A Simple Story | Page 4

coach, and went to London. The days that followed were full of hazard and adventure, but the details of them are uncertain. She was a girl of eighteen, absolutely alone, and astonishingly attractive--"tall," we are told, "slender, straight, of the purest complexion, and most beautiful features; her hair of a golden auburn, her eyes full at once of spirit and sweetness;" and it was only to be expected that, in such circumstances, romance and daring would soon give place to discomfort and alarm. She attempted in vain to obtain a theatrical engagement; she found herself, more than once, obliged to shift her lodging; and at last, after ten days of trepidation, she was reduced to apply for help to her married sisters. This put an end to her difficulties, but, in spite of her efforts to avoid notice, her beauty had already attracted attention, and she had received a letter from a stranger, with whom she immediately entered into correspondence. She had all the boldness of innocence, and, in addition, a force of character which brought her safely through the risks she ran. While she was still in her solitary lodging, a theatrical manager, named Dodd, attempted to use his position as a cover for seduction. She had several interviews with him alone, and the story goes that, in the last, she snatched up a basin of hot water and dashed it in his face. But she was not to go unprotected for long; for within two months of her arrival in London she had married Mr. Inchbald.
The next twelve years of Mrs. Inchbald's life were passed amid the rough and tumble of the eighteenth-century stage. Her husband was thirty-seven when she married him, a Roman Catholic like herself, and an actor who depended for his living upon ill-paid and uncertain provincial engagements. Mrs. Inchbald conquered her infirmity of speech and threw herself into her husband's profession. She accompanied him to Bristol, to Scotland, to Liverpool, to Birmingham, appearing in a great variety of r?les, but never with any very conspicuous success. The record of these journeys throws an interesting light upon the conditions of the provincial companies of those days. Mrs. Inchbald and her companions would set out to walk from one Scotch town to another; they would think themselves lucky if they could climb on to a passing cart, to arrive at last, drenched with rain perhaps, at some wretched hostelry. But this kind of barbarism did not stand in the way of an almost childish gaiety. In Yorkshire, we find the Inchbalds, the Siddonses, and Kemble retiring to the moors, in the intervals of business, to play blindman's buff or puss in the corner. Such were the pastimes of Mrs. Siddons before the days of her fame. No doubt this kind of lightheartedness was the best antidote to the experience of being "saluted with volleys of potatoes and broken bottles", as the Siddonses were by the citizens of Liverpool, for having ventured to appear on their stage without having ever played before the King. On this occasion, the audience, according to a letter from Kemble to Mrs. Inchbald, "extinguished all the lights round the house; then jumped upon the stage; brushed every lamp out with their hats; took back their money; left the theatre, and determined themselves to repeat this till they have another company." These adventures were diversified by a journey to Paris, undertaken in the hope that Mr. Inchbald, who found himself without engagements, might pick up a livelihood as a painter of miniatures. The scheme came to nothing, and the Inchbalds eventually went to Hull, where they returned to their old profession. Here, in 1779, suddenly and somewhat mysteriously, Mr. Inchbald died. To his widow the week that followed was one of "grief, horror, and almost despair"; but soon, with her old pertinacity, she was back at her work, settling at last in London, and becoming a member of the Covent Garden company. Here, for the next five years, she earned for herself a meagre living, until, quite unexpectedly, deliverance came. In her moments of leisure she had been trying her hand upon dramatic composition; she had written some farces, and, in 1784, one of them, A Mogul Tale, was accepted, acted, and obtained a great success. This was the turning-point of her career. She followed up her farce with a series of plays, either original or adapted, which, almost without exception, were well received, so that she was soon able to retire from the stage with a comfortable competence. She had succeeded in life; she was happy, respected, free.
Mrs. Inchbald's plays are so bad that it is difficult to believe that they brought her a fortune. But no doubt it was their faults that made them popular--their sentimentalities, their melodramatic absurdities, their strangely