CHAPTER III.
ARRIVAL OF PUNCH IN ENGLAND.
We now come to a point of great national importance—when Punch made his début, or first appearance, in England. Great events are usually recorded on the page of history, but this is one, that, by some strange fatality, has escaped all notice; and, after the lapse of more than a century, we have been called upon to examine forgotten records, and to furnish detailed information. The documents in the State Paper Office, the Records in the Tower, the Rolls of Parliament, and the MSS. in the British Museum, and in the Libraries of the Universities, we are sorry to observe, have supplied us with no intelligence regarding Mr. Punch, Mrs. Judy, or any other member of his family. We have also patiently gone through Evelyn's and Pepys's Diaries, with many other works of the same kind, in print and out of print; but though they dwell on the Fire of London, the Plague, declarations of war, treaties of peace, the reception of ambassadors, and other historical trifles of that sort, they are silent regarding the arrival of this illustrious foreigner.
Dr. Drake, (and a great many writers before him, for he seldom runs the risk of advancing a novelty,) has called the reign of Queen Anne "the Augustan Age of Literature" in England.[1] Its claim to this proud distinction has been disputed, and certain admirers of old prose and poetry have set up the reign of Elizabeth in opposition to it. Now, although non nostrum tantas componere lites, if we can clearly establish, that the puppet-show of "Punch and Judy" was well known and much admired, while
"Our gracious Anne was Queen of Britain's Isle;"
if he reached this country a little before that period, and if the refined theatrical entertainment he offered, so well suited to a highly polished and enlightened nation, were then popular, it will, we think, turn the scale at once, and settle the question for ever.[2]
We find frequent mention of him in the "Tatler," and even the "classical Addison" does not scruple, in the "Spectator," to introduce a regular criticism upon one of the performances of Punch. As the "Tatler," was published earlier in point of date,[3] we will begin by referring to the notices of the same notorious and amusing actor by Sir Richard Steele. Dr. Johnson was one of the first, if not the very first, to broach the notion that his age had become too wise for the periodicals of Queen Anne's time;[4] as if supposing the fact to be so, there was nothing else to be gained from the lucubrations of the wittiest and ablest men of that day, but their out-of-date learning. The effect has been, with the co-operation of no small share of self-conceit in the present generation, to throw the best of our essayists far into the shade; and the "Tatler," "Guardian," and "Spectator," are now considered works very well for the period at which they were written, but far behind the rapid "march of intellect" during the last forty or fifty years. On this account we shall not content ourselves with bare references, because we are aware, that many of those who read our pages will not have the contemned productions we have named within their reach.
The great exhibitor of Punch immortalized, we will say, by Steele, notwithstanding the disesteem into which that delightful writer has fallen, is Mr. Powell; and in No. 44 of the "Tatler," Isaac Bickerstaff, Esq., complains that he had been abused by Punch in a Prologue, supposed to be spoken by him, but really delivered by his master, who stood behind, "worked the wires," and, by "a thread in one of Punch's chops," gave to him the appearance of enunciation. These expressions are important, inasmuch as they shew a method of performance and a degree of intricacy in the machinery not now known. At present the puppets are played only by putting the hand under the dress, and making the middle finger and thumb serve for the arms, while the fore-finger works the head. The opening and shutting of the mouth is a refinement which does not seem to be practised in Italy; and it will be seen by a quotation we shall make presently from another contemporary work, that Powell's puppets were "jointed." No. 50 of the "Tatler," contains a real or supposed letter from the showman himself at Bath, insisting upon his right of control over his own puppets, and denying all knowledge of "the original of puppet-shows; and the several changes and revolutions that have happened in them since Thespis." A subsequent number (115) is curious, as it shews that such was the rivalship of Punch in point of attractiveness, particularly with the ladies, that the Opera and the celebrated singer Nicolini were almost deserted in his favour. Nicolini and the Opera were ridiculed, as we find from other sources, by the squeakings of a pig, well instructed for the purpose, and who had been also taught to dance. From the "Tatler" we learn, that then, as now, Punchinello (for he is so designated and dignified) had a "scolding wife," and that he was attended, besides, by a number of courtiers and nobles.
