My Lady Nicotine, Sir James Matthew Barrie [simple e reader TXT] 📗

/> Mr. Snodgrass says: I am a poet. I do not compose during the day. The strain would be too great. Every evening I go out into the streets and buy the latest editions of the evening journals. If there is anything in them worthy commemoration in verse, I compose. There is generally something. I cannot say to which paper I send most of my poems, as I send to all. One of the weaknesses of the _St. John's Gazette_ is its poetry. It is not worthy of the name. It is doggerel. I have sought to improve it, but the editor rejected my contributions. I continued to send them, hoping that they would educate his taste. One night I had sent him a very long poem which did not appear in the paper next day. I was very indignant, and went straight to the office. That was on Jubilee Day. I was told that the editor had left word that he had just gone into the country for two days. (Hisses.) I forced my way up the stairs, however, and when I reached the top I did not know which way to go. There were a number of doors with "No admittance" printed on them. (More hissing.) I heard voices in altercation in a room near me. I thought that was likely to be the editor's. I opened the door and went in. The prisoner was in the room. He had the editor on the floor and was jumping on him. I said, "Is that the editor?" He said, "Yes." I said, "Have you killed him?" He said, "Yes," again. I said, "Oh!" and went away. That is all I remember of the affair.

Cross-examined: It did not occur to me to interfere. I thought very little of the affair at the time. I think I mentioned it to my wife in the evening; but I will not swear to that. I am not the Herr Bablerr who compelled his daughter to marry a man she did not love, so that I might write an ode in celebration of the nuptials. I have no daughter. I am a poet.

The foreman printer deposed to having had his attention called to the murder of the editor about three o'clock. He was very busy at the time. About an hour afterward he saw the body and put a placard over it. He spoke of the matter to the assistant editor, who suggested that they had better call in the police. That was done.

A clerk in the counting-house says: I distinctly remember the afternoon of the murder. I can recall it without difficulty, as it was on the following evening that I went to the theatre--a rare occurrence with me. I was running up the stairs when I met a man coming down. I recognized the prisoner as that man. He said, "I have killed your editor." I replied, "Then you ought to be ashamed of yourself." We had no further conversation.

J. O'Leary is next called. He says: I am an Irishman by birth. I had to fly my country when an iniquitous Coercion Act was put in force. At present I am a journalist, and I write Fenian letters for the _St. Johns Gazette_. I remember the afternoon of the murder. It was the sub-editor who told me of it. He asked me if I would write a "par" on the subject for the fourth edition. I did so; but as I was in a hurry to catch a train it was only a few lines. We did him fuller justice next day.

Cross-examined: Witness denies that he felt any elation on hearing that a new topic had been supplied for writing on. He was sorry rather.

A policeman gives evidence that about half-past four on Jubilee Day he saw a small crowd gather round the entrance to the offices of the _St. John's Gazette_. He thought it his duty to inquire into the matter. He went inside and asked an office-boy what was up. The boy said he thought the editor had been murdered, but advised him to inquire upstairs. He did so, and the boy's assertion was confirmed. He came down again and told the crowd that it was the editor who had been killed. The crowd then dispersed.

A detective from Scotland Yard explains the method of the prisoner's capture. Moggridge wrote to the superintendent saying that he would be passing Scotland Yard on the following Wednesday on business. Three detectives, including witness, were told off to arrest him, and they succeeded in doing so. (Loud and prolonged applause.)

The judge interposes here. He fails, he says, to see that this evidence is relevant. So far as he can see, the question is not whether a murder has been committed, but whether, under the circumstances, it is a criminal offence. The prisoner should never have been tried here at all. It was a case for the petty sessions. If the counsel cannot give some weighty reason for proceeding with further evidence, he will now put it to the jury.


After a few remarks from the counsel for the prosecution and the counsel for the defence, who calls attention to the prisoner's high and unblemished character, the judge sums up. It is for the jury, he says, to decide whether the prisoner has committed a criminal offence. That was the point; and in deciding it the jury should bear in mind the desirability of suppressing merely vexatious cases. People should not go to law over trifles. Still, the jury must remember that, without exception, all human life was sacred. After some further remarks from the judge, the jury (who deliberate for rather more than three-quarters of an hour) return a verdict of guilty. The prisoner is sentenced to a fine of five florins, or three days' imprisonment.


CHAPTER XXVIII.


GILRAY'S DREAM.

