It was doubtful how he came to be called the Trunkmaker;
whether from his blows, resembling those often given with a hammer in
the shops of such artisans, or from a belief that he was a genuine
trunkmaker, who, upon the conclusion of his day's work, repaired to
unbend and refresh his mind at the theatre, carrying in his hand one
of the implements of his craft. Some, it is alleged, were foolish
enough to imagine him a perturbed spirit haunting the upper gallery,
and noted that he made more noise than ordinary whenever the Ghost in
"Hamlet" appeared upon the scene; some reported that the trunkmaker
was, in truth, dumb, and had chosen this method of expressing his
content with all he saw or heard; while others maintained him to be
"the playhouse thunderer," voluntarily employing himself in the
gallery when not required to discharge the duties of his office upon
the roof of the building. The "Spectator," holding that public shows
and diversions lie well within his province, and that it is
particularly incumbent upon him to notice everything remarkable
touching the elegant entertainments of the theatre, makes it his
business to obtain the best information he can in regard to this
trunkmaker, and finds him to be "a large black man whom nobody knows;"
who "generally leans forward on a huge oaken plant," attending closely
to all that is occurring upon the stage; who is never seen to smile,
but who, upon hearing anything that pleases him, takes up his staff
with both hands, and lays it upon the next piece of timber that stands
in his way, with exceeding vehemence; after which, he composes himself
to his former posture, till such time as something new sets him again
at work.
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