Powell's show was set up in Covent Garden, opposite to St. Paul's Church; and the "Spectator" (No. 14[5]) contains the letter of the sexton, who complained that the performances of Punch thinned the congregation in the church, and that, as Powell exhibited during the time of prayers, the tolling of the bell was taken, by all who heard it, for notice of the intended commencement of the exhibition. The writer of the paper then proceeds, in another epistle, to establish that the puppet-show was much superior to the opera of "Rinaldo and Armida," represented at the Haymarket, and to observe that "too much encouragement could not be given to Mr. Powell's skill in motions." A regular parallel is drawn between the two, which ends most decidedly in favour of Powell in every respect but the inferior point of the moral.[6]
But the most curious and particular information regarding Powell and his performance, is contained in a small work published in London in 1715, professing to give an account of his life: it is entitled "A Second Tale of a Tub; or the History of Robert Powell, the Puppet-showman;" but it is, in fact, a political satire on Sir Robert Walpole, to whose life and administration nearly all the adventures are made applicable. It is preceded by a copper-plate, in which that celebrated minister, in a court dress, is represented as the master and interpreter of a puppet-show: he stands below, with a stick to point to the different characters; behind is the stage, lighted with foot-lamps, on which stand a male and female puppet, the male having a very lofty conical cap, a large ruff, and a considerable paunch, (but without the long nose which distinguishes Punch); and the female in a very plain dress with a falling band. The Dedication particularly refers to the extreme popularity of Powell, to his exhibitions at Bath, and in Covent Garden, and then proceeds thus:—
"It would be trifling, after this, to recount to you how Mr. Powell has melted a whole audience into pity and tears, when he has made the poor starved Children in the Wood miserably depart in peace, and a Robin bury them. It would be tedious to enumerate how often he has made Punch the diversion of all the spectators, by putting into his mouth many bulls and flat contradictions, to the dear joy of all true Teagues. Or to what end should I attempt to describe how heroically he makes King Bladud perform the part of a British Prince."
In the body of the work, after going through the supposed adventures of Powell, he reduces him at last to a puppet-showman, and thus continues:—
"Now was he (Powell) resolved to get actors that should move and speak as he pleased. The first he hired was one Punch, a comical, staring, gaping, noisy fellow. Punch was soon attended by a whole train of diminutive actors, of both sexes, viz., jointed kings, queens, waiting-maids, virgins, babies, noblemen, baboons, tumblers, aldermen, rope-dancers, geese, country squires, rats, lord mayors, footmen, sows, Indians, cats, conjurors, owls, priests, brazen heads, robin-redbreasts, and elders, all of which were assisted by a wise interpreter; so Mr. Powell had quickly a full stage. In short he was mightily frequented by all sorts of quality, and Punch with his gang soon broke the strollers, and enjoyed the city of Bath by themselves. Money coining in apace, Mr. Powell bought him several new scenes, for the diversion of his audience and the better acting of several incomparable dramas of his own composing, such as 'Whittington and his Cat,' 'The Children in the Wood,' 'Dr. Faustus,' 'Friar Bacon and Friar Bungay,' 'Robin Hood and Little John,' 'Mother Shipton,' 'Mother Goose,' together with the pleasant and comical humours of Valentini, Nicolini, and the tuneful warbling pig, of Italian race."
Nearly all the humour of the application to Sir Robert Walpole, of the "Second Tale of a Tub," is now lost; but the anonymous author seems to have possessed some wit, and was much better acquainted with the ancient as well as modern drama of this country than most of his contemporaries.
From these sources we collect, most distinctly, that the popularity of Punch was completely established, and that he triumphed over all his rivals, materially lessening the receipts at least at the Opera, if not at the regular national theatres; and accomplishing, at that period, by his greater attractiveness, what Dennis, by his "Essay on Operas after the Italian manner," and other critiques de profession had been unable to effect. He could hardly have taken such firm possession of the public mind if he had only recently emigrated from his native country; and no writer of the reign of Queen Anne, who notices him at all, speaks of him as a novelty. This may be established from poetry as well as prose. Gay, in his "Shepherd's Week—Saturday," distinguishes between the tricks of "Jack Pudding in his parti-coloured jacket," and "Punch's feats," and tells us that they were both well known at rustic wakes and fairs: but perhaps the most remarkable account of our hero is to be found among Swift's humorous political pieces, in "A Dialogue between mad Mullinix and Timothy," regarding which personages it is not necessary for us to insert explanations which may easily be found elsewhere. A description of a puppet-show, as it then was exhibited, is introduced by way of illustration; and from our extract (with one omission only, for the sake of decorum), it will be seen that it possessed the recommendation of extraordinary variety.
