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The school- head;" but he became so interested in geometrical and algebraical demonstrations on the blackboard that he returned home with a first prize for mathematics. "So unexpected a distinction pleased his father so much that he asked him what he would like best as a reward-'To be taken away from school,' was Buckle's reply; and his parents granted his request."

description of his dominie.
master was lame, and he became a teacher
only for that reason; but, excepting the
inordinate and cruel use of the taws for
punishment, his system of teaching was con-
sidered better than that of any of the parish-
schools at that time. What were the taws?
Questioned as to why he was late one
morning, Somerville remarks, "After some
hesitation I, in my ignorance, gave him an
answer which offended him; upon which
he took his great leathern strap, thirty
inches long, two and a half inches broad,
and split half-way up into six thongs, the
end of each having been burned in the fire
to make it hard, the other end of the belt
having a slit in it, into which he put his
hand and wound it round his wrist. With and
With
this instrument, called the taws, he thrashed
me on the hands, head, face, neck, shoulders,
back, eyes-everywhere, until I was blistered.
He wanted me to cry, but I would not,
and never did for pain or punishment then
or since, though my flesh is nervous and
extremely sensitive."

Clergymen exhibited as much inhu-
manity as laymen. From the Life of Dr.
Brock, who was for more than twenty
years the most popular Baptist minister in
London, we get another glimpse of the
cruelty inflicted upon boys. When a little
boy, he was placed at school under the
care of a clergyman who was, to say the
least, a brute. "There was literally no
teaching. If I got through a sentence or
two in translation without any monstrous
mistakes, I was not punished; if I did
mistake, there was no mercy. Sometimes
it was, "
Strip, sir, that you may be
birched.' At other times it was, 'Go, kneel
in the middle of the room, and hold this
book out at arm's-length.' At other times
it was a fierce seizure of both my ears, or
a savage grip at my throat, with as much
shaking or dragging up and down the
room as the prevailing burst of inhumanity
inspired."

This picture of school tyranny in the early part of this century represents the brutal mode of punishment adopted several years later in private grammar-schools, as many men who have now reached middle age can testify.

So general was corporal punishment, that when Buckle was sent to school, his parents gave instructions that he was to learn nothing unless he chose, and should on no account be whipped. He did not choose, and his biographer tells us that he learnt nothing beyond" what fell into his

THE PARIS CLAQUE.

FEW dictionaries supply us with all that is wanted to be known of the words actually current in a modern language. John Bellows's wonderful Bonâ-fide French and English Pocket Dictionary gives "Claque, substantive masculine, an operahat; claque, substantive feminine, a slap, also a clog." Stone's Dictionary brings us nearer to what we are in search of by "Claqueur, a noisy clapper or applauder." Encyclopædic Littré alone interprets "Claque, secondly, a troop of claqueurs in a theatre, 'The claque in vain endeavoured to maintain the new piece.'

Here, then, at last, we have a clear definition of a singular fraternity, whose course of action is based on the belief that men and women are sheep, in more senses than one; that they are often very silly; that they go astray hardly knowing why, unless it be through the mere love of straying; that they frequently submit quietly to be shorn-hence the saying about a fool and his money-and, above all, that they are easily induced to follow a leader.

It is on this principle of preferring to be led, rather than to take the trouble of leading themselves, that many people pin their faith and their views of things in general on some particular journal or review, carefully abstaining from reading any other, or at least any other advocating opposite opinions.

To avoid this helpless and narrowminded system, a French friend (who is supposed to have no political bias, or perhaps finds it prudent to keep that bias to himself), while discussing the matter in question, lately told me that, not to be even suspected of following any partisan editor's lead, when he went to his club, he made a point of reading, one after the other, the Pays (Bonapartist), the Soleil (Orleanist), the Intransigeant (Destructivist), and the Figaro (as you like to call it). Nobody, therefore, could accuse him

of undue partiality; and the mixture of newspapers of different shades, like the blending of all the colours of the rainbow, produced in him the absence of colour, white, independence-that is, left his mind in a state of "carte blanche."

