FullReads

I observe that Mr Powell and the Undertakers had both the same Thought, and I think, much about the same time, of introducing Animals on their several Stages, though indeed with very different Success. The Sparrows and Chaffinches at the Hay-Market fly as yet very irregularly over the Stage; and instead of perching on the Trees and performing their Parts, these young Actors either get into the Galleries or put out the Candles; whereas Mr Powell has so well disciplined his Pig, that in the first Scene he and Punch dance a Minuet together. I am informed however, that Mr Powell resolves to excell his Adversaries in their own Way; and introduce Larks in his next Opera of Susanna, or Innocence betrayed, which will be exhibited next Week with a Pair of new Elders.’ [2]

The Moral of Mr Powell’s Drama is violated I confess by Punch’s national Reflections on the French, and King Harry’s laying his Leg upon his Queen’s Lap in too ludicrous a manner before so great an Assembly.

As to the Mechanism and Scenary, every thing, indeed, was uniform, and of a Piece, and the Scenes were managed very dexterously; which calls on me to take Notice, that at the Hay-Market the Undertakers forgetting to change their Side-Scenes, we were presented with a Prospect of the Ocean in the midst of a delightful Grove; and tho’ the Gentlemen on the Stage had very much contributed to the Beauty of the Grove, by walking up and down between the Trees, I must own I was not a little astonished to see a well-dressed young Fellow in a full-bottomed Wigg, appear in the Midst of the Sea, and without any visible Concern taking Snuff.

I shall only observe one thing further, in which both Dramas agree; which is, that by the Squeak of their Voices the Heroes of each are Eunuchs; and as the Wit in both Pieces are equal, I must prefer the Performance of Mr Powell, because it is in our own Language.

I am, etc.’

[Footnote 1: Masquerades took rank as a leading pleasure of the town under the management of John James Heidegger, son of a Zurich clergyman, who came to England in 1708, at the age of 50, as a Swiss negotiator. He entered as a private in the Guards, and attached himself to the service of the fashionable world, which called him ‘the Swiss Count,’ and readily accepted him as leader. In 1709 he made five hundred guineas by furnishing the spectacle for Motteux’s opera of ‘Tomyris, Queen of Scythia’. When these papers were written he was thriving upon the Masquerades, which he brought into fashion and made so much a rage of the town that moralists and satirists protested, and the clergy preached against them. A sermon preached against them by the Bishop of London, January 6th, 1724, led to an order that no more should take place than the six subscribed for at the beginning of the month. Nevertheless they held their ground afterwards by connivance of the government. In 1728, Heidegger was called in to nurse the Opera, which throve by his bold puffing. He died, in 1749, at the age of 90, claiming chief honour to the Swiss for ingenuity.

‘I was born,’ he said, ‘a Swiss, and came to England without a farthing, where I have found means to gain, L5000 a-year,–and to spend it. Now I defy the ablest Englishman to go to Switzerland and either gain that income or spend it there.’ ]

[Footnote 2: The ‘History of Susanna’ had been an established puppet play for more than two generations. An old copy of verses on Bartholomew Fair in the year 1665, describing the penny and twopenny puppet plays, or, as they had been called in and since Queen Elizabeth’s time, ‘motions,’ says

“Their Sights are so rich, is able to bewitch
The heart of a very fine man-a;
Here’s ‘Patient Grisel’ here, and ‘Fair Rosamond’ there,
And ‘the History of Susanna.'”