Instructor Resource

Harnois, Analyzing Inequalities

SAGE Publishing, 2018
Solution Manual for Analyzing Inequalities An
Introduction to Race Class Gender and Sexuality
Using the General Social Survey 1st Edition
Harnois 1506304117 9781506304113
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Answers to In-Text Questions: Essays

Chapter 5: Analyzing Class With the GSS

1. What sociodemographic characteristics are related to respondents’ beliefs about class-

based inequality? Identify one variable that you think plays a role in determining beliefs
about class inequality. Identify three questions that assess respondents’ beliefs about
class inequality. Construct three separate cross-tabs that examine how the
sociodemographic characteristic you have chosen relates to these beliefs about class
inequality. If you use an ordinal- or interval-ratio-level variable such as AGE, recode it so
that it has four categories or fewer. Interpret your results.

Correct answers to this question may vary. Some of the variables that tap respondents’
attitudes about class inequality are:

• WHYPOOR1 Now I will list reasons some people give to explain why there are poor
people in this country. Please tell me whether you feel each of these is very important,
somewhat important, or not important in explaining why there are poor people in this
country: Failure of society to provide good schools for many Americans.
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
• WHYPOOR2 Now I will list reasons some people give to explain why there are poor
people in this country. Please tell me whether you feel each of these is very important,
somewhat important, or not important in explaining why there are poor people in this
country: Loose morals and drunkenness
• WHYPOOR3 Now I will list reasons some people give to explain why there are poor
people in this country. Please tell me whether you feel each of these is very important,
somewhat important, or not important in explaining why there are poor people in this
country. Failure of industry to provide enough jobs.
• GOVEDOP Do you agree or disagree: The government should provide more chances for
children from poor families to go to college.
• POVSCHS Here are several things that the government in Washington might do to deal
with the problems of poverty and unemployment. I would like you to tell me if you favor
or oppose them: Spending more money on the schools in poor neighborhoods especially
for pre-school and early education programs.
• GETAHEAY Which do you think is the most important reason why people get ahead:
their own hard work or lucky breaks and help from other people?
• GOVLESS Do you agree or disagree: e. The government should spend less on benefits for
the poor.

Attitudes about class inequality should be the dependent variable (in the Row field), and the socio-
demographic characteristic the student has selected should be the independent variable (in the Column
field). Figures 5.1 – 5.3 below show examples of the cross-tabs a student might make, where RACE (R’s
racial group) is the independent variable. The variables WHYPOOR1, WHYPOOR2, and WHYPOOR3 were
each asked only in the 1990 survey. The independent variable should be in the Column Field, and the
dependent variable should be in the Row field.

When interpreting their results, students should follow the examples presented at the end of the
chapter. The basic steps are summarized below:
1. Remind your audience of the basics
a. Restate your research question
b. Remind your audience of the data source and the specific variables you used to answer
the question
c. Identify and describe the dependent and independent variables, clearly stating how
each variable was coded
d. Specify the number of cases included in each analysis
2. Focus on specifics
3. Consider the big picture
4. Consider limitations
5. Summarize your conclusions

Figure 5.1
Variables
Role Name Label Range MD Dataset
Row WHYPOOR3 NOT ENOUGH JOBS 1-3 0,8,9 1
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
Column RACE RACE OF RESPONDENT 1-3 0 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Frequency Distribution
Cells contain: RACE
-Column percent 1 2 3 ROW
-Weighted N WHITE BLACK OTHER TOTAL
33.6 54.5 46.1 36.5
1: VERY IMPORTANT
377.8 83.4 28.2 489.4
43.4 33.7 36.5 41.9
2: SOMEWHAT IMPORTANT
487.8 51.5 22.3 561.6
WHYPOOR3
23.1 11.8 17.4 21.5
3: NOT IMPORTANT
259.3 18.1 10.6 288.0
100.0 100.0 100.0 100.0
COL TOTAL
1,124.8 153.0 61.1 1,339.0

Figure 5.2
Variables
Role Name Label Range MD Dataset
Row WHYPOOR2 LOOSE MORALS AND DRUNKENNESS 1-3 0,8,9 1
Column RACE RACE OF RESPONDENT 1-3 0 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Frequency Distribution
Cells contain: RACE
-Column percent 1 2 3 ROW
-Weighted N WHITE BLACK OTHER TOTAL
40.3 37.7 33.3 39.7
1: VERY IMPORTANT
451.1 56.3 18.6 526.0
35.2 27.4 40.0 34.5
2: SOMEWHAT IMPORTANT
393.7 40.9 22.3 457.0
WHYPOOR2
24.5 34.9 26.7 25.7
3: NOT IMPORTANT
273.6 52.1 14.9 340.6
100.0 100.0 100.0 100.0
COL TOTAL
1,118.5 149.3 55.8 1,323.6

Figure 5.3
Variables
Role Name Label Range MD Dataset
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
Row WHYPOOR3 NOT ENOUGH JOBS 1-3 0,8,9 1
Column RACE RACE OF RESPONDENT 1-3 0 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Frequency Distribution
Cells contain: RACE
-Column percent 1 2 3 ROW
-Weighted N WHITE BLACK OTHER TOTAL
33.6 54.5 46.1 36.5
1: VERY IMPORTANT
377.8 83.4 28.2 489.4
43.4 33.7 36.5 41.9
2: SOMEWHAT IMPORTANT
487.8 51.5 22.3 561.6
WHYPOOR3
23.1 11.8 17.4 21.5
3: NOT IMPORTANT
259.3 18.1 10.6 288.0
100.0 100.0 100.0 100.0
COL TOTAL
1,124.8 153.0 61.1 1,339.0

2. Sociologists use the term job autonomy to refer to the amount of control workers can
exercise over their scheduling and work pace as well as the extent to which they are
able to exercise creativity and independence on the job. To what extent do people of
different class statuses have different access to job autonomy? Create three different
cross-tab analyses where DEGREE is the independent variable in each one and
LOTOFSAY, MYSKILLS, and SETTHNGS are the different dependent variables. Interpret
your results, giving particular attention to how your findings highlight the connections
between the micro and macro levels of society.

Figures 5.4 – 5.6 show the analyses that students should produce (assuming they do not
use a filter for year, and that they are using the GSS 1972 – 2014 dataset).