Conceive me (said Gilray, with glowing face) invited to write a criticism of the Critics' Dramatic Society for the _Standard_. I select the _Standard_, because that paper has treated me most cruelly. However, I loathe them all. My dream is the following criticism:

What is the Critics' Dramatic Society? We found out on Wednesday afternoon, and, as we went to Drury Lane in the interests of the public, it is only fair that the public should know too. Besides, in that case we can all bear it together. Be it known, then, that this Dramatic Society is composed of "critics" who gave "The School for Scandal" at a matinee on Wednesday just to show how the piece should be played. Mr. Augustus Harris had "kindly put the theatre at their disposal," for which he will have to answer when he joins Sheridan in the Elysian Fields. As the performance was by far the worst ever perpetrated, it would be a shame to deprive the twentieth century of the programme. Some of the players, as will be seen, are too well known to escape obloquy. The others may yet be able to sink into oblivion.

Sir Peter Teazle
MR. JOHN RUSKIN.
Joseph Surface
MR. W. E. HENLEY.
Charles Surface
MR. HARRY LABOUCHERE.
Crabtree
MR. W. ARCHER.
Sir Benjamin Backbite
MR. CLEMENT SCOTT.
Moses
MR. WALTER SICHEL.
Old Rowley
MR. JOSEPH KNIGHT.
Sir Oliver
MR. W.H. POLLOCK.
Trip
MR. G. A. SALA.
Snake
MR. MOY THOMAS.
Sir Harry Bumper (with song)
MR. GEORGE MOORE.
Servants, Guests, etc.
MESSRS. SAVILLE CLARKE, JOSEPH HATTON, PERCY FITZGERALD, etc.

Assisted by

Lady Teazle
MISS ROSIE LE DENE.
Mrs. Candour
MISS JENNY MONTALBAN.
Lady Sneerwell
MISS ROSALIND LABELLE (The Hon. Mrs. Major TURNLEY).
Maria
MISS JONES.

It was a sin of omission on the part of the Critics' Dramatic Society not to state that the piece played was "a new and original comedy" in many acts. Had they had the courage to do this, and to change the title, no one would even have known. On the other hand, it was a sin of commission to allow that Professor Henry Morley was responsible for the stage management; Mr. Morley being a man of letters whom some worthy people respect. But perhaps sins of omission and commission counterbalance. The audience was put in a bad humor before the performance began, owing to the curtain's rising fifteen minutes late. However, once the curtain did rise, it was an unconscionable time in falling. What is known as the "business" of the first act, including the caterwauling of Sir Benjamin Backbite and Crabtree in their revolutions round Joseph, was gone through with a deliberation that was cruelty to the audience, and just when the act seemed over at last these indefatigable amateurs began to dance a minuet. A sigh ran round the theatre at this--a sigh as full of suffering as when a minister, having finished his thirdly and lastly, starts off again, with, "I cannot allow this opportunity to pass." Possibly the Critics' Dramatic Society are congratulating themselves on the undeniable fact that the sighs and hisses grew beautifully less as the performance proceeded. But that was because the audience diminished too. One man cannot be expected to sigh like twenty; though, indeed, some of the audience of Wednesday sighed like at least half a dozen.

If it be true that all men--even critics--have their redeeming points and failings, then was there no Charles and no Joseph Surface at this unique matinee. For the ungainly gentleman who essayed the part of Charles made, or rather meant to make, him spotless; and Mr. Henley's Joseph was twin-brother to Mr. Irving's Mephistopheles. Perhaps the idea of Mr. Labouchere and his friend, Mr. Henley, was that they would make one young man between them. They found it hard work. Mr. Labouchere has yet to learn that buffoonery is not exactly wit, and that Charles Surfaces who dig their uncle Olivers in the ribs, and then turn to the audience for applause, are among the things that the nineteenth century can do without. According to the programme, Mr. George Moore--the Sir Harry Bumper--was to sing the song, "Here's to the Maiden of Bashful Fifteen." Mr. Moore did not sing it, but Mr. Labouchere did. The explanation of this, we understand, was not that Sir Harry's heart failed him at the eleventh hour, but that Mr. Labouchere threatened to fling up his part unless the song was given to him. However, Mr. Moore heard Mr. Labouchere singing the song, and that was revenge enough for any man. To Mr. Henley the part of Joseph evidently presented no serious difficulties. In his opinion, Joseph is a whining hypocrite who rolls his eyes when he wishes to look natural. Obviously he is a slavish admirer of Mr. Irving. If Joseph had taken his snuff as this one does, Lady Sneerwell would have sent him to the kitchen. If he had made love to Lady Teazle as this one does, she would have suspected him of weak intellect. Sheridan's Joseph was a man of culture: Mr. Henley's is a buffoon. It is not, perhaps, so much this gentleman's fault as his misfortune that his acting is without either art or craft; but then he was not compelled to play Joseph Surface. Indeed, we may go further, and say that if he is a man with friends he must have been dissuaded from it. The Sir Peter Teazle of Mr. Ruskin reminded us of other Sir Peter Teazles--probably because Sir Peter is played nowadays with his courtliness omitted.

Mr. William Archer was the Crabtree, or rather Mr. Archer and the prompter