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Updated: May 5, 2025
The fact that the design of this play, whatever it may be, is one deep enough to go down to that place in the social system which Tom o' Bedlam was then peacefully occupying, thinking of anything else in the world but a social revolution on his behalf to bring him up for observation; and that it is high enough to go up to that apex of the social structure on which the crown was then fastened, to fetch down the impersonated state itself, for an examination not less curious and critical; the fact, too, that it was subtle enough to penetrate the retirement of the domestic life, and bring out its innermost passages for scientific criticism; the fact that the relation of the Parent to the Child, and that of the Child to the Parent, the relation of Husband and Wife, and Sister and Brother, and Master and Servant, of Peasant and Lord, nay, the transient relation of Guest and Host, have each their place and part here, and the question of their duty marked not less clearly, than that prominent relation of the King and his Subjects; the fact that these relations come in from the first, along with the political, and demand a hearing, and divide throughout the stage with them; the fact of the mere range of this social criticism, as it appears on the surface of the play, in these so prominent points, is enough to show already, that it is a Radical of no ordinary kind, who is at work behind this drop-scene.
The passion for property is in it. There are many things that we would throw away if we were not afraid that others might pick them up. But I don't want to interrupt you. Go on with your story." "Well, I found myself seated in a horrid little private box, with a vulgar drop-scene staring me in the face. I looked out from behind the curtain, and surveyed the house.
The /cortege/ was formed in the wings, that is in the Cappella della Pieta, the first chapel of the right aisle, and in order to reach it, the Holy Father, coming from his apartments by the way of the Chapel of the Blessed Sacrament, had been stealthily carried behind the hangings of the aisle which served the purpose of a drop-scene.
The birds roost as willingly among the Corinthian capitals as in the crannies of the crag; the same atmosphere and daylight clothe the eternal rock and yesterday's imitation portico; and as the soft northern sunshine throws out everything into a glorified distinctness or easterly mists, coming up with the blue evening, fuse all these incongruous features into one, and the lamps begin to glitter along the street, and faint lights to burn in the high windows across the valley the feeling grows upon you that this is a piece of nature in the most intimate sense; that this profusion of eccentricities, this dream in masonry and living rock, is not a drop-scene in a theater, but a city in the world of everyday reality, connected by railway and telegraph wire with all the capitals of Europe, and inhabited by citizens of the familiar type, who keep ledgers, and attend church, and have sold their immortal portion to a daily paper....
It was the girl he had seen in the corner as he was taking off his puttees: the girl who had looked at him with eyes that held the sadness of the world and its despair in them; the girl who had vanished so quickly. Her disappearance did not strike him as peculiar; she would explain when she came. And so the Kid waited for the drop-scene to lift.
I tell him we shall see; one must not expect to be a prophet in one's own country. But I am half promised a commission at the Hampton Theatre a new drop-scene. My sketch is approved it is a Forest view. The decision must come soon." Everybody present wished the young fellow success.
There was a dreadful orchestra, presided over by a young Jew who sat at a cracked piano, that nearly drove me away, but at last the drop-scene was drawn up, and the play began. Romeo was a stout elderly gentleman, with corked eyebrows, a husky tragedy voice, and a figure like a beer-barrel. Mercutio was almost as bad.
He was quite interested in it, as he was interested in everything new. He had a genius for living in the moment. I remember there was a drop-scene on which was daubed a blue lake with very green hills in the distance. As the tobacco smoke grew thicker and the fiddles went on squealing, this tawdry picture began to mesmerize me.
Five years! the author tells us especially to humor the belief by letting the drop-scene linger longer than usual between the lamps and the stage. Play up, O ye fiddles and kettle-drums! the time is elapsed. Stop that cat-call, young gentleman; heads down in the pit there! Now the flourish is over, the scene draws up: look before.
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