University of Virginia Library

It was my fortune to be the medium of first introducing this Gentleman to what he facetiously—though. I dare say, unintentionally—terms the Brutish Public, in an autograph copy of instructions for a Bill of his First Appearance at the Surrey Theatre, in my possession. I told my old friend, Mr, Davidge, when he informed me of his intention to give Mr. Rice an engagement, and requested me to appeal to the Public in his behalf, that it would be either a hit or miss—that the performance was one of that singular outre description, that, like the unmeaning and vulgar expressions of “Flare up!” “Who are you?” &c. if tt once took, it must for a time become what the French call the fureur, but that every thing depended upon its being properly managed—an opinion in which that most judicious Manager immediately acquiesced. The first night was properly managed, and the result justified my judgment. Both Mr. Davidge and Mr. Rice then applied to me to write an Original Piece for the Introduction of Jim Crow. I stated my doubts of any regular Drama, with that character in it, succeeding. I did not consider the representation at all a legitimate one—I will even say, a Dramatic one. Mr. Rice's talent appeared to me to be completely perse odd, out of the way, extravagant and extemporaneous—I could not conceive a Dramatist could profitably embody it. I was, however, over persuaded, and after losing much time, and spending much money, in making myself acquainted with all the humourous varieties of the American character, finished a Drama, rather to my mind, which was accordingly announced and put in rehearsal at the Surrey Theatre: but, although written by Mr. Rice's desire, and in some measure from materials furnished by himself, it would appear he felt the force of the objections I had originally urged. He complained, first, that another character was better than the one assigned to him—then, that there were some political allusions in the Piece, which were immediately struck out—with other puerile remarks, and finally backed out of the affair altogether; leaving me only my six weeks labour to repay me for all my expenditure of time and money in his behalf. Fortunately, my exertions for those intelligent and perfect American Actors, Messrs. Hackett and G. H. Hill, were rather more gratefully requited, or I might now be seated on Her Most Gracious Majesty the Queen's Bench.

The Song above was one of the Songs of this Piece, and was written from some of the materials I have alluded to, furnished me for that purpose by Mr. Rice himself, and which he assured me were authentic. The real Jim Crow, it appears, was a slave from Guinea, located originally in Virginia; where, through his industry, he managed to purchase his own freedom, and was engaged as a stoker, on board a steamer plying between Louisville and New Orleans. He afterwards engaged as Ostler in New York; where he attracted much attention, by making extemporary doggrel verses on everything and everybody. He was an acute and merry fellow, and gave birth to the Song that has given him such a Bartholomew Fair immortality.

It is pleasant to think Mr. Rice's clever imitation of Jim's peculiarities have been rewarded as they have been. Not only has he gained an abundance of renown and money in this country, but he managed to carry away from us a rich and beautiful wife—Miss Gladstanes—and is now clearing upwards of eighty pounds a night in the States—Cousin Jonathan declaring that the approbation of the English is quite sufficient to prove him the first Actor in the World. Poor Paulo—who so admirably personated the original prototype of Jim Crow, “Billy Waters,” in my Drama of “Tom and Jerry,”—was less fortunate; as was that admirable Actor, Webster, who first sung “Jim Crow” in this Country, at the English Opera House some years ago. It is better to be born lucky than rich!