When interpreting their results, students should follow the examples presented at the
end of the chapter. The basic steps are:
1. Remind your audience of the basics
a. Restate your research question
b. Remind your audience of the data source and the specific variables you
used to answer the question
c. Identify and describe the dependent and independent variables, clearly
stating how each variable was coded
d. Specify the number of cases included in each analysis
2. Focus on specifics
3. Consider the big picture
4. Consider limitations
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
5. Summarize your conclusions

Figure 5.4
Variables
Role Name Label Range MD Dataset
Row LOTOFSAY R HAS LOT OF SAY IN JOB 1-4 0,8,9 1
Column DEGREE RS HIGHEST DEGREE 0-4 7,8,9 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Frequency Distribution
DEGREE
Cells contain:
-Column percent 0 1 2
3 4 ROW
-Weighted N LT HIGH HIGH JUNIOR
BACHELOR GRADUATE TOTAL
SCHOOL SCHOOL COLLEGE
1:
22.5 26.3 36.6 33.9 45.6 30.4
Strongly
65.9 492.1 131.7 232.7 156.6 1,078.9
Agree
45.3 39.6 39.4 45.6 39.5 41.2
2: Agree
132.7 739.5 141.7 313.1 135.7 1,462.6
3: 24.5 26.3 20.5 17.2 11.5 22.3
LOTOFSAY
Disagree 71.7 490.6 73.5 117.8 39.5 793.1
4:
7.6 7.8 3.5 3.3 3.4 6.1
Strongly
22.3 145.7 12.4 22.8 11.7 215.0
Disagree
COL 100.0 100.0 100.0 100.0 100.0 100.0
TOTAL 292.6 1,867.9 359.3 686.3 343.4 3,549.6

Figure 5.5

Variables
Role Name Label Range MD Dataset
Row MYSKILLS JOB ALLOWS R USE OF SKILLS 1-4 0,8,9 1
Column DEGREE RS HIGHEST DEGREE 0-4 7,8,9 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Frequency Distribution
DEGREE
Cells contain:
-Column percent 0 1 2
3 4 ROW
-Weighted N LT HIGH HIGH JUNIOR
BACHELOR GRADUATE TOTAL
SCHOOL SCHOOL COLLEGE
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
1:
37.2 34.9 52.1 43.4 56.2 40.7
Strongly
159.8 850.8 240.5 401.6 276.3 1,929.0
Agree
51.6 53.0 39.4 47.0 40.7 49.1
2: Agree
221.8 1,289.8 181.9 435.5 200.3 2,329.3
3: 9.5 9.8 6.7 7.9 2.5 8.4
MYSKILLS
Disagree 40.7 239.2 30.9 73.3 12.4 396.4
4:
1.8 2.3 1.9 1.7 .6 1.9
Strongly
7.7 55.1 8.7 15.9 3.0 90.3
Disagree
COL 100.0 100.0 100.0 100.0 100.0 100.0
TOTAL 429.9 2,434.9 462.0 926.3 491.9 4,744.9

Figure 5.6
Variables
Role Name Label Range MD Dataset
HOW OFTEN R SET WAY THINGS
Row SETTHNGS 1-4 0,8,9 1
DONE
Column DEGREE RS HIGHEST DEGREE 0-4 7,8,9 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Frequency Distribution
DEGREE
Cells contain: 0 1 2
-Column percent 3 4 ROW
LT HIGH HIGH JUNIOR
-Weighted N BACHELO GRADUAT TOTA
SCHOO SCHOO COLLEG
R E L
L L E
42.6 42.4 52.1 48.1 50.0 45.2
1: Often
126.6 789.7 186.1 329.1 170.9 1,602.3
2:
30.3 34.4 34.0 35.1 31.5 33.9
Sometime
90.0 641.5 121.3 240.2 107.5 1,200.5
s
SETTHNG
12.4 13.9 10.5 12.6 11.8 13.0
S 3: Rarely
36.8 258.9 37.4 86.5 40.1 459.7
14.6 9.3 3.4 4.2 6.7 7.9
4: Never
43.4 173.2 12.3 28.9 22.9 280.8
COL 100.0 100.0 100.0 100.0 100.0 100.0
TOTAL 296.8 1,863.4 357.0 684.7 341.4 3,543.3
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
3. To what extent does class structure physical and mental health? Conduct three
comparisons of means by entering CLASS in the “Row” field and PHYSHLTH, MNTLHLTH,
and HLTHDAYS (separately) in the “Dependent” field. Use a filter to restrict your analysis
to data from the years 2010 through 2014. (Hint: Make sure you are on the “Means” tab
within the “Analysis” page of the SDA.) Interpret your results, giving particular attention
to how your findings highlight the connections between the micro and macro levels of
society.

Figures 5.7 – 5.9 show the analyses that students should produce.

When interpreting their results, students should follow the examples presented at the
end of the chapter. The basic steps are:
1. Remind your audience of the basics
a. Restate your research question
b. Remind your audience of the data source and the specific variables you
used to answer the question
c. Identify and describe the dependent and independent variables, clearly
stating how each variable was coded
d. Specify the number of cases included in each analysis
2. Focus on specifics
3. Consider the big picture
4. Consider limitations
5. Summarize your conclusions

Figure 5.7
Variables
Role Name Label Range MD Dataset
DAYS OF POOR PHYSICAL -
Dependent PHYSHLTH 0-30 1
HEALTH PAST 30 DAYS 1,98,99
SUBJECTIVE CLASS
Row CLASS 1-5 0,8,9 1
IDENTIFICATION
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
YEAR(2010- GSS YEAR FOR THIS
Filter 1972-2014 1
2014) RESPONDENT
Main Statistics
Cells contain:
-Mean
-Complex Std Errs
-Weighted N
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
6.07
1: LOWER CLASS 1.012
119.9
2.74
2: WORKING CLASS .197
1,272.5
2.25
CLASS 3: MIDDLE CLASS .212
997.3
1.92
4: UPPER CLASS .716
59.9
2.68
COL TOTAL .163
2,449.6

Figure 5.8
Variables
Role Name Label Range MD Dataset
DAYS OF POOR MENTAL -
Dependent MNTLHLTH 0-30 1
HEALTH PAST 30 DAYS 1,98,99
SUBJECTIVE CLASS
Row CLASS 1-5 0,8,9 1
IDENTIFICATION
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
YEAR(2010- GSS YEAR FOR THIS
Filter 1972-2014 1
2014) RESPONDENT
Main Statistics
Cells contain:
-Mean
-Complex Std Errs
-Weighted N
5.89
1: LOWER CLASS .751
167.9
4.00
CLASS 2: WORKING CLASS .191
1,874.6
2.86
3: MIDDLE CLASS .169
1,507.4
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
2.75
4: UPPER CLASS .679
99.2
3.58
COL TOTAL .134
3,649.1

Figure 5.9
Variables
Role Name Label Range MD Dataset
DAYS OF ACTIVITY -
Dependent HLTHDAYS 0-30 1
LIMITATION PAST 30 DAYS 1,98,99
SUBJECTIVE CLASS
Row CLASS 1-5 0,8,9 1
IDENTIFICATION
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
YEAR(2010- GSS YEAR FOR THIS
Filter 1972-2014 1
2014) RESPONDENT
Main Statistics
Cells contain:
-Mean
-Complex Std Errs
-Weighted N
3.08
1: LOWER CLASS .682
121.1
1.39
2: WORKING CLASS .133
1,269.3
1.04
CLASS 3: MIDDLE CLASS .119
999.9
1.56
4: UPPER CLASS .599
59.0
1.33
COL TOTAL .084
2,449.2

4. Sociologists use the term homophily to refer to the fact that individuals tend to create
and maintain relationships with people who are similar to themselves. To what extent
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
do those GSS respondents who are married end up marrying people with similar class
backgrounds? To answer this question, first create a cross-tab of DEGREE and SPDEG
using DEGREE as the independent variable and SPDEG as the dependent variable. Use a
filter to restrict your analysis to data from the years 2010 to 2014. Then conduct a
comparison of means using DEGREE as the “Row” variable and SPPRES80 as the
“Dependent” variable. In this comparison of means, use a filter to restrict your analysis
to data from the year 2010—the most recent year for which occupational prestige data
exist. Interpret your results.

