After the murder Thurtell drove back to London and had a hearty supper at an eating-house. Judge Park, who tried him, is said to have exclaimed: “Commit a murder and eat six pork chops! Good God, what dreams the man must have had.” Catherine Hayes was also a well-known miscreant.
He recommends (p. 452) that frets should be added to the Double Bass, which would “give clearness to many rapid passages which at present only make a rumbling noise.”
I have forgotten the name of the beast, but he was an unpopular fellow of Jesus.
In the version quoted by Sydney Smith (Memoir and Letters, vol. ii., p. 457) the last line is “I tarnished neither name”; the punctuation is slightly different from the above, which is taken from the Dict. of Nat. Biog. In 1803 he went to Rugby, the idea being that he should go to the Bar. In 1810 Macready made his first appearance on the stage, taking the part of Romeo with considerable success. Mrs Siddons, with whom he acted, encouraged him—telling him to “study, study, study, and do not marry till you are thirty.” During the four years he remained with his father he played seventy-four parts. He seems to have failed to agree with his father, and took an engagement at Bath in 1814. In 1816 he made his first appearance at Covent Garden. Kean was in the audience and applauded loudly. His Richard III. (in London 1819) took a firm hold of the public and established “a dangerous rivalry for Kean.” His temper seems to have been violent, for in 1836 he knocked down Bunn as “a damned scoundrel” and had to pay damages. In 1837 he was manager of Covent Garden Theatre. He was the original Claude Melnotte in 1838. In 1850 he played at Windsor Castle under Charles Kean, who “sent him a courteous message and received a characteristically churlish reply.” He took the last of many farewell performances in 1851. His diary and reminiscences have been edited by Sir F. Pollock. |