Part 11 (1/2)

The man blowing a trumpet, ”Troop, every one, one!” was a street seller of hobby-horses--toys for children of three hundred years ago.

”Call'st thou my love, hobby-horse; the hobby-horse is but a colt.”

_Love's Labour Lost_, Act iii., sc. 1.

He carried them, as represented in the engraving, in a part.i.tioned frame, on his shoulder, and to each horse's head was a small flag with two bells attached. It was a pretty plaything for a ”little master,” and helped him to imitate the galloping of the real and larger hobby-horse in the pageants and mummeries that pa.s.sed along the streets, or pranced in the shows at fairs and on the stage. Now-a-days we give a boy the first stick at hand to thrust between his legs as a Bucephalus--the shadow of a shadow--or the good natured grandpapa wis.h.i.+ng to give my ”young master”

something of the semblance of the generous animal--for the horse is no less popular with boys than formerly, takes his charge to the nearest toyshop and buys him a painted stick on which is a sawn-out representation of a horse's head, which with the addition of a whip will enable him to:--

”Ride a c.o.c.k-horse to Banbury-cross, To see what Tommy can buy; A penny white loaf, a penny white cake, And a twopenny apple-pie.”

[Ill.u.s.tration: BUY A FINE SINGING BIRD!]

The _cries_ of singing birds are extinct; we have only bird-_sellers_. The above engraving, therefore represents a by-gone character.

[Ill.u.s.tration: STRAWBERRIES RIPE, AND CHERRIES IN THE RISE.]

In the earlier days, the above was at once a musical and a poetical cry.

It must have come over the ear, telling of sunny gardens not a sparrow's flight from the City, such as that of the Bishop of Ely in Holborn, and of plenteous orchards which could spare their boughs as well as their fruit:--

”_D. of Glou._--My lord of Ely, when I was last in Holborn, I saw good strawberries in your garden there: I do beseech you send for some of them.

_B. of Ely._--Marry, and I will, my lord, with all my heart.”

_Richard III._, act iii., sc. 4.

[Ill.u.s.tration: FINE ORANGES AND LEMONS.]

The ”orange-women” of Ben Jonson we have figured to the life. The familiar mention of the orange-sellers in the ”Silent Woman,” and this very early representation of one of them, show how general the use of this fruit had become in England at the beginning of the seventeenth century. It is stated, though the story is somewhat apocryphal, that the first oranges were imported by Sir Walter Raleigh. It is probable that about his time they first became an article of general commerce. We now consume about three hundred and fifty millions of oranges every year.

The cla.s.s of bold young women--”Orange Wenches,” that Nell Gwynne made famous is sufficiently alluded to in a pa.s.sage in the _Spectator_, No.

141:

”But, indeed, by such representations, a poet sacrifices the best part of his audience to the worst; and, as one would think, neglects the boxes to write to the _orange-wenches_.”

Rowe and other writers go far to prove that the ”Orange Wenches” who frequented theatres had

”Other Fish to fry, and other Fruit to sell,”

beside supplying refreshment to the young gallants of the day.

In Douglas Jerrold's comedy of ”_Nell Gwynne_,” which was first represented at the Theatre Royal, Haymarket, 9th of January, 1833, with the following cast of characters:--

King Charles the Second MR. JONES.

Sir Charles Berkeley MR. FORRESTER.

Charles Hart, Major Mohun, Managers of the King's Theatre, Drury lane, 1667 MR. DURUSET.

Betterton, Manager of the Duke's Theatre, Lincoln's-inn MR. DIDDEAR.

Joe Haynes MR. MEADOWS.