"Observe, the audience is in pain
While Punch is hid behind the scene,
But when they hear his rusty voice,
With what impatience they rejoice!
And then they value not two straws
How Solomon decides the cause;
Which the true mother,—which pretender,
Nor listen to the witch of Endor.
Should Faustus, with the Devil behind him,
Enter the stage, they never mind him;
If Punch, to stir their fancy, shews
In at the door his monstrous nose,
Then sudden draws it back again,
Oh! what a pleasure mix'd with pain!
You every moment think an age,
Till he appears upon the stage:
And first himself you see him clap
Upon the Queen of Sheba's lap.
The Duke of Lorraine drew his sword:
Punch roaring ran, and running roar'd,
Reviles all people in his jargon,
And sells the King of Spain a bargain:
St. George himself he plays the wag on,
And mounts astride upon the dragon:
He gets a thousand thumps and kicks,
Yet cannot leave his roguish tricks;
In every action thrusts his nose,—
The reason why no mortal knows.
There's not a puppet made of wood
But what would hang him, if they could;
While, teazing all, by all he's teaz'd,
How well are the spectators pleas'd;
Who in the motion have no share,
But purely come to hear and stare;
Have no concern for Sabra's sake
Which gets the better, saint or snake,
Provided Punch, for there's the jest,
Be soundly maul'd and plague the rest."[7]
Although our information may be considered complete, as to the high favor in which Punch was then held by the multitude, we are still, and shall probably remain, without any positive intelligence regarding the exact date when he arrived in England. We think, nevertheless, that we may conclude from all the premises with tolerable safety, that he and King William came in together, and that the Revolution is to be looked upon as the era of the introduction of the illustrious Family of Punch, and of the "glorious House of Orange."[9] Certain it is that the Dutch were extremely celebrated for their skill in mechanics; and the author of the "Second Tale of a Tub," 1715, bears witness, in the Dedication, "that the Dutch were the most expert nation in the world for puppet-shows."
That the dress and appearance of Punch, in 1731, were as nearly as possible like what they now are, will be seen by the following popular song, extracted from vol. 6 of "The Musical Miscellany," printed in that year.[10] In other respects it is a curious production, and, perhaps, was sung by Punch himself, in one of his entertainments. It is inserted under the title of
PUNCHINELLO.
Trade's awry, so am I
As well as some folks that are greater;
But by the peace we at present enjoy
We hope to be richer and straighter.
Bribery must be laid aside,
To somebody's mortification:
He that is guilty, oh, let him be tried,
And expos'd for a rogue to the nation.
I'm that little fellow
Call'd Punchinello,
Much beauty I carry about me;
I'm witty and pretty,
And come to delight ye;
You cannot be merry without me.
My cap is like a sugar-loaf,
And round my collar I wear a ruff;
I'd strip and shew you my shape in buff,
But fear the ladies would flout me.
My rising back and distorted breast,
Whene'er I shew 'em, become a jest;
And, all in all, I am one of the best,
So nobody need doubt me.
Æsop was a monstrous slave,
And waited at Xanthus's table;
Yet he was always a comical knave,
And an excellent dab at a fable.
So when I presume to show
My shape, I am just such another;
By my sweet looks and good humour, I know,
You must take me for him or his brother.
The fair and the comely
May think me but homely,
Because I am tawney and crooked;
But he that by nature
Is taller and straighter,
May happen to prove a blockhead.
But I, fair ladies, am full as wise,
As he that tickles your ears with lies,
And think he pleases your charming eyes
With a rat-tail wig and a cockade:
I mean the bully that never fought,
Yet dresses himself in a scarlet coat,
Without a commission not worth a groat,—
But struts with an empty pocket.