Figures 5.10 – 5.11 show the analyses that students should produce.

When interpreting their results, students should follow the examples presented at the
end of the chapter. The basic steps are:
1. Remind your audience of the basics
a. Restate your research question
b. Remind your audience of the data source and the specific variables you
used to answer the question
c. Identify and describe the dependent and independent variables, clearly
stating how each variable was coded
d. Specify the number of cases included in each analysis
2. Focus on specifics
3. Consider the big picture
4. Consider limitations
5. Summarize your conclusions

Figure 5.10
Variables
Role Name Label Range MD Dataset
Row SPDEG SPOUSES HIGHEST DEGREE 0-4 7,8,9 1
Column DEGREE RS HIGHEST DEGREE 0-4 7,8,9 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
YEAR(2010-
Filter GSS YEAR FOR THIS RESPONDENT 1972-2014 1
2014)
Frequency Distribution
DEGREE
Cells contain:
-Column percent 0 1 2
3 4 ROW
-Weighted N LT HIGH HIGH JUNIOR
BACHELOR GRADUATE TOTAL
SCHOOL SCHOOL COLLEGE
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
0: LT HIGH 56.2 9.9 8.3 1.3 .9 12.2
SCHOOL 226.4 153.4 22.2 9.4 4.4 415.7
1: HIGH 37.8 66.4 53.5 29.5 20.0 47.8
SCHOOL 152.6 1,028.0 143.4 216.9 92.0 1,633.0
2: JUNIOR 3.7 7.6 19.4 7.8 3.9 7.6
COLLEGE 14.9 117.9 52.0 57.7 17.8 260.3
SPDEG
3: 1.0 12.0 12.1 43.2 31.3 20.0
BACHELOR 4.1 185.2 32.5 318.3 143.9 684.2
4: 1.3 4.1 6.8 18.2 43.8 12.4
GRADUATE 5.2 63.3 18.1 134.1 201.4 422.2
100.0 100.0 100.0 100.0 100.0 100.0
COL TOTAL
403.2 1,547.8 268.2 736.5 459.6 3,415.4

Figure 5.11
Variables
Role Name Label Range MD Dataset
SPOUSES OCCUPATIONAL
Dependent SPPRES80 17-86 0 1
PRESTIGE SCORE (1980)
Row DEGREE RS HIGHEST DEGREE 0-4 7,8,9 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
Filter YEAR(2010) GSS YEAR FOR THIS RESPONDENT 1972-2014 1
Main Statistics
Cells contain:
-Mean
-Complex Std Errs
-Weighted N
35.32
0: LT HIGH SCHOOL .966
100.5
41.79
1: HIGH SCHOOL .663
467.7
DEGREE
44.15
2: JUNIOR COLLEGE 2.000
69.4
51.52
3: BACHELOR 1.190
194.0
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
53.51
4: GRADUATE 1.076
135.8
44.88
COL TOTAL .600
967.4

5. To what extent do racial/ethnic and gender differences relate to differences in personal

income? Conduct two comparisons of means by entering RINCOM06 in the
“Dependent” field and RACEHISP and then SEX in the “Row” field. Use a filter to restrict
your analysis to data from the years 2010 through 2014. Interpret your results,
remembering that you may have to view the variable RINCOM06 to understand what
the mean values represent. In your interpretation, give particular attention to how your
findings highlight the intersections of race/ethnicity and gender with class.

Figures 5.12 – 5.13 show the analyses that students should produce.

When interpreting their results, students should follow the examples presented at the
end of the chapter. The basic steps are:
1. Remind your audience of the basics
a. Restate your research question
b. Remind your audience of the data source and the specific variables you
used to answer the question
c. Identify and describe the dependent and independent variables, clearly
stating how each variable was coded
d. Specify the number of cases included in each analysis
2. Focus on specifics
3. Consider the big picture
4. Consider limitations
5. Summarize your conclusions

Figure 5.12
Variables
Role Name Label Range MD Dataset
0,26-
Dependent RINCOM06 RESPONDENTS INCOME 1-25 1
99
Row RACEHISP Race with Hispanic (2000 and later) 1-4 9 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
YEAR(2010- GSS YEAR FOR THIS
Filter 1972-2014 1
2014) RESPONDENT
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
Main Statistics
Cells contain:
-Mean
-Complex Std Errs
-Weighted N
15.10
1: White .223
2,615.0
13.32
2: Black .356
564.8
12.67
RACEHISP 3: Hispanic .369
578.3
15.55
4: Other .799
198.5
14.52
COL TOTAL .203
3,956.7

Figure 5.13
Variables
Role Name Label Range MD Dataset
0,26-
Dependent RINCOM06 RESPONDENTS INCOME 1-25 1
99
Row SEX RESPONDENTS SEX 1-2 0 1
Composite weight = WTSSALL * .1913-
Weight COMPWT 1
OVERSAMP * FORMWT 11.1261
YEAR(2010- GSS YEAR FOR THIS
Filter 1972-2014 1
2014) RESPONDENT
Main Statistics
Cells contain:
-Mean
-Complex Std Errs
-Weighted N
15.71
SEX 1: MALE .230
1,940.0
 Instructor Resource
Harnois, Analyzing Inequalities
SAGE Publishing, 2018
13.37
2: FEMALE .241
2,016.7
14.52
COL TOTAL .203
3,956.7
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the next eight or nine years, the best Falstaff possessed by London
was Henderson. He played the part first at Drury, and afterward at
Covent Garden. Since Quin, there had been no better representative
of Sir John; and even Palmer, in 1788, could not bring the town from
its allegiance to “admirable Henderson.”
The Falstaffs of the present century, in the second part of this
historical play, have not achieved a greater triumph than Henderson.
Cooke, who played the obese cavalier, in 1804, was not equal to the
part; and Fawcett, in 1821, when the play was revived, with another
coronation pageant in honor of George IV., was farther from success
than Cooke. The managers at this period were wiser than those who
“got up” the play at the period of the accession of George III., for
they retained Shallow and Silence, and never were the illustrious two
so inimitably represented as, on this occasion, by Farren and Emery.
The chief Falstaffs of the “Merry Wives of Windsor” are Betterton
(1704), Hulett (1732), Quin (1734), Delane, the young Irish actor
(1743), of whom Garrick was foolish enough to be jealous; Shuter
(1758), Henderson, who first played it at the Haymarket in 1777, and
Lee Lewis in 1784. Bartley, Phelps, and a clever provincial actor,
now in London, named Bartlett, have also played this character with
great effect. The Falstaff of the last-named actor is particularly good.
I have said that Quin was the greatest of Falstaffs, but the greatest in
the physical acceptation of the term, was undoubtedly Stephen
Kemble. This actor was born almost upon the boards. His clever, but
not very gentle-tempered mother, had just concluded her
performance of Anne Bullen, in a barn, or something like it, at
Kingstown, Herefordshire (1758), when Stephen was born, about the
period when, according to the action of the play, the Princess
Elizabeth is supposed to first see the light. Stephen when he had
grown to manhood, weighed as much as all his sisters and brothers
put together; and on the 7th of October, 1802, he made his
appearance at Drury, in the character of Falstaff. This was nearly
twenty years after he had made his début in London, at Covent
Garden, in Othello. Bannister junior prefaced his performance of the
companion of Prince Hal, by some humorous lines, joking on the
heaviness of the actor. As Pope played Hotspur, I should fancy, if
Pope then was anything like what he was some fifteen or sixteen
years later, that Hotspur was even heavier than Sir John. The lines
alluded to were accounted witty; and I will conclude my record of the
principal actors who have represented the knight, by reproducing
them.

