Sir Edward’s good-nature caused him much distress at my having to journey to and fro.  What could he do?  He offered me the sole use of his library during the time I was there if I could make it in any way helpful, and said it should be fitted up as a bedroom and study.  But it was impossible to do other than I did.  The rehearsals were nearly always going on—­we had audiences as though they were matinees—­and they afforded much amusement to us as well as the spectators when we made our corrections or abused one another for some egregious blunder.  This, of course, did not include Mathews, who coached us from an improvised royalty box, where he graciously acted as George IV., got up in a wonderful Georgian costume for the occasion.  George was so good that he diverted the attention of the audience from us, and made a wonderful hit in his new character.

I will not say that at our regular performances we always won the admiration, but I will affirm that we certainly received the forbearance, of our audience, which says a great deal for them.  This observation, however, does not, of course, apply to the professional artists, but only to myself, who, luckily, through all the business still kept my head.

And it will be easily understood that this was the more difficult, especially if I may include my temper with it, when the good-natured Baronet actually invited several of his Hertford friends and neighbours to take part in the performances, some of them being friends of my own and members of my profession.

So that at this electioneering time the whole of that division was alive with theatricals and “Every Man in his Humour,” which was exactly what Sir Edward wanted.

It was an ordeal for some of us to rehearse with the celebrities of the stage, but I need not say their good-humour and delight in showing how this and that should be done, and how this and that should be spoken, was, I am sure, reciprocated by all the amateurs in studying the corrections.  Never were lessons more kindly given, or received with more pleasurable surprise.  Some could scarcely conceive how they could so blunder in accent and emphasis.  However, most things require learning, even advocacy and acting.

Eliot Yorke was stage-manager, and wrote a very excellent prologue.  It must have been good, it was so heartily applauded, and the same may be said of all of us.  I think Radcliffe studied the part of Old Knowell, while I played Young Knowell.  Speaking after this interval of many years, I believe we were all word-perfect and pretty well conscious of our respective duties.  Charles Dickens arranged our costumes, while Nathan supplied them.  He arranged me well.  I was quite satisfied with my Elizabethan ruff wound round my throat, but must confess that it was a little uncomfortable for the first three or four hours.  My hose also gave me great satisfaction and some little annoyance.

I thought if I could walk into court without changing my costume, what a sensation I should create!  What would Campbell or Jervis say to Young Knowell?