When Frodsham had done, Garrick thought to finish him with a shrug and said: ‘Well, hey now, hey!--you have a smattering, but you want a little of my forming; and really in some passages you have acquired tones I do not by any means approve.’
‘Tones! Mr. Garrick!’ returned Frodsham, tartly; ‘to be sure I have tones, but you are not familiarised to them. I have seen you act twice, and I thought you had odd tones, and Mrs. Cibber strange tones, and they were not quite agreeable to me on the first hearing, but I dare say I should soon be reconciled to them.’
This was unsupportable. Neither the presence of greatness (darting its eyes) nor adverse criticism could crush this extraordinary young man from nowhere. The astounded Garrick decided to come to business, which would at least restore the proper relations between the two, the famous actor and the impudent nobody, and put the latter in his only possible place, that of a humble suppliant. ‘Why now,’ he cried, ‘really, Frodsham, you are a damned queer fellow--but for a fair and full trial of your genius my stage shall be open, and you shall act any part you please, and if you succeed we will then talk of terms.’ Which was, I think, a fair offer.
Then came the masterstroke. ‘O,’ said Frodsham, indifferently, ‘you are mistaken, my dear Mr. Garrick, if you think I came here to solicit an engagement. I am a Roscius at my own quarters. I came to London purposely to see a few plays, and looking on myself as a man not destitute of talents, I judged it a proper compliment to wait on a brother genius: I thought it indispensable to see you and have half an hour’s conversation with you. I neither want nor wish for an engagement; for I would not abandon the happiness I enjoy in Yorkshire for the first terms your great and grand city could afford.’ With that, he withdrew with a careless bow, leaving Garrick speechless.
It is to Garrick’s credit that he often told the story of this strange visit to members of his company. But as he probably thought that Frodsham was merely a lunatic, for he always referred to him as ‘the mad York actor,’ and so possibly did not realise that there was more than one side to the story, and that he was telling it against himself, we will not give him too much credit. Nor will I, for one, pass his epithet, for if Frodsham was not a mere conceited young fool, as our historian foolishly suggests he was, neither was he a plain madman. His point of view was not Garrick’s, but it was a very reasonable point of view. The remarks he made were certainly not without a good deal of sound sense; they were critical, honest, and not, I think lacking in courtesy. It is true that he had a very good opinion of himself, but then so had Garrick, and so, by your leave, have you and I. The difference between Frodsham and the dozens of other young actors who sought out Garrick lies in the fact that one made no attempt to disguise his opinions, whereas the others, in all probability, cringed and lied unblushingly for an hour or two. But Frodsham, you may urge, had no sense of proportion, no idea of relative values; he could not understand the difference between the applause of York and that of London; he could not see the gulf that stretched between the darling of a local fit-up and the captain of Drury Lane. The charge is true, but is it very damaging? Such a habit of mind has prevented many a man from getting on in the world, but it never kept any man from greatness. I maintain that, over and above all conceit, there was a certain simplicity in Frodsham that came very near to greatness, if it did not achieve it, and that, in its elemental frankness and disdain of worldly wisdom, was not without a touch of real poetry.