A Falstaff here to-night, by nature made,

Lends to your fav’rite bard his pond’rous aid;
No man in buckram, he! no stuffing gear,
No feather bed, nor e’en a pillow here!
But all good honest flesh and blood, and bone,
And weighing, more or less, some thirty stone.
Upon the northern coast by chance we caught him,
And hither, in a broad-wheeled wagon, brought him:
For in a chaise the varlet ne’er could enter,
And no mail-coach on such a fare would venture.
Blessed with unwieldiness, at least his size
Will favor find in every critic’s eyes.
And should his humor and his mimic art
Bear due proportion to his outward part,
As once was said of Macklin in the Jew,
“This is the very Falstaff Shakespeare drew.”
To you, with diffidence, he bids me say,
Should you approve, you may command his stay,
To lie and swagger here another day.
If not, to better men he’ll leave his sack,
And go, as ballast, in a collier back.

In concluding this section of my gossiping record, I will add that the

supposition of Shakespeare having intended to represent Sir John
Oldcastle under the title of Sir John Falstaff, is merely a supposition.
It has never been satisfactorily made out. Far otherwise is the case
with that gallant Welsh man-at-arms, Fluellin. The original of this
character was a David Gam of Brecknock, who having killed a
cousin with an unpronounceable name, in the High Street of
Brecknock, avoided the possibly unpleasant consequences by
joining the Lancastrian party. Gam was merely a nickname, having
reference to an obliquity of vision in the doughty and disputative
David. The real name was Llewellyn; and if Shakespeare disguised
the appellation, it was from notions of delicacy, probably, as the
descendants of the hero were well known and respected at the
English court in Shakespeare’s time. Jones, in his “History of
Brecknockshire,” identifies the personage in question in this way: “I
have called Fluellin a burlesque character, because his pribbles and
prabbles, which were generally out-heroded, sound ludicrously to an
English as well as a Welsh ear; yet, after all, Llewellyn is a brave
soldier and an honest fellow. He is admitted into a considerable
degree of intimacy with the King, and stands high in his good
opinion, which is a strong presumptive proof, notwithstanding
Shakespeare, the better to conceal his object, describes the death of
Sir David Gam, that he intended David Llewellyn by his portrait of the
testy Welshman, for there was no other person of that country in the
English army, who could have been supposed to be upon such terms
of familiarity with the King.” It is singular that the descendants of the
Welsh knight subsequently dropped the proud old name with more
l’s in it than syllables, and adopted the monosyllabic soubriquet.
Squinting David, who fought so well at Agincourt, would have
knocked down any man who would have dared to address him
personally as “Gam,” that is, “game,” or “cock-eyed.” His posterity
proved less susceptible; and Mr. Jones says of them, in a burst of
melancholy over fallen greatness: “At different periods between the
years 1550 and 1700, I have seen the descendants of the hero of
Agincourt (who lived like a wolf and died like a lion) in the
possession of every acre of ground in the county of Brecon; at the
commencement of the eighteenth century, I find one of them
common bellman of the town of Brecknock, and before the
conclusion, two others, supported by the inhabitants of the parish
where they reside; and even the name of Gam is, in the legitimate
line, extinct.” Mr. Jones might have comforted himself by
remembering that as the Gams went out, the Kembles came in, and
that the illustrious Sarah dignified by her birth the garret of that
“Shoulder of Mutton” public-house, which stood in the street where
chivalrous but squinting Davy had slain his cousin with the
unpronounceable name.
John Kemble occasionally took some unwarrantable liberties with
Shakespeare. When he produced the “Merry Wives of Windsor” at
Covent Garden, in April, 1804 (in which he played Ford to Cooke’s
Falstaff), he deprived Sir Hugh Evans of his knightly title, out of
sheer ignorance, or culpable carelessness. Blanchard was
announced for “Hugh Evans,” without the Sir. Hawkins, quoting
Fuller, says that “anciently in England, there were more Sirs than
Knights;” and as I have noticed in another page, the monosyllabic Sir
was common to both clergymen and knights. To the first, however,
only by courtesy, when they had attained their degree of B. A. In a
“New Trick to cheat the Devil,” Anne says to her sire, “Nay, sir;” to
which the father replies—

“Sir me no sirs! I am no knight nor churchman.”

But John Kemble was complimentary to Shakespeare, compared

with poor Frederick Reynolds, who turned the “Merry Wives of
Windsor” into an opera, in 1824; and although Dowton did not sing
Falstaff, as Lablache subsequently did, the two wives, represented
by Miss Stephens and Miss Cubitt, warbled, instead of being merry
in prose, and gave popularity to “I know a bank.” At the best, Fenton
is but an indifferent part, but Braham was made to render it one
marked especially by nonsense. Greenwood had painted a scene
representing Windsor under a glowing summer sky, under which
Fenton (Braham) entered, and remarked, very like Shakespeare:
“How I love this spot where dear Anne Page has often met me and
confessed her love! Ha! I think the sky is overcast—the wind, too,
blows like an approaching storm. Well, let it blow on! I am prepared
to brave its fury.” Whereupon the orchestra commenced the
symphony, and Mr. Braham took a turn up the stage, according to
the then approved plan, before he commenced his famous air of
“Blow, blow, thou winter wind!” And the fun-anent Falstaff and the
Fords was kept waiting for nonsense like this!
While on the subject of the chivalrous originals of the mock knights
of the Stage, I may be permitted to mention here, that Jonson’s
Bobadil was popularly said to have been named after, if not founded
upon, a knight in the army of the Duke of Alva, engaged in subduing
the Netherlands beneath the despotism of Philip II. According to
Strada, after the victory at Giesen, near Mons, in 1570, Alva sent
Captain Bobadilla to Spain, to inform Philip of the triumph to his
arms. “The ostentation of the message, and still more of the person
who bore it, was the origin of the name being applied to any vain-
glorious boaster.” The Bobadilla family was an illustrious one, and
can hardly be supposed to have furnished a member who, in any
wise, resembles Jonson’s swashbuckler. On the other hand, there
was Boabdil, the last sultan of Granada, who had indeed borne
himself lustily, in his early days, in the field, but who at last cried like
a child at losing that Granada which he was not man enough to
defend. But it would be injustice even to the son of Muley Abel
Hassan, to imagine that Jonson only took his name to distinguish
therewith the knight of huge words and weapons who lodged with
Oliver Cob the Water-bearer.
The few other Stage Knights whom I have to name, I will introduce
them to the reader in the next chapter.
 STAGE KNIGHTS.
“The stage and actors are not so contemptful
As every innovating puritan,
And ignorant swearer, out of jealous envy,
Would have the world imagine.”— George Chapman.

