Devonshire Characters and Strange Events. Baring-Gould Sabine

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СКАЧАТЬ style="font-size:15px;">      None came out well in the matter. As the Attorney-General remarked: “He could not trust himself in using language he thought sufficient to express his detestation of Colonel Berkeley’s conduct.” Joseph Hayne appeared as a public fop who did not know his own mind from one day to another.

      Mrs. Foote was revealed to be a scheming unprincipled woman, but Mr. Foote came out worst of all. As The Examiner said of him: “There is scarcely a family living, or a family dead, that he has not treated with the dirtiest selfishness, whatever were his obligations – spunging till he was insulted, lying till he was discovered, puffing till he was the butt of the town. The people of Plymouth can relate a thousand instances of this description.”

      Maria Foote came out best of all. She, brought up by such detestably mean parents, without protection, exposed to temptation at every turn, was more to be pitied than blamed. This the town felt, and when, on 5 February, 1825, her benefit was given at Covent Garden Theatre, the house was packed. The Drama, or Theatrical Magazine, says: “The fullest house of this season, indeed of any season within our experience, assembled this evening. The performance was not the attraction; the overruling anxiety was to be present at the reappearance of Miss Foote. A more intense interest could not have been displayed; it was without parallel in the records of theatrical history. For many weeks past every seat in the boxes – in the dress circle – of the first circle – in the slips – all were engaged, and would have been engaged had the theatre been double its dimensions. Even part of the orchestra was appropriated to the accommodation of visitors with guinea tickets; and an additional douceur was in the course of the evening given even for tolerable sight-room. Not the fraction of a seat was to be had; and before the rising of the curtain the whole interior of the theatre was crowded almost to suffocation. During the first scenes of the performance (The Belle’s Stratagem) little else was heard than the din and bustle consequent on the adjustment and regulation of places. At length, at an advanced period of the first act, Miss Foote appeared. The utmost stillness prevailed in the house immediately previous to her expected entrée; she at length appeared, and was received with a burst of loud, continued, and enthusiastic acclamation, such as we never remember to have heard or known to have been equalled at any theatre. All the persons in the pit and, with scarcely an exception, in the boxes and other parts of the house, stood up and welcomed her return to the stage with the most marked and emphatic kindness. The waving of hats, handkerchiefs, was resorted to. There was something, too, in the manner of her appearance, which contributed greatly to enhance, while it seemed to entreat, the indulgent consideration with which the audience were inclined to receive her. She advanced with downcast look and faltering step to the front of the stage, and became affected even to tears. There was a diffidence, a timidity, and a truly distressing embarrassment in her mode of coming forward, which, together with her beauty and the recollection of her sufferings, was calculated to compel pity. It was a scene which did equal honour to the audience, who duly appreciated the distress of her situation, and to the object of their sympathy, who gave such a pathetic attestation of her consciousness of it. Many ladies – and there were many present – could not refrain from tears. Those parts, and there were several throughout the play, capable of being applied to Miss Foote’s peculiar situation, were seized on by the audience, and followed by loud plaudits. At the delivery of the lines

      What is your fortune, my pretty maid?

      My face is my fortune, sir, she said,

      a burst of acclamation was sent forth, almost equal to that which greeted her entrance. The two lines which succeeded were, if possible, still more applicable to recent events, which have occupied so much of the attention of the Bar and of the public.

      Then I’ll not marry you, my pretty maid.

      There’s nobody asking you, sir, she said.

      The good-humoured approval that followed these lines, which was in no degree abated by the arch air with which Miss Foote gave them, cannot be conveyed by verbal description. At the expression of the sentence, ‘This moment is worth a whole existence,’ Miss Foote bowed to the audience in grateful acknowledgment of the reception she had met with. Altogether Miss Foote’s reappearance has been most gratifying. She has been hailed as a favourite of the public, who has been basely lured from virtue, but who is not on that account treated as an alien from its path.”

      The total receipts that evening amounted to £900. 16s. At the latter end of 1830, Madame Vestris took the Olympic Theatre, and opened it, on 3 January of the following year, with a drama on the subject of Mary Queen of Scots, in which Miss Foote, who appears for a time to have been in partnership with her, played the heroine. But she soon after quitted the stage, and on 7 April, 1831, was married to the eccentric Charles Stanhope, eighth Earl of Harrington and Viscount Petersham. He was aged fifty-one and she aged thirty-three. They had one daughter; he died in 1851, and she, as Dowager Countess of Harrington, lived until 27 December, 1867.

      Mrs. Bancroft, in On and Off the Stage (London, 1888), gives us a pleasant recollection of Maria Foote in her old age as Dowager Countess of Harrington.

      “My father had known her slightly when she was in her zenith, and would often speak of her as one of the loveliest and most amiable of women. He would often recall not only the charm she possessed as an accomplished actress, but her good-nature to everybody, high and low, in the theatre… My mother had never met Lady Harrington, but she soon grew much attached to one who became a true friend to me, and as time went on seemed more and more endeared to me. She must have been very beautiful when young, being still extremely handsome as an old lady. She was as good, too, as she was handsome; and I can never forget her kindness to me. When I was once seriously ill with an attack of bronchitis, Lady Harrington was unwearying in her attention to me, and would, day after day, sit by my bedside reading to me, and would bring with her all the delicacies she could think of. When I had sufficiently recovered my strength, she sent me to the seaside to recruit my health. To record all the kindnesses she bestowed on me and mine would fill up many pages, but my gratitude is indelibly written on my heart. She gave me a portrait of herself, as Maria Darlington in A Roland for an Oliver, and by it one can see how lovely she must have been. Among her other gifts was a beautiful old-fashioned diamond and ruby ring, which she told me was given to her by the Earl when he was engaged to be married to her… Lady Harrington was much attached to (her old butler) Payne, and also to her maid, who, I believe, had been in her service since she was quite young, and often spoke of them as Romeo and Juliet. I recall many a happy visit to Richmond Terrace, and until her last illness I had no better friend than Lady Harrington.

      “On the afternoon of Friday, 27 December, 1867, my mind was unaccountably full of thoughts about her. I had been making some purchases in Regent Street, and on my way home in a cab was wondering, as I was driven through the crowd of vehicles, if I should ever see her in her well-known carriage again, with its snuff-coloured ‘Petersham brown’ body, the long brown coats, the silver hat cords of the coachman and footman, the half-crescents of white leather which formed part of the harness across the foreheads of the horses.

      “On the following day I received the sorrowful news that Lady Harrington was dead at the time I had thought so much of her, and that I had lost a friendship for which Time can never lessen my gratitude.”

      CARABOO

      On Thursday evening, 3 April, 1817, the overseer of the parish of Almondsbury, in Gloucestershire, called at Knole Park, the residence of Samuel Worall, Esq., to inform him that a young female had entered a cottage in the village, and had made signs to express her desire to sleep there; but not understanding her language, the good folk of the cottage communicated with the overseer, and he, as perplexed as the cottagers, went for counsel to the magistrate. Mr. Worall ordered that she should be brought to Knole, and presently the overseer returned with a slim damsel, dressed poorly but quaintly, with a sort of turban about her head, not precisely beautiful, but with very intelligent speaking eyes.

      Neither Mr. nor Mrs. Worall could make СКАЧАТЬ