# Baboo Hurry Bungsho Jabberjee, B.A./Chapter 2

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Being forearmed by editorial beneficence with ticket of admission to theatrical entertainment by adolescent students at Westminster College, I presented myself at the scene of acting in a state of liveliest and frolicsome anticipation on a certain Wednesday evening in the month of December last, about 7.20 p.m.
At the summit of the stairs I was received by a posse of polite and stalwart striplings in white kids, who, after abstracting large circular orifice from my credentials, ordered me to ascend to a lofty gallery, where, on arriving, I found every chair pre-occupied, and moreover was restricted to a prospect of the backs of numerous juvenile heads, while expected to remain the livelong evening on the tiptoe of expectation and Shank's mare!
This for a while I endured submissively from native timidity and retirement, until my bosom boiled over at the sense of "Civis Romanus sum" and, descending to the barrier, I harangued the wicket-keeper with great length and fervid eloquence, informing him that I was graduate of ​high-class Native University after passing most tedious and difficult exams with fugitive colours and that it was injurious and deleterious to my "mens sana in corpore sano" to remain on legs for some hours beholding what I practically found to be invisible.
But, though he turned an indulgent ear to my quandary, he professed his inability to help me over my "pons asinorum," until I ventured to play the ticklish card and inform him that I was a distinguished representative of Hon'ble Punch who was paternally anxious for me to be awarded a seat on the lap of luxury.
Then he unbended, and admitted me to the body of the auditorium, where I was conducted to a coign of vantage in near proximity to members of the fair sex and galaxy of beauty.
Thus, by dint of nude gumption, I was in the bed of clover and seventh heaven, and more so when, on inquiry from a bystander, I understood that the performance was taken from Mr Terriss's Adelphi Theatre, which I had heard was conspicuous for excellence in fierce combats, blood-curdling duels, and scenes in court. And I narrated to him how I too, when a callow and unfledged hobbardyhoy, had engaged in theatrical entertainments, and played such parts in native dramas as heroic giant-killers and tiger slayers, in which I was an "au fait" and "facile princeps" also in select scenes ​from Shakspeare's play of Macbeth in English and being correctly attired as a Scotch.
But presently I discovered that the play was quite another sort of Adelphi, being a jocose comedy by a notorious ancient author of the name of Terence, and written entirely in Latin, which a contiguous damsel expressed a fear lest she should find it incomprehensible and obscure. I hastened to reassure her by explaining that, having been turned out as a certificated B.A. by Indian College, I had acquired perfect familiarity and nodding acquaintance with the early Roman and Latin tongues, and offering my services as interpreter of "quicquid agunt homines" and the entire "farrago libelli" which rendered her red as a turkeycock with delight and gratitude. When the performance commenced with a scenic representation of the Roman Acropolis, and a venerable elderly man soliloquising lengthily to himself, and then carrying on a protracted logomachy with another greybeard—although I understood sundry colloquial idioms and phrases such as "uxorem duxit" "carum mihi" "quid agis?" "cur amat?" and the like, all of which I assiduously translated vivâ voce—I could not succeed in learning the reason why they were having such a snip-snap, until the interval, when the lady informed me herself that it was because one of them had carried off a nautch-girl belonging to the other's son—which caused me to marvel greatly at her erudition.
​I looked that, in the next portion of the performance, I might behold the nautch-girl, and witness her forcible rescue—or at least some saltatory exhibition; but, alack! she remained sotto voce and hermetically sealed; and though other characters, in addition to the elderly gentlemen, appeared, they were all exclusively masculine in gender, and there was nothing done but to converse by twos and threes. When the third portion opened with a long-desiderated peep of petticoats, I told my neighbour confidently that now at last we were to see this dancing girl and the abduction; but she replied that it was not so, for these females were merely the mother of the wife of another of the youths and her attendant ayah. And even this precious pair, after weeping and wringing their hands for a while, vanished, not to appear again.
Now as the entertainment proceeded, I fell into the dumps with increasing abashment and mortification to see everyone around me, ay, even the women and the tenderest juveniles! clap the hands and laugh in their sleeves with merriment at quirks and gleeks in which—in spite of all my classical proficiency—I could not discover le mot pour rire or crack so much as the cream of a jest, but must sit there melancholy as a gib cat or smile at the wrong end of mouth.
For, indeed, I began to fear that I had been fobbed off with the smattered education of a painted sepulchre, that I should fail so ​dolorously to comprehend what was plain as a turnpike-staff to the veriest British babe and suckling!
However, on observing more closely, I discovered that most of the grown-up adults present had books containing the translation of all the witticisms, which they secretly perused, and that the feminality were also provided with pink leaflets on which the dark outline of the plot was perspicuously inscribed.
Moreover, on casting my eyes up to the gallery, I perceived that there were overseers there armed with long canes, and that the small youths did not indulge in plaudations and hilarity except when threatened by these.
And thereupon I took heart, seeing that the proceedings were clearly veiled in an obsolete and cryptic language, and it was simply matter of rite and custom to applaud at fixed intervals, so I did at Rome as the Romans did, and was laughter holding both his sides as often as I beheld the canes in a state of agitation.
I am not unaware that it is to bring a coal from Newcastle to pronounce any critical opinion upon the ludibrious qualities of so antiquated a comedy as this, but, while I am wishful to make every allowance for its having been composed in a period of prehistoric barbarity, I would still hazard the criticism that it does not excite the simpering guffaw with the frequency of such modern standard works as exempli gratiâ, Miss ​Brown, or The Aunt of Charley, to either of which I would award the palm for pure whimsicality and gawkiness.
Candour compels me to admit, however, that the conclusion of the Adelphi, in which a certain magician summoned a black-robed, steeple-hatted demon from the nether world, who, after commanding a minion to give a pickle-back to sundry grotesque personages, did castigate their ulterior portions severely with a large switch, was a striking amelioration and betterment upon the preceding scenes, and evinced that Terence possessed no deficiency of up-to-date facetiousness and genuine humour; though I could not but reflect—"O, si sic omnia!" and lament that he should have hidden his vis comica for so long under the stifling disguise of a serviette.
"A GOLDEN-HEADED UMBRELLA, FRESH AS A ROSE."
For which I was minded at first to address a sharp remonstrance and claim for indemnity to some pundit in authority; but perceiving that by such fishing in troubled waters I was the gainer of a golden-headed umbrella, fresh as a rose, I decided to accept the olive branch and bury the bone of contention.