The Commonwealth had no admiration for the stage, and no

toleration for actors. When theatricals looked up again, the stage
took its revenge, and seldom represented a puritan who was not a
knave. There is an instance of this in the old play, entitled “The
Puritan, or the Widow of Watling Street.” “Wilt steal me thy master’s
chain?” quoth Captain Idle to Nicholas St. Antlings, the puritan
serving-man. “Steal my master’s chain!” quoth Nicholas; “no, it shall
ne’er be said that Nicholas St. Antlings committed bird-lime.
Anything else that I can do,” adds the casuist in a serge jerkin, “had
it been to rob, I would ha’ done it; but I must not steal, that’s the
word, the literal, Thou shalt not steal; and would you wish me to steal
then?” “No, faith,” answers Pyeboard, the scholar; “that were too
much;—but wilt thou nim it from him?” To which honest St. Nicholas,
so anxious to observe the letter of the law, so careless about its
spirit, remarks, with alacrity, “That, I will!”
I have said in another page, that ridicule was especially showered
down upon some of those whom Oliver delighted to honor. As late as
the era of Sir George Etherege, we find “one of Oliver’s knights”
figuring as the buffoon of that delicate gentleman’s comedy, “The
Comical Revenge.” It is hardly creditable to the times, or to the
prevailing taste, that the theatre in Lincoln’s-inn Fields cleared one
thousand pounds, in less than a month, by this comedy; and that the
company gained more reputation by it, than by any preceding piece
represented on the same stage. The plot is soon told. Two very fine
and not very profligate gentlemen, Lord Beaufort and Colonel Bruce,
are in love with a tolerably-refined lady, Graciana. The lord wins the
lady, and the philosophical soldier accepts a certain Aurelia, who has
the singular merit of being in love with the Colonel. The under-plot
has “Oliver’s knight” for its hero. The latter is a Sir Nicholas Cully
who is cheated out of a promissory note for one thousand pounds,
by two gentlemen-sharpers, Wheadle and Palmer. Sir Nicholas is
partly saved by the gay, rather than moral, Sir Frederick Frolick. The
latter recovers the note, but he passes off his mistress on Sir
Nicholas as his sister, and induces him to marry her. The only
difference between the sharpers and the “Knight baronet,” Sir
Frederick, is this:—Wheadle had dressed up his mistress, Grace, as
Widow Rich; and Sir Nicholas had engaged to marry her, under
certain penalties, forced on him by Wheadle and his friend. Sir
Frederick, at the conclusion, marries the Widow, to oblige a lady who
is fond of him, and the curtain falls upon the customary indecent
jokes, and the following uneasy and metrical maxim:—

“On what small accidents depends our Fate,

While Chance, not Prudence, makes us fortunate.”

What the two Bettertons made of Lord Beaufort and Graciana, I do

not pretend to say, but Nokes is said to have been “screamingly
farcical,” to adopt an equivalent modern phrase, in Sir Nicholas
Cully. His successor, Norris, fell short of the great original in broad
humor, but Nokes himself was surpassed by Dogget, who played
“Oliver’s Knight” with all the comic effect which he imparted to the
then low comedy part of Shylock. It is inexplicable to me how any
actor would ever have extracted a laugh from the audience at
anything he had to say, or chose to do, when enacting the “Cavalier
of the Commonwealth.” There is not a humorous speech, nor a witty
remark, nor a comic situation for the knight to profit by. In 1664,
however, people could laugh heartily at seeing one of the Protector’s
knights swindled, and beaten on the stage. The knight is represented
as a thirsty drunkard, “all the drier for the last night’s wetting,” with a
more eager desire to attack the ladies of cavaliers than cavaliers
themselves, and no reluctance to cheat any man who will undertake
to throw a main with him at dice. He has, however, great reluctance
to pay his losses, when he unconsciously falls into the hands of a
greater knave than himself, and bodily declares—
 “I had been a madman to play at such a rate,
If I had ever intended to pay.”

He had less boldness in accepting the results of such a declaration,

and in meeting his antagonist at the end of a rapier. He is brought to
the sticking-point, just as Acres is, by an assurance that his
adversary is an arrant coward. The scene of “the Field” is worth
quoting in part, inasmuch as it is not only an illustration of the spirit of
chivalry, as imputed to Oliver’s knights by cavalier-poets, but also as
it will, perhaps, serve to show that when Sheridan sat down at his
table in Orchard Street, Portman Square, to bring Acres and
Beverley together in mortal combat, he probably had a copy of
Etherege’s play before—or the memory of it strong within—him.
Wheadle and Cully are on the stage:—
W. What makes you so serious?
C. I am sorry I did not provide for both our safeties.
W. How so?
C. Colonel Hanson is my neighbor, and very good friend. I might have
acquainted him with the business, and got him, with a file of
musketeers, to secure us all.
W. But this would not secure your honor. What would the world have
judged.
C. Let the world have judged what it would! Have we not had many
precedents of late? and the world knows not what to judge.
It may be observed here, that Sir Nicholas may be supposed to be
alluding to such men as Hans Behr, who was much addicted to firing
printed broadsides at his adversaries, who advertised him as
“poltroon” in return. There are some placards having reference to
this matter, in the British Museum, which admirably display the
caution of the wordsmen and the spirit of the swordsmen of that day.
But to resume. Cully, observing that his adversary has not arrived,
suggests that his own duty has been fulfilled, and that he “will be
going,” the more particularly, says the knight, as “the air is so bleak, I
can no longer endure it.”
 W. Have a little patience. Methinks I see two making toward us in the
next close.
C. Where? Where? ’Tis them!
W. Bear up bravely, now, like a man.
C. I protest I am the worst dissembler, now, in cases of this nature.
W. Allons! Look like a man of resolution. Whither, whither go you?
C. But to the next house to make my will, for fear of the worst. Tell
them I’ll be here again, presently.

