Those who saw the Prince of Wales when he visited this country, would surely fail to recognize the slender, fair-haired, rather graceful youth of that day in the heavy, fat, stolid, prematurely bald, elderly-young-man of this. It would not be easy to see in any assembly a more stupid-looking man than the Prince of Wales is now. On horseback he shows to best advantage. He rides well, and the pleasure he takes in riding lends something of animation to his usually inexpressive face. But when his eyes and features lapse into their habitual condition of indolent, good-natured, stolid repose, all light of intellect seems to have been banished. The outline of the head and face, and the general expression, seemed to me of late to be growing every day more and more like the head and face of George the Third. Anybody who may happen to have a shilling or half-crown of George the Third's time, can see on the coin a very fair presentment of the countenance of the present heir-apparent of the English throne. Whether the Prince of Wales resembles George the Fourth in character and tastes or not, he certainly does not resemble him in face. Even a court sycophant could not pretend to see beauty or grace in our present Prince.
I think that to the eye of the cynic or the satirist the Prince of Wales shows to greatest advantage when he sits in his box at an advanced hour of some rather heavy classic opera, or has to endure a long succession of speeches at a formal public dinner. The heavy head droops, the heavy jaws hang, the languid eyes close, the heir-apparent sinks into a doze. Loyalty itself can see nothing dignified or kingly in him then. I have watched him thus as he sat in his box during some high-class, and to him, doubtless, very heavy performance at the Italian opera, and have thought that at times he might remind irreverent and disloyal observers of Pickwick's immortal fat boy. I have sometimes observed that his little dozes appeared to afford innocent amusement to his sisters, if any of them happened to be in the box; and occasionally one of the Princesses would playfully poke her slumbering brother in the princely ribs, and the Heir of all the Ages would open his eyes and smile languidly, and try to look at the stage and listen to the music; and then, after a while, the heavy head would sink once more on the vast expanse of shirt-front in which the Prince seems to delight, and the fat boy would go to sleep again. But this would only happen at certain performances. There were times when the Prince had eyes and ears open and attentive, even in the opera house. His tastes in general, however, are not for high art in music or the drama. He is very fond of the little theatres where the vivacious blondes display their unconcealed attractions. There are, as everybody knows, several minor theatres in London where the audience, or, I should say more properly, the spectators, will be found to consist chiefly of men, while, on the other hand, the performers are chiefly women. These are the temples of the leg drama. "Pièce aux jambes? Pièce aux cuisses!" indignantly exclaims Eugene Pelletan, denouncing such performances in his "Nouvelle Babylone"; and he goes on to add some cumulative illustrations which I omit. Well, the Prince of Wales loves the pièce aux jambes, and the theatres where it flourishes. He constantly visits theatres at which his wife and sisters are never seen, and in which it would be idle to deny that there are actresses who have made themselves conspicuous objects of popular scandal.
Now, I am far from saying that this necessarily implies anything worse than a low taste on the part of the Prince of Wales. But there are stations in life which render private bad taste a public sin. In London, of late, there has been a just outcry against a certain kind of theatrical performance. It is held to be demoralizing and degrading that the stage should be made simply a show-place for the exhibition of half-naked women, for the audacious display of legs and bosoms. Now, I beg to say for myself that I have entire faith in the dramatic as in every other art; that I believe it always when truthfully pursued vindicates itself, and that I think any costume which the true and legitimate needs of the drama require is fitting, proper, and modest. I regard the ballet, in its place, as a graceful and delightful entertainment; and I do not believe that any healthy and pure mind ought to be offended by the kind of costume which the dance requires. But artists and moralists in London alike objected, and justly objected, to performances the whole purpose, and business, and attraction of which was the exhibition of a crowd of girls as nearly naked as they could venture to show themselves in public.
Now this was undoubtedly the kind of exhibition which the Prince of Wales especially favored and patronized. Night after night, even during the long and lamentable illness of his young wife, he visited such theatres, and gazed upon "those prodigies of myriad nakednesses." Likewise did he much delight in the performances of Schneider—that high priestess of the obscene, rich with the spoils of princes. I say emphatically that there were actions, gestures, bouffonneries performed amid peals of laughter and thunders of applause by this fat Faustina in the St. James's Theatre, London, which were only fit to have gladdened the revels of Sodom and Gomorrah. And this woman was, artistically at least, the prime favorite of the Prince of Wales; and when his brother, the Duke of Edinburgh, reached England for the first time after his escape from the Fenian bullet in Sydney, the par nobile fratrum celebrated the auspicious event by hastening to the theatre where Schneider kicked and wriggled and helped out the point of lascivious songs by a running accompaniment of obscene gestures.
So much at least has to be said against the Prince of Wales, and cannot be gainsaid. All that he could do by countenance and patronage to encourage a debauching and degrading style of theatric entertainment, he has done. He is said to be fond of the singing of the vulgar and low buffoons of the music-halls, and to have had such persons brought specially to his residence, Marlborough House, to sing for him. I have been assured of this often by persons who professed to know; but I do not know anything of it myself, nor is it indeed a matter of any importance. The other facts are known to everybody who reads the London papers. The manager or manageress of a theatre takes good care to announce in the journals when a visit from the Prince of Wales has taken place, and we all thus come to know how many times a week the little theatric temples of nakedness have been honored by his presence.
Am I attaching too much importance to such matters as this? I think not. The social influence and moral example of a royal personage in England are now almost the only agencies by which the royal personage can affect us for good or evil. I hold that no man thoughtful or prudent enough, no matter what his morals, to be fit to occupy the position assigned to the Prince of Wales, would be guilty of lending his public and constant patronage to such exhibitions and amusements as those which he especially patronizes. Moreover, the Prince has often shown a disregard, either cynical or stupid—probably the latter—for public opinion, a heedlessness of public scandal, in other matters as well. He has made companionship for himself among young noblemen conspicuous for their debauchery. At a time, not very long ago, when the Divorce Court was occupied with the hearing of a scandalous cause, in which a certain young duke figured most prominently and disgracefully, this young duke was daily and nightly to be seen the close companion of the Prince of Wales.
Let me touch upon another subject, of a somewhat delicate nature. I have said that there were times when our Prince was always wide awake at the opera house. There is a certain brilliant and capricious little singer whom all England and Germany much admire, and who in certain operatic parts has, I think, no rival. Now, public scandal said that the Prince of Wales greatly admired this lady, and paid her the most marked attentions. Public scandal, indeed, said a great deal more. I hasten to record my conviction that, so far as the fair artiste was concerned, the scandal was wholly unfounded, and that she is a woman of pure character and honor. But the Prince was credited with a special admiration for her; and I am sure the Prince's father under such circumstances would have taken good care to lend no foundation, afford no excuse, for scandal to rest