In French matters theatrical the case is different. An audience, in the mass, is led not so much by newspaper criticism, written and printed after the representation is over, but by critics present in the flesh and blood, enthusiastically applauding during the performance, and strenuously urging others to applaud. The persons composing this band of approbationists (the palms of whose hands must have become hard, thick, and tough as rhinoceros leather from continued exercise in professional clapping), are an established institution, known as the Claque, otherwise "entrepreneurs de succès" (ensurers of success).

*

A good deal that is curious respecting these individuals is already known from tradition, rumour, and observation; but more has lately been revealed in the Mémoires d'un Chef de Claque, who has given us the benefit of his experience, coolly treating the whole of his proceedings as a question of tactics and a matter of business. M. Jules Lan is a man of genius. It was he who invented the pocket-handkerchief proof of a performer's pathos, which none but the most hardened of men and women could resist. He shall relate this master

stroke himself:

"At the time when the melodramas of Guilbert de Pixérécourt and others were flourishing, and lachrymose pieces were all the fashion, an original idea occurred to me -namely, to supply my men with pockethandkerchiefs"-had they none of those useful articles before ?-"requesting them to pull them out, wipe their eyes, and blow their noses while the most touching scenes of the play were going on. The effect was irresistible, and never failed; the whole house-especially the ladies-began to weep and wipe their eyes. One evening, a wag in the pit opened his umbrella to escape a wetting from the showers of tears." The claque pleads in favour of its existence that it is an absolutely necessary institution. It spurs and stimulates the actors, wakes up an inattentive public, and italicises the choice passages of a dramatic work. Parisian actors are fond of a little

*Mémoires d'un Chef de Claque, Souvenirs des Théâtres, Recuellis par Jules Lan. Paris, Librairie Nouvelle, 15, Boulevard des Italiens.

applause at their first entry on the stage in any part, and almost exact its being given. Who is to be depended upon to supply it with certainty, except the claque? Moreover, as an excuse for the practice, every distinguished personage, at present, expects applause, from the cheers given to the successful orator in the House of Commons to the demonstrations of welcome bestowed on popular royalty.

Far from feeling any shame at its proceedings, the claque boasts that it is almost as old as the theatre itself. Whenever the Emperor Nero performed, he took measures to secure liberal applause from the audience. Burrhus and Seneca, stationed on each side of the stage, signalled the spectators to give marks of their approval. In fact, they were veritable "chefs de claque."

Nero's ministers taught his subjects their duty by shouting "Plaudite, cives!""Citizens, applaud !"-a formula which became traditional at Rome, and was employed on other besides dramatic occasions. Hence the name of "Romains," given to claqueurs, or professional applauders, who are also called "les chevaliers du lustre," because they had adopted the habit of placing themselves in the middle of the pit, immediately under the chandelier, as visitors to the burnt-down Paris Opera may have experienced to their great annoyance.

Claqueurs are commanded by a chief and a sub-chief, the former being chosen by the manager of the theatre. On grand occasions, there are chiefs of detachments posted in different parts of the pit, with the skill of practised theatrical strategy. Consequently, these claqueurs not unfre quently do battle with hostile caballers who dare to hiss. Nor are they always without excuse for so doing. Violence and injustice are apt to call forth violence to resist them. A new piece may be hissed and hooted down by an adverse clique through other motives than fair and honest criticism.

Not to dwell on the party contests between the Gluckists and the Piccinists of the last century, and the classicists and the romanticists of the present, I may mention Edmond About's Gaëtana, which was crushed in 1862 by a concerted muster of his personal enemies. Three years afterwards, the two De Goncourts' Henriette Maréchal suffered the same fate, under the unexpected attacks of an upstart "chef de cabale," nicknamed Pipe-en-bois. Still more recently, at the Théatre Français, Erckmann-Chatrian's charming comedy,

L'Ami Fritz, narrowly escaped premature the piece which had just been acted. With extinction on equally unavowable grounds a pencil he marked the passages in his of hostility, by political rather than literary part where he fancied that his diction or adversaries. The contests for supremacy his gestures were still capable of improvebetween rival actors and actresses, sus- ment. Rachel, following the advice of tained by their respective partisans, afford Crémieux and a few other friends, did the materials for a longer history of theatrical same, with even greater success than had struggles and skirmishes than can be related been expected. here. In all these the claque has played, on one side or the other, an influential and important part.