The provident knight is, however, detained, and on Palmer and that
gentleman’s second appearing, the swords are measured, “and all
strip but Cully, who fumbles with his doublet.”
P. Come, sir! are you ready for this sport?
C. By-and-by, sir. I will not rend the buttons from my doublet for no
man’s pleasure.
And so “Oliver’s Knight” continues to procrastinate; he can not be
either pricked or pinked into action; and at length, pleading that his
conscience will not let him fight in a wrong cause, he purchases a
whole skin, at the price of a promissory note for a thousand pounds.
I have said that there is no comic situation for the actor who
represents Sir Nicholas, but the scene from which the above
passages are taken may, perhaps, be an exception to the rule. That
Sheridan has profited by it, will be clear to any reader who will take
the trouble to compare this scene with the fighting scene in the
“Rivals.” The latter is far richer in humor, and while we care very little
what becomes of Sir Nicholas, we should regret that any harm
should befall poor Acres—although he prefers fighting at forty paces,
would stand sidewise to be shot at, feels that he would be horribly
afraid if he were alone, and confesses that valor oozes out at the
palms of his hands when his adversary appears in sight, with pistols
for two.
Sir Nicholas is in spirits again when making love to one whom he
considers a woman of rank and fortune. No cavalier could then vie
with him in finery. “I protest,” he says, “I was at least at sixteen
brokers, before I could put myself exactly in the fashion.” But with all
this, he is a craven again when he is called upon to enter and
address her who awaits the wooing with impatience. “Come!” he
exclaims, “I will go to the tavern and swallow two whole quarts of
wine instantly; and when I am drunk, ride on a drawer’s back, to visit
her.” Wheadle suggests that “some less frolic will do, to begin
with.”—“I will cut three drawers over the pate, then,” says the knight,
“and go with a tavern-lanthorn before me at noonday;”—just as very
mad gallants were wont to do.
The liquor has not the effect of rendering Oliver’s knight decent, for
in proposing the health of “my lord’s sister,” he does it in the elegant
form of “Here’s a brimmer to her then, and all the fleas about her;”
offers to break the windows to show his spirit, and in the lady’s very
presence exclaims, “Hither am I come to be drunk, that you may see
me drunk, and here’s a health to your flannel petticoat.” The latter
gentillesse is by way of proof of the knight’s quality, for it was of the
very essence of polite manners, when a spirited gentleman drank to
a spirited lady, to strain the wine through what the Chesterfields and
Mrs. Chapones of that day, if such were to be found, would not have
blushed to call “their smocks.”
But enough of the way in which the stage represented “one of
Oliver’s knights.” He is not worse than the courtiers and gentlemen
by whom he is swindled out of his money and into a wife. Nay, nearly
the last sentence put into his mouth is, at least, a complimentary
testimony to the side of which Sir Nicholas is but an unworthy
member. “If I discover this,” he remarks, “I am lost. I shall be
ridiculous even to our own party.”—The reader will, probably, not
require to be reminded that before Etherege drew Cully, Jonson had
depicted Sogliardo, and that the latter, in the very spirit of Oliver’s
knight, remarks:—“I do not like the humor of challenge; it may be
accepted.”
The stage, from about the middle of the seventeenth century to
nearly the middle of the succeeding century, was uncommonly busy
with knights as heroes of new plays. The piece which brought most
money to the theatrical treasury, after the “Comical Revenge,” was
the “Sir Martin Mar-all,” an adaptation by Dryden, from the “Etourdi”
of Molière. Such adaptations were in fashion, and the heroes of the
French author were invariably knighted on their promotion to the
English stage. Such was the case with “Sir Solomon, or the Cautious
Coxcomb,” adapted by Carill, from Molière’s “Ecole des Femmes.”
The same course was adopted by Mrs. Behn when she transferred
Molière’s “Malade Imaginaire” to the stage at Dorset Gardens, and
transformed Argon into Sir Patient Fancy. One of the characters in
this intolerably indecent play instructs the city knight’s lady how to
divide her time according to the fashion set by “the quality.” “From
eight to twelve,” he says, “you ought to employ in dressing. Till two,
at dinner. Till five, in visits. Till seven, at the play. Till nine, in the
park; and at ten, to supper with your lover.”
In the “Sir Barnaby Whig, or No Wit like a Woman’s,” one of
D’Urfey’s comedies, and produced in 1681, we have again a hero
who is described as one of Oliver’s knights. The play is avowedly a
party piece, and the author, in his prologue, remarks,

“That he shall know both parties now, he glories;

By hisses, Whigs; and by their claps, the Tories.”

The audience at the “Theatre Royal,” in the days of Charles II., was
made especially merry by this poor jest. Sir Barnaby is represented
as a Cromwellian fanatic, who will not drink the King’s health; is in an
agony of terror at hearing that an army of twenty thousand men is
about to sweep every rebel from the land; turns traitor; sings a comic
song against the Roundheads; is saluted as Rabbi Achitophel; offers
to turn Roman Catholic or Mohammedan; and is finally consigned to
Newgate.
Mrs. Behn, in the same year, had her political knight as well as
D’Urfey. In this lady’s more than usually licentious play, the “City
Heiress,” performed at Dorset Gardens, she has a Sir Timothy Treat-
all for her comic hero. She boasts in her introduction that her play is
political, loyal, true Tory all over; and as “Whiggism has become a
jest,” she makes a caricature of Sir Timothy, an old, seditious,
Oliverian knight, who keeps open house for commonwealth-men and
true-blue Protestants. He is contrasted with two Tory knights, Sir
Anthony and Sir Charles Meriwill, and a Tory gentleman, named
Wilding. The old Whig knight, however, is by far the least
disreputable fellow of the lot. The Tory knights and their friends are
rogues, perjurers, and something worse. When they are not on the
stage, Mrs. Behn is not afraid to tell what they are about, and that in
the very plainest language. “D—n the City!” exclaims the courtly Sir
Charles. “Ay, ay!” adds his uncle, Sir Anthony, “and all the Whigs,
Charles, d—n all the Whigs!”—And in such wise did Mrs. Afra Behn
take vengeance upon political enemies, to the infinite delight of loyal
audiences. How the Whig knights ever kept their own against the
assaults made on them in plays, prologues, and epilogues, is, as Mr.
Slick says, “a caution!” It is a fact, however, that these political plays
were far more highly relished than those which merely satirized
passing social follies. Audiences roared at the dull jokes against the
Oliverian knights, but they had no relish for the rhyme-loving Sir
Hercules Buffoon, of Lacy.
For one stage knight we may be said to be indebted to Charles II.
himself. It was from a hint from him that Crowne wrote his “Sir
Courtly Nice,” produced at the Theatre Royal shortly after the death
of Charles. Sir Courtly alludes to the death of one, and the accession
of a new, king, in very flattering terms:—

“What nation upon earth, besides our own,

But by a loss like ours had been undone?
Ten ages scarce such royal worth display
As England lost and found in one strange day.”

