Memoirs of Joseph Grimaldi — Themes and Context

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Grimaldi, Joseph, 1779-1837, Dickens, Charles, 1812-1870 [Editor], Cruikshank, George, 1792-1878 [Illustrator] Project Gutenberg 2014 Not confirmed
Grimaldi, Joseph, 1779-1837; Clowns -- Great Britain -- Biography Readers of public-domain and historical texts
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Words 126,193
Reading time 549 min
Text sections 30

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Charles Dickens's edition of Joseph Grimaldi's memoirs, with George Cruikshank's illustrations, offers a firsthand account of the Regency clown's career, including the grueling physical and emotional toll of performing comic roles like the 'Laughing Philosopher' and the unprecedented success of 'Mother Goose.'
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Editorial Edition Score 4.9/5

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  • Text length15 pts
  • Chapters / structure15 pts
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His Grandfather and Father--His Birth and first appearance at Drury Lane Theatre and at Sadler's Wells--His Father's severity--Miss Farren--The Earl of Derby and the Wig--the Fortune-box and Charity's reward--His Father's pretended Death, and the behaviour of himself and his brother thereupon 1

The Father's real Death--His Will, and failure of the Executor--Generous conduct of Grimaldi's Schoolmaster, and of Mr. Wroughton the Comedian--Smart running against time--Kindness of Sheridan--Grimaldi's industry and amusements--Fly-catching--Expedition in search of the "Dartford Blues"--Mrs. Jordan--Adventure on Clapham Common: the piece of Tin--His first love and its consequences 17

Grimaldi falls in Love--His success--He meets with an accident which brings the Reader acquainted with that invaluable specific "Grimaldi's Embrocation"--He rises gradually in his Profession--The Pentonville Gang of Burglars 28

The Thieves make a second attempt; alarmed by their perseverance, Grimaldi repairs to Hatton Garden--Interview with Mr. Trott; ingenious device of that gentleman, and its result on the third visit of the Burglars--Comparative attractions of Pantomime and Spectacle--Trip to Gravesend and Chatham--Disagreeable recognition of a good-humoured friend, and an agreeable mode of journeying recommended to all Travellers 40

An extraordinary circumstance concerning himself, with another extraordinary circumstance concerning his Grandfather--Specimen of a laconic epistle, and an account of two interviews with Mr. Hughes, in the latter of which a benevolent gentleman is duly rewarded for his trouble--Preparations for his marriage--Fatiguing effects of his exertions at the Theatre 51

Tribulations connected with "Old Lucas," the constable, with an account of the subsequent proceedings before Mr. Blamire, the magistrate, at Hatton Garden, and the mysterious appearance of a silver staff--A guinea wager with a jocose friend on the Dartford Road--The Prince of Wales, Sheridan, and the Crockery Girl 62

Partiality of George the Third for Theatrical Entertainments--Sheridan's kindness to Grimaldi--His domestic affliction and severe distress--The production of Harlequin Amulet a new era in Pantomime--Pigeon-fancying and Wagering--His first Provincial Excursion with Mrs. Baker, the eccentric Manageress--John Kemble and Jew Davis, with a new reading--Increased success at Maidstone and Canterbury--Polite interview with John Kemble 76

Hard work to counterbalance great gains--His discharge _from_ Drury Lane, and his discharge _at_ Sadler's Wells--His return to the former house--Monk Lewis--Anecdote of him and Sheridan, and of Sheridan and the Prince of Wales--Grimaldi gains a son and loses all his capital 88

Containing a Very Extraordinary Incident Well Worthy of the Reader's Attention 97

Bologna and his Family--An Excursion into Kent with that personage--Mr. Mackintosh, the gentleman of landed property, and his preserves--A great day's sporting; and a scene at the Garrick's Head in Bow Street, between a Landlord, a Gamekeeper, Bologna and Grimaldi 106

Stage Affairs and Stage Quarrels--Mr. Graham, the Bow Street Magistrate and Drury Lane Manager--Mr. Peake--Grimaldi is introduced to Mr. Harris by John Kemble--Leaves Drury Lane Theatre and engages at Covent Garden--Mortification of the authorities at "the other house"--He joins Charles Dibdin's Company and visits Dublin--The _wet_ Theatre--Ill success of the speculation, and great success of his own Benefit--Observations on the comparative strength of Whisky Punch and Rum Punch, with interesting experiment 115

He returns to town, gets frozen to the roof of a coach on the road, and pays his rent twice over when he arrives at home--Mr. Charles Farley--His first appearance at Covent Garden--Valentine and Orson--Production of "Mother Goose," and its immense success--The mysterious adventure of the Six Ladies and the Six Gentlemen 124

The mystery cleared up chiefly through the instrumentality of Mr. Alderman Harmer; and the characters of the Six Ladies and the Six Gentlemen are satisfactorily explained--The Trial of Mackintosh for Burglary--Its result 133

Bradbury, the Clown--His voluntary confinement in a Madhouse, to screen an "Honourable" Thief--His release, strange conduct, subsequent career, and death--Dreadful Accident at Sadler's Wells--The night-drives to Finchley--Trip to Birmingham--Mr. Macready, the Manager and his curious Stage-properties--Sudden recall to Town 148

Covent Garden Theatre destroyed by fire--Grimaldi makes a trip to Manchester: he meets with an accident there, and another at Liverpool--The Sir Hugh Myddleton Tavern at Sadler's Wells, and a description of some of its frequenters, necessary to a full understanding of the succeeding chapter 158

