Chapter XIII.
A Glimpse of Bohemia
‘AH!’ says Thackeray, pathetically, ‘Prague is a pleasant city, but we all lose our way to it late in life.’
The Wopples family were true Bohemians, and had not yet lost their way to the pleasant city. They accepted good and bad fortune with wonderful equanimity, and if their pockets were empty one day, there was always a possibility of their being full the next. When this was the case they generally celebrated the event by a little supper, and as their present season in Ballarat bid fair to be a successful one, Mr Theodore Wopples determined to have a convivial evening after the performance was over.
That the Wopples family were favourites with the Ballarat folk was amply seen by the crowded house which assembled to see ‘The Cruet Stand’. The audience were very impatient for the curtain to rise, as they did not appreciate the overture, which consisted of airs from ‘La Mascotte’, adapted for the violin and piano by Mr Handel Wopples, who was the musical genius of the family, and sat in the conductor’s seat, playing the violin and conducting the orchestra of one, which on this occasion was Miss Jemima Wopples, who presided at the piano. The Wopples family consisted of twelve star artistes, beginning with Mr Theodore Wopples, aged fifty, and ending with Master Sheridan Wopples, aged ten, who did the servants’ characters, delivered letters, formed the background in tableaux, and made himself generally useful. As the cast of the comedy was only eight, two of the family acted as the orchestra, and the remaining two took money at the door. When their duties in this respect were over for the night, they went into the pit to lead the applause.
At last the orchestra finished, and the curtain drew up, displaying an ancient house belonging to a decayed family. The young Squire, present head of the decayed family (Mr Cibber Wopples), is fighting with his dishonest steward (admirably acted by Mr Dogbery Wopples), whose daughter he wants to marry. The dishonest steward, during Act I, without any apparent reason, is struck with remorse, and making his will in favour of the Squire, departs to America, but afterwards appears in the last act as someone else. Leaving his will on the drawing-room table, as he naturally would, it is seized by an Eton boy (Master Sheridan Wopples), who hides it, for some unexplained reason, in the cruet-stand, being the last piece of family plate remaining to the decayed family. This is seized by a comic bailiff (Mr Theodore Wopples), who takes it to his home; and the decayed family, finding out about the will, start to chase the bailiff and recover the stolen property from him. This brought the play on to Act II, which consisted mainly of situations arising out of the indiscriminate use of doors and windows for entrances and exits. The bailiff’s mother-in-law (Mrs Wopples) appears in this act, and, being in want of a new dress, takes the cruet stand to her ‘uncle’ and pawns it; so Act II ends with a general onslaught of the decayed family on Mrs Wopples.
Then the orchestra played the ‘Wopples’ Waltz’, dedicated to Mr Theodore Wopples by Mr Handel Wopples, and during the performance of this Mr Villiers walked into the theatre. He was a little pale, as was only natural after such an adventure as he had been engaged in, but otherwise seemed all right. He walked up to the first row of the stalls, and took his seat beside a young man of about twenty-five, who was evidently much amused at the performance.
‘Hullo, Villiers!’ said this young gentleman, turning round to the new arrival, ‘what d’ye think of the play?’
‘Only just got in,’ returned Mr Villiers, sulkily, looking at his programme. ‘Any good?’ in a more amiable tone.
‘Well, not bad,’ returned the other, pulling up his collar; ‘I’ve seen it in Melbourne, you know—the original, I mean; this is a very second-hand affair.’
Mr Villiers nodded, and became absorbed in his programme; so, seeing he was disinclined for more conversation, the young gentleman turned his attention to the ‘Wopples Waltz’, which was now being played fast and furiously by the indefatigable orchestra of two.
Bartholomew Jarper—generally called Barty by his friends—was a bank clerk, and had come up to Ballarat on a visit. He was well known in Melbourne society, and looked upon himself quite as a leader of fashion. He went everywhere, danced divinely—so the ladies said—sang two or three little songs, and played the same accompaniment to each of them, was seen constantly at the theatres, plunged a little at the races, and was altogether an extremely gay dog. It is, then, little to be wondered at that, satiated as he was with Melbourne gaiety, he should be vastly critical of the humble efforts of the Wopples family to please him. He had met Villiers at his hotel, when both of them being inebriated they swore eternal friendship. Mr Villiers, however, was very sulky on this particular night, for his head still pained him, so Barty stared round the house in a supercilious manner, and sucked the nob of his cane for refreshment between the acts.
Just as the orchestra were making their final plunge into the finale of the ‘Wopples’ Waltz’, M. Vandeloup, cool and calm as usual, strolled into the theatre, and, seeing a vacant seat beside Villiers, walked over and took it.
‘Good evening, my friend,’ he said, touching Villiers on the shoulder. ‘Enjoying the play, eh?’
Villiers angrily pushed away the Frenchman’s hand and glared vindictively at him.
‘Ah, you still bear malice for that little episode of the ditch,’ said Vandeloup with a gay laugh. ‘Come, now, this is a mistake; let us be friends.’
‘Go to the devil!’ growled Villiers, crossly.
‘All right, my friend,’ said M. Vandeloup, serenely crossing his legs. ‘We’ll all end up by paying a visit to that gentleman, but while we are on earth we may as well be pleasant. Seen your wife lately?’
This apparently careless inquiry caused Mr Villiers to jump suddenly out of his seat, much to the astonishment of Barty, who did not know for what reason he was standing up.
‘Ah! you want to look at the house, I suppose,’ remarked M. Vandeloup, lazily; ‘the building is extremely ugly, but there are some redeeming features in it. I refer, of course, to the number of pretty girls,’ and Gaston turned round and looked steadily at a red-haired damsel behind him, who blushed and giggled, thinking he was referring to her.
Villiers resumed his seat with a sigh, and seeing that it was quite useless to quarrel with Vandeloup, owing to that young man’s coolness, resolved to make the best of a bad job, and held out his hand with a view to reconciliation.
‘It’s no use fighting with you,’ he said, with an uneasy laugh, as the other took his hand, ‘you are so deuced amiable.’
‘I am,’ replied Gaston, calmly examining his programme; ‘I practise all the Christian virtues.’
Here Barty, on whom the Frenchman’s appearance and conversation had produced an impression, requested Villiers, in a stage whisper, to introduce him—which was done. Vandeloup looked the young man coolly up and down, and eventually decided that Mr Barty Jarper was a ‘cad’, for whatever his morals might be, the Frenchman was a thorough gentleman. However, as he was always diplomatic, he did not give utterance to his idea, but taking a seat next to Barty’s, he talked glibly to him until the orchestra finished with a few final bangs, and the curtain drew up on Act III.
The scene was the interior of a pawnshop, where the pawnbroker, a gentleman of Hebraic descent (Mr Buckstone Wopples), sells the cruet to the dishonest steward, who has come back from America disguised as a sailor. The decayed family all rush in to buy the cruet stand, but on finding it gone, overwhelm the pawnbroker with reproaches, so that to quiet them he hides them all over the shop, on the chance that the dishonest steward will come back. The dishonest steward does so, and having found the will tears it up on the stage, upon which he is assaulted by the decayed family, who rush out from all parts. Ultimately, he reveals himself and hands back the cruet stand and the