It deserves remark, that Punch has not always been a mere puppet in the British empire; for in the "Biographia Dramatica" there is an entry of a farce called "Punch turned Schoolmaster," which we have not been able to obtain, and therefore cannot speak of the nature or conduct of it. The date of its representation is not ascertained, but a prologue for it was written by Sheridan, and printed in 1724. The performances of M. Mazurier in 1825, in the "Shipwreck of Pulcinella, or the Neapolitan Nuptials," are so well remembered, that it is needless to do more than allude to them.
- ↑ See his Essays illustrative of the "Tatler," "Spectator," and "Guardian," vol. 1, p. 32.
- ↑ We have already seen that Nash mentions Harlequin before the year 1600; but we afterwards lose sight of him, by that name, for three quarters of a century. Dryden notices him; and Ravenscroft, in 1677, reproduced him upon the stage, in a piece called "Scaramouch a Philosopher, Harlequin a School-boy, Bravo, Merchant and Magician." He calls it "a comedy after the Italian manner;" and in the prologue he professes to have used Moliere's "Fourberies de Scapin," which he might not have acknowledged, had not Otway been just beforehand with him. However, Ravenscroft had the good sense to adopt the two best scenes of the French play, which Otway omitted, and which Moliere himself borrowed from "de Bergerac." Ravenscroft's play includes not only the Harlequin, but the Doctor, the Scaramouch, and the Captain of the Italian impromptu comedy. The latter is called "Spitzaferro," and is described as "a coward, ignorant and bold," of the same species as the Captain Matamoros, (or Moor-killer,}} in which Silvio Fiorillo, the inventor of Pulcinella, was so famous as always to pass by that title. The Spanish Captain was brought upon the stage while the Spaniards had possession of Naples in the end of the 15th and beginning of the 16th centuries; but, as he was intended to ridicule that nation, of course he originated in some other part of Italy. After 1677, we have no distinct notice of Harlequin in England, until 1719, when a mock-opera called "Harlequin Hydaspes," was acted at Lincoln's Inn Fields Theatre. Cibber, in his "Apology," gives a full account of the use Rich subsequently made of him, in opposition to the regular drama.
- ↑ The first number is dated April 12, 1709: the firs number of the "Spectator" is dated March 1, 1710-11.
- ↑ See Dr. Johnson's Life of Addison.
- ↑ Attributed to Steele, who had the good taste to be delighted with Mr. Punch.
- ↑ Penkethman, an actor, and the head of a strolling company, often praised for his low humour, in the reign of Anne, seems also at one time to have been master of a puppet-show of some kind; but as so remarkable a personage as Punch is not mentioned, it is supposed that it was confined to an exhibition of the "heathen gods," as noticed in No. 31 of the Spectator.
- ↑ If the curious reader wishes for it, he will find a history of this poem in the eighth number of the "Intelligencer."
- ↑ Many authorities might be adduced to shew that Dr. Faustus often formed a member of the puppet company. See Pope's "Dunciad," vol. 3, 1. 307; C. Pitt's "Prologue to the Strollers;" A. Hill's "Answer to an Epistle from Mrs. Robinson," &c. According to the author of the "Second Tale of a Tub," one of Powell's shows was called "Doctor Faustus;" and Mountford, the actor, produced a farce under the same title in 1697.
- ↑ There is, however, a passage in Granger's Biog. Hist. vol. 4, 350, which, if taken literally, as perhaps it is not meant to be, would shew that Punch was known in England before the abdication of James II. He is speaking of a notorious Merry-Andrew, of the name of Phillips, who, he says, "was some time fiddler to a puppet-show, in which capacity he held many a dialogue with Punch, in much the same strain as he did afterwards with the mountebank Doctor, his master, on the stage. This Zany being regularly educated, had confessedly the advantage of his brethren."
- ↑ In 1735, was published the third edition of "Harlequin Horace, or the Art of Modern Poetry," dedicated to the celebrated John Rich; one object of which is to shew that Pantomime had driven poetry from the stage. A frontispiece represents Harlequin and Punch uniting their efforts to expel Apollo, who, with his lyre, is making his exit from the theatre, Punch giving the god a parting kick. The dress of Punch is very nearly the same as at present, with the exception of the conical hat, which has a sort of brim to it.