Grimaldi's Adventure on Highgate Hill, and its consequences 165

Opening of the new Covent Garden Theatre--The great O. P. Rows--Grimaldi's first appearance as Clown in the public streets--Temporary embarrassments--Great success at Cheltenham and Gloucester--He visits Berkeley Castle, and is introduced to Lord Byron--Fish sauce and Apple Pie 172

A Clergyman's Dinner-party at Bath--First Appearance of Grimaldi's Son, and Death of his old friend Mr. Hughes--Grimaldi plays at three Theatres on one night, and has his salary stopped for his pains--His severe illness--Second journey to Bath--Davidge, "Billy Coombes" and the Chest--Facetiousness of the aforesaid Billy 183

He quits Sadler's Wells in consequence of a disagreement with the Proprietors--Lord Byron--Retirement of John Kemble--Immense success of Grimaldi in the provinces, and his great gains--A scene in a Barber's Shop 194

More provincial success--Bologna and his economy--Comparative dearness of Welsh Rare-bits and Partridges--Remarkably odd modes of saving money 203

Charles Dickens, writing as 'Boz,' edited these memoirs of the celebrated Regency clown Joseph Grimaldi, and his introductory chapter reveals a personal curiosity about performers' lives offstage. Dickens recalls childhood questions about whether clowns were 'born Clowns, or gradually turned into Clowns as they grew up,' and whether their appetites for sausages were constant. This framing sets up a narrative that oscillates between the public spectacle of pantomime and the private suffering of its star.

The excerpts show Grimaldi's career in detail, including his physically and emotionally draining role as the 'Laughing Philosopher,' where he would sob and suffer spasms after each act, yet never fail to perform. The account of 'Mother Goose'—a pantomime that succeeded without 'gorgeous processions' or spangles—highlights how Grimaldi's talent could triumph over spectacle.

Dickens's Editorial Hand and the Clown's Voice

The catalog lists Dickens as editor, and the excerpts bear his stylistic imprint. The introductory chapter employs the first-person plural—'we first conceived a strong veneration for Clowns'—and a tone of nostalgic wonder that is characteristic of Dickens's early journalism. Yet the memoir's core is Grimaldi's own account, and the editorial task was to shape that material into a coherent narrative. The text includes detailed descriptions of theatrical rivalries, such as Drury Lane's attempt to 'crush' Grimaldi by rushing out a pantomime three days before Christmas, which backfired when the audience hissed. Such passages suggest Dickens preserved Grimaldi's insider perspective on the competitive world of Regency theatre.

The editor's presence is also felt in the selection of anecdotes that illustrate the gap between the clown's onstage hilarity and offstage anguish. The 'Laughing Philosopher' episode, where Grimaldi 'would sob and cry aloud' after the act, is presented as a 'curious instance of the power of habit'—a psychological observation that aligns with Dickens's interest in character and contradiction.

The Physical and Emotional Cost of Comedy

Grimaldi's memoirs repeatedly emphasize the physical and emotional toll of clowning. The excerpts describe how, after performing the 'Laughing Philosopher,' he would 'stagger off the stage into a small room' and suffer 'violent and agonizing spasms.' This is not a generic complaint but a specific, recurring pattern: the same effect 'was always the same' after the first act, and those around him were 'in doubt, up to the very moment of his being called, whether he would be able to go upon the stage for the second act.'

The text also notes that 'no length of habit, and no repetition of the same part, however frequent, were sufficient to banish' these weaknesses. This detail undercuts any romantic notion of the clown as a natural comic; instead, it portrays a performer who must conquer his own body and emotions nightly. The audience, meanwhile, saw only the finished performance, which 'enhanced his reputation greatly.' The memoir thus offers a behind-the-scenes view that complicates the catalog subject 'Clowns -- Great Britain -- Biography' by showing the pain behind the laughter.

The Unprecedented Success of 'Mother Goose'

One of the most striking passages in the excerpts concerns the pantomime 'Mother Goose,' which 'destined to acquire a degree of popularity quite unprecedented in the history of pantomime.' The text emphasizes that this success came despite—or perhaps because of—the production's simplicity. Unlike the typical pantomime, which relied on 'gorgeous scenery and splendid dresses,' 'Mother Goose had none of these accessories; it had neither gorgeous processions, nor gaudy banners, nor splendid scenery, nor showy dresses.' The only spangles were on the Harlequin's jacket, and even those 'would have been dispensed with' if possible.

This detail is significant because it positions Grimaldi's performance, rather than spectacle, as the draw. The rival Drury Lane pantomime, which was 'infinitely more of the character of a spectacle,' failed despite its lavishness. The excerpt thus provides evidence for Grimaldi's unique appeal: his comic skill could carry a production that lacked the usual visual extravagance. The catalog subject 'Clowns -- Great Britain -- Biography' is here enriched by a concrete example of how one clown's talent reshaped theatrical expectations.

Readers approaching these memoirs should attend to the interplay between Dickens's editorial framing and Grimaldi's raw material. The text rewards attention to the specific details of theatrical practice—the rivalries, the physical demands, the economics of pantomime—that the catalog subjects only hint at. The illustrations by George Cruikshank, though not excerpted here, were a key part of the original publication and likely complement the text's focus on the visible and invisible aspects of performance.

That book about Grimaldi stayed with me because it showed how much a performer gives, quietly, behind all the laughter. It reminded me of something I found later, about the man who printed for Henry the Eighth—how invisible craft holds up entire lives. I thought of it again reading Thomas Berthelet, Royal Printer and Bookbinder to Henry VIII., King of England — A Reader’s Guide, and how both men just carried on, shoulders to the wheel, rarely seen.

Gabriel Moore
3 weeks ago

Isaac Roberts
1 month ago

4.5
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