Grave politicians have not disdained to undertake the office of chef de claque. When Rachel first appeared at the Comédie Française, she was favoured with the intimate friendship and constant advice of Adolphe Crémieux-like her, an Israelite who rose to be Minister of Justice, member of two provisional governments, and was a senator when he died in 1880.

Whenever Rachel attempted a new part for the first time, she obtained for Crémieux a certain number of pit-tickets at reduced prices. Crémieux disposed of those tickets amongst friends and acquaintances, who were delighted to witness a first performance by Rachel without being obliged to "faire queue" at the door-one of the small miseries of French life.

By special favour granted to the famous tragedian, her family and friends, conducted by Crémieux, went into the theatre by a private entrance before the doors were opened to the public. Crémieux selected two or three benches, on which he seated his favoured friends, placing himself in the middle of the group. After his death, not one of the laudatory tributes to his memory mentioned that he had officiated as chef de claque. Vacher, the official chef at the Théâtre Français, observed every movement of his distinguished rival, knowing how much more capable than himself Crémieux was to italicise the points made by his (Crémieux's) co-religionist and pupil.

The greatest actors are not insensible to the claque's approval and patronagesometimes even to its advice. Rachel owed her immense success to her resolution, from her very first appearances, to strive by every possible means to attain the artist's ideal-perfection. She knew that her illustrious predecessors, Lekain and Talma, following the traditional example of Roscius, had pursued that system, in order to act tragedy worthily. Talma, in fact, after creating, as it is called, a part, on retiring to his dressing-room, although loaded with garlands and applause, shut himself in, and once more carefully read

One day, Crémieux offered M. Lan a place in the theatre to see Rachel come out in Bajazeta civility which was gladly accepted at once. The tragedy over, after Rachel had been five times recalled to receive an avalanche of crowns and bouquets, old Félix, her father, came and thanked Crémieux and his friends for the ovation bestowed upon his daughter. Then, assuming parental modesty, he added, "But did you not remark, when Roxane says to Bajazet, 'Sortez!' ('Leave me !'), that Rachel missed the right effect?"

They mounted, accordingly, to Rachel's room, to give her what her parent called "une remontrance," meaning a few observations, perhaps a scolding, for the old man could not conceal his excitement, which he explained, or excused, in GermanJew phrase: "Venever I see my daughter blay a new bart, it gives me gross balbitations of te heart." He ought to have said "balbitations of te bocket."

Crémieux desired nothing better than to go and compliment the "grande actrice." But he begged M. Félix to allow M. Lan to accompany them, after stating who and what he was--namely, chef de claque.

Rachel, still in sultana's costume, surrounded by her young brothers and sisters and a few intimate friends, received her visitors in the sanctum sanctorum, which none but the privileged were allowed to enter. She listened attentively to her father's reproaches, as well as to M. Crémieux's more courteous criticism.

"And you, M. Lan," she said to him, evidently curious to hear what he would say; "what is your opinion of my 'Sortez !'?"

"Mademoiselle," he replied, "brilliant stars, like you, have no need of light; they eclipse all inferior luminaries. Nevertheless, permit me to cite an example. Talma, in Manlius, when convinced of his friend Servilius's treachery, says to him, 'Qu'en dis-tu?' ('How do you answer this?'). Servius replies, Il est vrai! j'ai conçu ce funeste dessein "-that is, avows his guilt. Talma, whose countenance expressed indignation and scorn, seized the handle of his dagger, and drew it half

out of its sheath, as if about to strike. The | assize-court were besieged; on two succeseffect required by the situation was pro- sive days the crowd waited for admission duced. Now, if you were to make the two by two in a line, exactly as when same gesture with the dagger fastened to some unusually attractive performance is your girdle, when you say to Bajazet, announced at one of the great theatres. Sortez!' you would better indicate the fate which awaits the young prince at the palace-gate."