Of all the comedies with knights for their heroes, this one of Sir
Courtly Nice retained a place longest on the stage. The hero was
originally played by handsome, but hapless Will Mountfort. Cibber
played it at the Haymarket in Queen Anne’s time, 1706, and again at
Drury Lane, and before George I. at Hampton Court. Foote and
Cibber, jun., and Woodward, were there presentatives of the gallant
knight, and under George II. Foote played it, for the first time, at
Drury Lane, and the younger Cibber at Covent Garden, in 1746, and
Woodward, at the latter house, in 1751. The last-named actor was
long the favorite representative of the gentlemanly knight, retaining
the character as his own for full a quarter of a century, and being
succeeded, but not surpassed in it, by sparkling Lewis, at Covent
Garden, in 1781.
The satire in this piece against the Puritans is of a more refined
character than in any other play of the period; and the contrast
between the rash and ardent cavalier and the cautious Puritan is
very fairly drawn. “Suppose I see not many vices,” says the
Roundhead, Testimony, “morality is not the thing. The heathens had
morality; and, forsooth, would you have your footman or your
coachman to be no better than Seneca?” This is really
complimentary to the Cromwellians; and there is but a good-natured
dash of satire in the answer of Testimony, when asked what time of
day it may be, that—“Truly, I do believe it is about four. I can not say
it positively, for I would not tell a lie for the whole world.”
I find little worthy of notice in other dramatic pieces having knights for
their heroes. Southeran produced one entitled, “Sir Anthony Love” at
the Theatre Royal in 1691, for the purpose of showing off Mrs.
Mountfort as an errant lady in male attire.
In the eighteenth century, the knights gave name to a few historical
pieces not worth recording. The only exceptions are scarcely worthy
of more notice. Dodsley’s “Sir John Cockle at Court” made our
ancestors, of George the Second’s time, laugh at the sequel of the
“King and the Miller of Mansfield;” and “Sir Roger de Coverley” was
made the hero of a pantomime at Covent Garden in 1746. By this
time, however, the fashion was extinct of satirizing living politicians
under knightly names. To detail the few exceptions to the rule would
only fatigue the perhaps already wearied reader.
To what a low condition knight and squire could fall may be seen in
the Sir Joseph Wittol and Captain Bluffe, in Congreve’s comedy, the
“Old Batchelor.” The only redeeming point about this disreputable
pair is, that, cowards and bullies as they are, they have both read a
little. The Captain has dipped into history, and he remarks that
“Hannibal was a pretty fellow in his day, it must be granted; but, alas,
sir! were he alive now, he would be nothing; nothing on the earth.”
Sir Joseph, the knight, in comitatu Bucks, has also indulged in a little
reading, but that of a lighter sort than the Captain’s. When the gallant
Captain affects not to be frightened at the aspect of Sharper, and
exclaims, “I am prepared for him now, and he shall find he might
have safer roused a sleeping lion,” the knight remarks, “Egad, if he
should hear the lion roar, he’d cudgel him into an ass, and his
primitive braying. Don’t you remember the story in Æsop’s Fables,
Bully? Egad, there are good morals to be picked out of Æsop’s
Fables, let me tell you that; and ‘Reynard the Fox’ too;” to which the
deboshed Captain can only reply, “D—n your morals!” as though he
despised fiction when compared with history.
Some of the stage knights are wonderfully great boasters, yet
exceedingly dull fellows. I do not know that in the mouth of any one
of them there is put so spirited a remark as the great Huniades made
to Ulderick, Count of Sicily. The latter asked for a conference with
the great governor of Hungary. Huniades bade him come to the
Hungarian camp. The offended Ulderick, in a great chafe, replied
that it was beneath him to do such a thing, seeing that he was
descended from a long line of princely ancestors; whereas Huniades
was the first of his family who had ever been raised to honor. The
Hungarian very handsomely remarked, “I do not compare myself
with your ancestors; but with you!” This has always appeared to me
as highly dramatic in spirit. There is nothing half so spirited in the
knightly pieces brought on the stage during the reign of George III.,
and which caused infinite delight to very easily-pleased audiences. It
is well known that the good-natured Sovereign of England, although
unassuming in his domestic character, was exceedingly fond of
display in public ceremonies. He used to arrange the paraphernalia
of an installation of the Garter with all the energy and care of an
anxious stage-manager. The people generally were as anxious to
have an idea of the reality. On one occasion, in the preceding reign,
they so nearly forced their way into the banqueting-room, where the
knights were holding festival, that the troops fired over their heads in
order to frighten them into dispersing. Under George III. they were
more content to view these splendors through a dramatic lens.
In 1771, accordingly, the splendors of the then late installation of the
Garter were reproduced on the stage, in a masque, called “The
Institution of the Garter, or Arthur’s Round Table Restored.” The
show was as good as the piece was bad. The former was got up to
profit the managers, the latter to flatter or do homage to the King and
Queen. It was at once cumbersome and comic. A trio of spirits
opened the delectable entertainment by summoning other spirits
from every nook and corner of the skies, the moon’s horns included,
to the work of escorting the car of the Male Genius of England, the
husband probably of Britannia, down to earth. Nothing can exceed
the alacrity with which the spirits and bards of the empyreal heaven
obey the summons. They descend with the car of the Genius,
singing a heavy chorus, ponderous as the chariot they help to “waft
down,”—in which, not the chariot, but the chorus, there is the
assurance that

“The bliss that spotless patriots feel

Is kindred to the bliss above,”—

so that we may hope, though we can not feel certain, that there are
some few persons here below, who are not unconscious of an ante-
past of heaven.
The Genius is a civil and polished personage, who with due
remembrance to metropolitan fogs, very courteously apologizes to
the spirits, that he has been the cause of bringing them down

“To this grosser atmosphere awhile.”

After such celestial compliments as these, he despatches them to

shed heavenly influences over Windsor, while he remains to hold a
little colloquy with the Druids, “Britain’s old philosophers,” as he calls
them. He adds an assertion that may, probably, have startled the
Society of Antiquaries of that day, namely, that the aforesaid Druids
—

“Still enamored of their ancient haunts,

Unseen of mortal eyes, do hover round
Their ruined altars and their sacred oaks,”
which may account for that loose heterodoxy which marked the
period when Druids exercised these unseen influences.
The Genius requests the Druids to have the kindness to repair to
Windsor, where the order is in the act of being founded by Edward,
and there direct his choice in the selection of members. This is a
very heathenish idea, but Druids and Bards are alike delighted at it;
for, as the Genius remarks, Edward’s perspicuity, his intellectual
eyes, needed charming

“from the mists

It haply hath contracted from a long
Unebbing current of prosperity.”

The heathen priests are flaming patriots, and express their

eagerness to leave Heaven for England, seeing that the new order
may be the means to propagate

“The sovereignty of England, and erect

Her monarchs into judges of mankind.”

