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Lady Morgan’s Memoirs
Chapter IV
INTRODUCTION & INDEXES
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Preface
Vol. I Contents.
Prefatory Address
Chapter I
Chapter II
Chapter III
‣ Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Chapter XIII
Chapter XIV
Chapter XV
Chapter XVI
Chapter XVII
Chapter XVIII
Chapter XIX
Chapter XX
Chapter XXI
Chapter XXII
Chapter XXIII
Chapter XXIV
Chapter XXV
Chapter XXVI
Chapter XXVII
Chapter XXVIII
Chapter XXIX
Chapter XXX
Chapter XXXI
Chapter XXXII
Chapter XXXIII
Chapter XXXIV
Chapter XXXV
Chapter XXXVI
Chapter XXXVII
Chapter XXXVIII
Vol. I Index
Vol. II Contents
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter IV
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Chapter XIII
Chapter XIV
Chapter XV
Chapter XVI
Chapter XVII
Chapter XVIII
Chapter XIX
Chapter XX
Chapter XXI
Chapter XXII
Chapter XXIII
Chapter XXIV
Chapter XXV
Chapter XXVI
Chapter XXVII
Chapter XXVIII
Chapter XXIX
Chapter XXX
Chapter XXXI
Chapter XXXII
Chapter XXXIII
Chapter XXXIV
Chapter XXXV
Chapter XXXVI
Chapter XXXVII
Chapter XXXVIII
Chapter XXXIX
Chapter XL
Vol. II Index
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CHAPTER IV.
THE NATIONAL THEATRE MUSIC HALL.

The opening of this theatre was the continuation of a history of many comic and tragic events, from its foundation as a chantry to the church of the Holy Trinity, to this last and most indiscreet undertaking to transform it to a theatre.

The opening of the theatre was, moreover, an event of considerable importance to Mr. Owenson and his family.

The first performance was to be altogether national, that is, Irish, and very Irish it was. The play chosen was The Carmelite, by Captain Jephson, with an interlude from Macklin’s farce of The Brave Irishman, and a farce of O’Keefe’s, The Poor Soldier. The overture consisted of Irish airs ending with the Volunteer’s March, which was chorussed by the gallery to an accompaniment of drums and fifes. An Irish audience was always en rapport with the stage, and frequently commented aloud on an absurdity in the actor, public or private, in a manner to excite quite as much laughter as
24 LADY MORGAN'S MEMOIR.  
any farce that might be going on. One night, an anxious friend in the pit close to the orchestra, perceived that his cousin on the stage, by an unlucky rent in a critical part of his dress, was exciting laughter not set down in his part;—put his hand to his mouth in an aside, and said in a stage. whisper, “Larry! Larry! there’s the laste taste in life of yer linen to be seen!”

This, by way of parenthesis,—to proceed with our “opening day,” or rather night:

My father wrote and spoke the prologue in his own character of an “Irish Volunteer.”

The audience was as national as the performance; and the pit was filled with red coats of the corps to which my father belonged; and the boxes exhibited a show of beauty and fashion, such as Ireland above all other countries could produce. What added to the éclat of the evening was the first appearance on any stage of an Irish lady of rank—the Honourable Mrs. Mahon—then known by the pretty cognomen of the “Bird of Paradise.” She was the daughter of Lord Perry, afterwards Lord Limerick. She imprudently eloped with her singing master, Mr. Mahon, the Irish Mario of his time, her family threw her off, and she was obliged to share the artistic exertions of her husband.

The National Theatre flourished. Everybody took boxes, but few paid for them. Orders were given in profusion, when, lo! in the midst of the apparent success of this rival to the great Royalties, Government granted an exclusive patent for the performance of the legitimate drama to—Mr. Daly! with the additional honour of creating him deputy Master of the
THE NATIONAL MUSIC HALL.25
Revels, a distinction which had nearly fallen into abeyance. In a capital so dramatic as Dublin, the event made a great sensation, which, however, soon subsided, but not before my father’s friends had devised legal grounds to sue for remuneration for his losses. Mr. Daly agreed to an arbitration.
Lord Donoughmore and the Right Honourable Denis Bowes, M.P., were the arbitrators, and became guarantees to my father for an income of three hundred a year for ten years, on the promise that no paid actor or actress should appear on the boards of the National Theatre. My father also accepted, provisionally, the deputy managership of the Theatre Royal; and every one appeared contented, except the creditors for debts incurred in getting up this phantom theatre.

The cousinhood of Ireland extends itself beyond the Green Island to remote lands, and if the
“Blakes and O’Donnels whose fathers resigned
The green hills of their youth, amidst strangers to find,
That repose which at home they had sought for in vain,”
there were others of the “thirteen tribes of Galway,” who sought a more tranquil and certain mode of existence, through the commercial genius which had probably lain hid amid the domestic warfares of Ireland, but which was now coming forth in various parts of the continent, wherever the vine flourished. Among the respectable and respected commercial houses in France, the Ffrenches of Bordeaux were and are one of the most flourishing concerns. The custom of Ireland alone would have sufficed to make their fortune in the sole article of claret.

26 LADY MORGAN'S MEMOIR.  

My father boasted of his claims to relationship with this eminent family—a claim never denied; and his witty and clever letters had long kept up a correspondence with his cousin Ffrench of Bordeaux; the value of his Irish news and Irish fun being paid back in frequent presents of wine and liqueurs, with pretty cadeaux sent to my mother of scented pincushions and sac d’ouvrage, worked by the nuns, and smelling of pious incense. One of these I well remember; it was of yellow satin, embroidered in holy devices in white silk, of which my mother made a present on account of the smell, she said, but more probably on account of the Catholic devices which emblazoned it.

My father proposed himself as “commercial correspondent” of their house. He told them his story in his own pleasant yet pathetic way; and proved his fitness to become a Dublin wine-merchant, by his intimacy with all the great wine drinkers of the day, gentle and simple! He referred them to his connections in Connaught.

The Ffrenches acceded to his proposition, and consigned a cargo of wines to his account. Such was his interest, that before they were delivered, he obtained “the freedom of the six and ten per cents.,” which was considered a high commercial honour at that time in Dublin; but of its nature and advantages I am utterly ignorant, and I don’t suppose that my father knew much more, except that Sir John Ferns, the great wine-merchant of the day, had found some difficulty in obtaining it.

Grand changements des décorations in the Music
THE NATIONAL MUSIC HALL.27
Hall! The vast vaults of the Holy Trinity which had served the purposes of Juliet’s burial, were now dried up, cleansed, heated, lighted by day and watched by night. The rubbish of old theatrical properties was shovelled out, and pipes, hogsheads and flasks of precious contents were rolled in. A Connaught clerk was seated at his desk, and accounts were opened with many O’s and Macs, who had long rolled their own claret to their own cellars at little cost but much risk.

The pretty theatre and its adjoining rooms were leased out for public meetings. The family dwelling-house was enlarged by the addition of other apartments, and made comfortable. Before the ensuing winter my mother, whose confusion had been worse confounded by all the chances and changes her fortunes had undergone, was settled with her little family in Dublin, with her pretty retreat at Drumcondra in reserve, and whilst my father’s life was “double, double, toil and trouble,” she passed the quiet tenor of her days in avocations suited to her domestic habits.

Her greatest anxiety was for the education of her little girls, and her next for the salvation of mankind through the influence of the Countess of Huntingdon.

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