Diary of Charles Francis Adams, volume 8

Wednesday 12th.

Friday 14th.

Thursday 13th. CFA

1838-12-13

Thursday 13th. CFA
Thursday 13th.

Fine weather, usual distribution. Evening at the Theatre.

I was occupied at the Office in the morning for the most part in looking over papers connected with the long delayed matter of the mortgaged Estate of Mr. Thorndike. At last we have pressed up the execution of the conditions, but have not yet executed the papers. Tomorrow was assigned for the purpose.

Read the whole of Potter’s translation of Alcestis previous to a review of the original. There are passages of no meaning in the transla-155tion which manifestly result from mystery in the text. After dinner coins.

Mrs. Adams and I carried our two children Louisa and John to the Theatre for the first time. Hackett in the parts of Solomon Swap and Monsr. Tonson, and the Spectacle of the Forty Thieves.1 The first impressions of children are always curious subjects for philosophical observation. They depend much upon temperament and as it respects these two were entirely and singularly different. While the one seemed affected in an extreme and almost hysterical manner, the other appeared overwhelmed into silence by the rapidity of his ideas. Hackett is a perfect specimen of the Yankee character throwing out its characteristics in a very striking and laughable manner. He overacts less than I had been formerly led to suppose.

1.

Solomon Swap in Jonathan in England and M. Morbleu in William Thomas Moncrieff’s Monsieur Tonson were among James Henry Hackett’s most popular roles. Jonathan in England was Hackett’s title for his condensation of George Colman’s Who Wants a Guinea? The Forty Thieves was a concoction devised by Stephen Price, manager of the Park Theatre in New York, from a variety of sources (Odell, Annals N.Y. Stage , 2:315; 3:49, 386; on Hackett, see vol. 4:viii–ix).