As this expressed end has not been accomplished, and the order
has not propagated the sovereignty of England, we may logically
conclude that the Druids themselves hardly knew much of the
subject upon which they were singing to their tuneless harps.
Meanwhile, the first Bard, in a bass song, petitions the south gales to
blow very mildly, and bring blue skies and sweet smells to the
installation.
The ceremony of the installation then opens to the view when all the
knights have been created, except the King’s son, Edward the Black
Prince, who really was not created knight when the order was
founded. How far the Druids have succeeded in influencing the
choice of the King, there is no possibility of knowing. No one utters a
word, save royal father and son: and the commonplace prose which
they deliver does not give us a very exalted idea of the Druidic
inspiration. The old sages themselves, however, are perfectly
satisfied with the result; and in a noisy chorus, they make an
assertion which might well have frightened the Archbishop of
Canterbury—had he cared about the matter. After vaticinating that
the name of the Prince should roll down through the tide of ages,
they add, that glory shall fire him, and virtue inspire him,

“Till blessed and blessing,

Power possessing,
From earth to heaven he lifts his soul,”—

a feat which one would like to see put upon canvass by a Pre-
Raphaelite.
While the Knights are supposed to be preparing to pass to the hall,
the scene takes us to the front of the castle, where crowds of liege
and loyal people are assembled. First Citizen, “very like a whale
indeed,” sings a comic song, which, as a specimen of the homage
offered to monarch and consort, more than fourscore years ago, is
worth transcribing—for both its imagery and syntax:—

“Oh, the glorious installation!

Happy nation!
You shall see the King and Queen:
Such a scene!
Valor he, sir;
Virtue she, sir;
Which our hearts will ever win.
Sweet her face is,
With such graces
Show what goodness dwells within.

“Oh, the glorious installation!

Happy nation!
You shall see the noble knights:
Charming sights!
Feathers wagging,
Velvet dragging,
Trailing, sailing, on the ground;
Loud in talking,
Proud in walking,
Nodding, ogling, smirking round.”
The banquet over, and more comic business, as dreary as the song
above quoted, being concluded, King Edward walks forth into the
garden for refreshment—and there the Genius of England takes him
by the hand. Edward, we are sorry to say, knows so little of this
Genius, that he boldly asks him, “What art thou, stranger?” We
should, only with reluctance, trouble our readers with all this
unrecognised Genius says in reply to the royal inquirer, but one
passage may be transcribed to show what the popular spirit was
thought to be in the last century.

“Know that those actions which are great and good,

Receive a nobler sanction from the free
And universal voices from all mankind,
Which is the voice of Heaven, than from the highest,
The most illustrious act of royal power.”

This maxim of the Genius of England further shows that the

individual in question not only passed off prose for blank verse, but
stole the phrase of “Vox populi vox Dei,” and tried to render it
unrecognisable by indefinite extension.
That the sentiment is not very much to the taste of the Monarch may
be conjectured from the fact that he sulkily lets it pass without any
comment, and very naturally falls asleep of being talked-at by so
heavily-pinioned a Genius. The latter avails himself of the
opportunity to exhibit to the slumbering Monarch a vision of the
future of England, down to the era of George and Charlotte. The
spectacle soothes him still less than the speech, though oppressive
ecstacy may be sweet, and Edward springs into wakefulness, and
loudly exclaiming that

“This is too much for human strength to bear,”

the loquacious Genius flies at him again with some remarkable

figures of speech, to which the worn-out Edward answers nothing.
The Genius, unwilling to attribute his taciturnity to rudeness, finds a
satisfactory solution in the conclusion that
 “Astonishment seals up his lips.”

The founder of the “Garter” will not provoke the eloquence of the
heavenly visiter by unsealing the lips which astonishment is
supposed to have sealed up, and the remainder of the piece is left to
Genius and chorus, who unite in a musical asseveration, to the effect
that the reigning Sovereign of England is

“The great miracle on earth, a patriot king,”

and so terminates, amid the most vociferous plaudits, the scenic

story of the Garter, enacted in celebration of the great installation of
1771.
The real installation was, by far, a more cheerful matter than its
theatrical counterfeit. It took place on the 25th of July. At this
ceremony the King raised to the dignity of Knights of the illustrious
order, his sons the Prince of Wales and the Bishop of Osnaburg, his
brother the Duke of Cumberland, with the Queen’s brother, the Duke
of Mecklenburgh, and Prince Henry of Brunswick, the Dukes of
Marlborough and Grafton, and the Earls of Gower and Albermarle.
The festival occupied the entire day. Four mortal hours in the
morning were consumed in making the Knights, after which
Sovereign and chapter dined together in St. George’s Hall. While the
banquet was progressing, Queen Charlotte sat in a gallery, looking
on. She was brilliantly surrounded, and had at her right side the
pretty Princess Royal, and the infant Prince Ernest at her left. One of
her Majesty’s brothers stood by each royal child. On the right of the
canopy under which the King dined, was a long table, at which were
seated all the Knights, in full view of the occupants of raised seats
and a gallery in front. At the end of the first course, the good-natured
Monarch was determined to make a Knight Bachelor of some
deserving individual present, and he rendered good Mr. Dessac
(clerk of the check, belonging to the band of Gentlemen Pensioners)
supremely happy by selecting him. As soon as the other courses had
been served, and the banquet was concluded, which was not till
between six and seven o’clock, the whole of the cavaliers and
company separated in haste, hurrying to their respective rooms or
hotels, to dress for the ball which was to be held in the Great Guard-
Room. When all the guests were there assembled, the King and
Queen entered the apartment about nine o’clock. Whereupon the
Duke of Gloucester danced a couple of minuets with a brace of
duchesses—Grafton and Marlborough. The minuets were continued
till eleven o’clock. No one seemed to tire of the stately, graceful
dance, and it was only during the hour that followed, that any young
lady, as anxious as the elegant American belle, who told Mr. Oliphant
at Minnesota that “she longed to shake the knots out of her legs,”
had a chance of indulging in her liveliness. During one hour—from
eleven to midnight—country dances were accomplished. I say
accomplished, for only three were danced—and each set procured
twenty minutes of very active exercise. Midnight had scarcely been
tolled out by the castle clock when the festive throng separated—and
thus closed one of the most brilliant installations that Windsor had
ever seen, since Edward first became the founder of the order. If
there was any drawback to the gratification which the King felt on
this occasion, it was at beholding Wilkes and his daughter
conspicuously seated among the spectators in the courtyard; whither
the man whom the King hated had penetrated by means of a ticket
from Lord Tankerville. It was at this period that Mr. Fox revived, for a
few court-days, the fashion of appearing at the drawing-room in red-
heeled shoes. To the public, these matters were far more comic than
the comic portion of the “Installation,” in which (setting aside the
Edward III. of Aikin, and the Genius of England, played by Reddish)
King enacted Sir Dingle, a court fool knighted; Parsons, Nat Needle;
and Weston, Roger. Never was foolish knight played by an actor so
chivalrous of aspect as King.
I will avail myself of this opportunity to state that at solemn
ceremonies, like that above named, four of our kings of England
were knighted by their own subjects. These were Edward III., Henry
VI. and VII., and Edward VI. The latter was dubbed by the Lord
Protector, who was himself empowered to perform the act by letters
patent, under the great seal. At a very early period, priests, or
prelates rather, sometimes conferred the honor on great public