"Thanks-a thousand thanks, monsieur!" exclaimed Rachel. "You have found for me what I sought for in vain while I was studying my part."

And Rachel followed the chef de claque's counsel, thereby increasing the impressiveness and terror of the situation.

-

This anecdote-M. Lan modestly adds, although modesty is not his leading characteristic shows the general public what long, profound, and conscientious study great artists devote to what is called composer un rôle "-creating a part.

46

Amongst other distinguished theatrical acquaintances, M. Lan had the good fortune to include Mdlle. Mars. One day, unable to give him two stalls which he required, she sent him to Mdlle. Duchesnois, who passed him on, with a short note of intro duction, to Talma. The great actor, although ill in bed with the malady, hypertrophy of the heart, which brought him to his grave, nevertheless received the chef de claque.

"Did you see me play my latest part in La Démence de Charles Six ?" he asked. "Certainly, I did. You were magnificent, and my hands are still blistered with applauding."

"What a pity," continued Talma, "that I should be taken ill, just when I was about to play in La Mort du Tasse! What a capital part I should have had !

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So saying, he sat up in the bed and declaimed the part of Tasso, exactly as if he had been on the stage, with the chef de claque for his sole critic and auditor.

M. Lan's Memoirs contain anecdotes of other persons besides claqueurs. As everything relating to theatres is full of interest for the outside public, the author, consequently, is not over-particular respecting the stories which he contrives to catch in the sweep of his net, theatrical lawsuits, which at the time filled the courts to overflowing, supplying a liberal contribution. At the trial of the thieves, her servants, who stole Mdlle. Mars's diamonds from her dressingroom while she was acting on the stage, great curiosity was manifested to see the actress off the boards, and to hear her speak in her everyday voice. The doors of the

The same thing happened when Victor Hugo pleaded in person before the Tribunal of Commerce, to urge his rights in a question of literary property. Every corner was packed to suffocation. Nor was his audience disappointed. He was eloquent, persuasive, logical a wonder for him and gained his suit without the help of an advocate. A like success was not achieved by Balzac, who, powerful with his pen, was feeble with his tongue. In this respect he resembled our own Goldsmith, "who wrote like an angel, but talked like poor Poll."

At the aforesaid trial, M. Lan had the honour of given his arm to Mdlle. Mars on their way to the Palais de Justice, where Berryer received them with the compli ment, "Thalia is come to pay a visit to Thémis, who receives her with a hearty welcome." When the President, according to the established formula, enquired her name, profession, domicile, and age, she answered in her clear, melodious voice, "Hippolyte Mars, sociétaire of the Comédie Française, residing in Paris, Rue de la Tour-des-Dames," but as to her age, she spoke so low that the clerk of the court could not catch her words. The President had the good taste not to repeat the question.

Apropos to actresses's ages, M. Lan remembers that Mdlle. X., who still played ingénues at the Asterisk Theatre, one day married her daughter, and he was invited to the wedding as one of the witnesses. The bride's mother, on being required to state her age, stammered, blushed, and said at last, "I don't quite remember."

"Very good," said the mayor to his secretary; "put down thirty-six."

Mdlle. X. responded with a gracious bow to the magistrate's municipal gallantry.

A very great deal might be related about the subordinate members of the theatrical profession. Gossip respecting or disrespecting the ladies shall be refrained from; the gentlemen can well take care of themselves.

