features and wide grin, flanked by luxuriant whiskers, looked strange under a Caroline wig. Above it was a balcony and a lady in an attitude of surprise. Beneath it were these words, faintly lettered: Bombastes Coates wooing the Peerless Capulet, that’s ’nough (that snuff) 1809. I coveted the print. I went into the shop.

A very old man peered at me and asked my errand. I pointed to the print of Mr. Coates, which he gave me for a few shillings, chuckling at the pun upon the margin.

“Ah,” he said, “they’re forgetting him now, but he was a fine figure, a fine sort of figure.”

“You saw him?”

“No, no. I’m only seventy. But I’ve known those who saw him. My father had a pile of such prints.”

“Did your father see him?” I asked, as the old man furled my treasure and tied it with a piece of tape.

“My father, sir, was a friend of Mr. Coates,” he said. “He entertained him in Gay Street. Mr. Coates was my father’s lodger all the months he was in Bath. A good tenant, too. Never eccentric under my father’s roof⁠—never eccentric.”

I begged the old bookseller to tell me more of this matter. It seemed that his father had been a citizen of some consequence, and had owned a house in modish Gay Street, where he let lodgings. Thither, by the advice of a friend, Mr. Coates had gone so soon as he arrived in the town, and had stayed there down to the day after his début, when he left for London.

“My father often told me that Mr. Coates was crying bitterly when he settled the bill and got into his travelling-chaise. He’d come back from the playhouse