Struggles and Triumphs, P. T. Barnum [good books to read in english .txt] 📗

expressed his obligations to me for the advice and assistance I had given him on the occasion of his first lecturing visit to the United States.

The late Charles Kean, then manager of the Princess’s Theater, in London, was also exceedingly polite and friendly to me. He placed a box at my disposal at all times, and took me through his theater to show me the stage, dressing rooms, and particularly the valuable “properties” he had collected. Among other things, he had twenty or more complete suits of real armor and other costumes and appointments essential to the production of historical plays, in the most complete and authentic manner. In the mere matter of stage-setting, Charles Kean has never been surpassed.

Otto Goldschmidt, the husband of Jenny Lind, also called on me in London. He and his wife were then living in Dresden, and he said the first thing his wife desired him to ask me was, whether I was in want. I assured him that I was not, although I was managing to live in an economical way and my family would soon come over to reside in London. He then advised me to take them to Dresden, saying that living was very cheap there; and, he added, “my wife will gladly look up a proper house for you to live in.” I thankfully declined his proffered kindness, as Dresden was too far away from my business. A year subsequent to this, a letter was generally published in the American papers, purporting to have been written to me by Jenny Lind, and proffering me a large sum of money. I immediately pronounced the letter a forgery, and I soon afterwards received a communication from a young reporter in Philadelphia acknowledging himself as the author, and saying that he wrote it from a good motive, hoping it would benefit me. On the contrary it annoyed me exceedingly.

My old friends Julius Benedict and Giovanni Belletti, called on me and we had some very pleasant dinners together, when we talked over incidents of their travels in America. Among the gentlemen whom I met in London, some of them quite frequently at dinners, were Mr. George Augustus Sala, Mr. Edmund Yates, Mr. Horace Mayhew, Mr. Alfred Bunn, Mr. Lumley, of Her Majesty’s Theater, Mr. Buckstone, of the Haymarket, Mr. Charles Kean, our princely countrymen Mr. George Peabody, Mr. J. M. Morris, the manager, Mr. Bates, of Baring, Brothers & Co., Mr. Oxenford, dramatic critic of the London Times, Dr. Ballard, the American dentist, and many other eminent persons.

I had numerous offers from professional friends on both sides of the Atlantic who supposed me to be in need of employment. Mr. Barney Williams, who had not then acted in England, proposed in the kindest manner to make me his agent for a tour through Great Britain, and to give me one-third of the profits which he and Mrs. Williams might make by their acting. Mr. S. M. Pettengill, of New York, the newspaper advertising agent, offered me the fine salary of $10,000 a year to transact business for him in Great Britain. He wrote to me: “when you failed in consequence of the Jerome clock notes, I felt that your creditors were dealing hard with you; that they should have let you up and give you a chance, and they would have fared better and I wish I was a creditor so as to show what I would do.” These offers, both from Mr. Williams and Mr. Pettengill, I was obliged to decline.

Mr. Lumley, manager of Pier Majesty’s Theater, used to send me an order for a private box for every opera night, and I frequently availed myself of his courtesy. I had an idea that much money might be made by transferring his entire opera company, which then included Piccolomini and Titjiens to New York for a short season. The plan included the charter of a special steamer for the company and the conveyance of the entire troup, including the orchestra, with their instruments, and the chorus, costumes, scores, and properties of the company. It was a gigantic scheme, which would no doubt have been pecuniarily successful, and Mr. Lumley and I went so far as to draw up the preliminaries of an arrangement, in which I was to share a due proportion of the profits for my assistance in the management; but after a while, and to the evident regret of Mr. Lumley, the scheme was given up.

Meanwhile, I was by no means idle. Cordelia Howard as “Little Eva,” with her mother as the inimitable “Topsy,” were highly successful in London and other large cities, while General Tom Thumb, returning after so long an absence, drew crowded houses wherever he went. These were strong spokes in the wheel that was moving slowly but surely in the effort to get me out of debt, and, if possible, to save some portion of my real estate. Of course, it was not generally known that I had any interest whatever in either of these exhibitions; if it had been, possibly some of the clock creditors would have annoyed me; but I busied myself in these and in other ways, working industriously and making much money, which I constantly remitted to my trusty agent at home.

XXIX In Germany

From London to Baden-Baden⁠—Trouble in Paris⁠—Strasbourg⁠—Scene in a German Customhouse⁠—A Terrible Bill⁠—Six Cents Worth of Agony⁠—Gambling at Baden-Baden⁠—Suicides⁠—Golden Prices for the General⁠—A Call from the King of Holland⁠—The German Spas⁠—Hamburg, Ems and Wiesbaden⁠—The Black Forest Orchestrion Maker⁠—An Offered Sacrifice⁠—The Seat of the Rothschilds⁠—Difficulties in Frankfort⁠—A Pompous Commissioner of Police⁠—Red-Tape⁠—An Alarm⁠—Henry J. Raymond⁠—Call on the Commissioner⁠—Confidential Disclosures⁠—Half of an Entire Fortune in an American Railway⁠—Astounding Revelations⁠—Down the Rhine⁠—Departure for Holland.

After a pleasant and successful season of several weeks in London and in the provinces, I took the little General into Germany, going from London to Paris and from thence to Strasbourg and Baden-Baden. I had not been in Paris since the times of King Louis Philippe, and while I noticed great improvements in the city, in the opening of the new boulevards