Supernumeraries, "comparses," existed in the time of the Romans. Their French name is perhaps derived from "comparere," to appear. They are recruited and commanded by chiefs who receive ten sous & night more than their men; besides which magnificent pay they enjoy the privilege of inflicting fines. It is evident that these

poor wretches, who earn from fifteen to twenty sous a night, have not the means of supplying themselves with evening dress when they figure as fashionable guests at a ball, a wedding, or a soiree. Parsimonious administrations rig them out by making an arrangement with an old clothes shop. Notwithstanding this indignity the male supernumeraries in a theatre consider themselves to be somebody in no way inferior to the leading actors. One day, when Lekain, the famous tragedian of the Théâtre Français, had his shoes blacked in the street, the shoeblack refused the offered payment. "No, no," he said; "colleagues don't take money from each other. We are comrades. You play the kings; I play the Greek and Roman soldiers."

To figure on the stage, even in this humble way, is sometimes a monomania. At the Variétés there was a chorus-singer with an income of a thousand pounds a year. After the first performance of a piece he treated the other chorus-singers to punch at the café of the theatre, telling them, "We have done our utmost to ensure success. It is the manager and the authors who ought to treat us, but, as you know, they are a set of skinflints."

French supers are not to be trifled with. In a tragedy given at the Odéon, EricBernard, who played Artaxerxes, killed himself at the dénouement. The stagemanager had given the supernumeraries orders to catch Artaxerxes, mortally wounded, in their arms, and carry him off the stage. The first night, out of clumsiness or mischievous fun, they let poor EricBernard fall on the boards. He hurt himself, and abused them roundly as a "set of canailles! Auvergnats! useless animals!" and the rest. Then, complaining to their chief, he got every one of them fined.

The following evening, the moment Artaxerxes had stabbed himself, they rushed at him furiously and hauled him more roughly than was agreeable. "The scamps!" he grumbled as soon as he was in the wing; " yesterday they let me break my bones, and to-night they have pinched me black and blue."

Supers are very particular about the distribution of parts. In a fairy piece a set of dominos was represented by men wearing on their backs boards marked with the different numbers. A discontented super gave in his resignation, and told the management they must find a substitute.

"Why, what's the matter?" asked the

astonished directeur; "don't you get your fifteen sous a night like the others?" "It isn't about the sous at all. I am one of the oldest artists belonging to the theatre, and they ought to have made me the double six; instead of that I am the lowest number-the double blank. Rather than submit to such injustice I prefer to leave the theatre."

With difficulty an exchange was effected with another less punctilious super.

Another complained of being put into the hind legs of an elephant, whilst his comrade, a junior member of the corps, occupied the front. He revenged himself by kicking the forelegs' heels every time that their march commenced.

At the time when military pieces were played at the now demolished theatre of the Cirque, double pay had to be given to supers who consented to wear Austrian, Russian, or Prussian uniforms. A French soldier only got fifteen sous and the glory. What most humiliated a super was, not to be killed in battle, but to be taken prisoner.

At a general rehearsal, a Prussian was told how he ought to deliver up his sword to a Frenchman. "Never!" shouted the super.

"Kill me, if you like; but, as to giving up my sword, none of that, if you please! I throw up my engagement."

A compromise was made with this hero. He changed his costume, put on a French uniform, and received fifteen sous less; but his honour was saved.

CHRONICLES OF ENGLISH COUNTIES.

CORNWALL.

NOTWITHSTANDING bright sun and clear, translucent seas, an air of mystery and gloom seems to hang about the coasts of Cornwall. A savage, rock-bound coast is backed by hills that are bleak and barren, without beauty or grandeur; and the little towns that lie among the hollows in the rugged landscape are distinguished by the melancholy bareness that is characteristic of the dwelling-places of the Celtic race. Dispossessed and driven to the bleak corner of the pleasant land that was once ours, of what use to make the desert blossom around us, or disguise the melancholy facts of life by pleasant surroundings? Such is the unspoken lament that is suggested by the aspect of the native settlements in Wales or Cornwall. Among the rugged hills and wild, bleak moorlands, the rude buildings of some deserted mine have the

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