Struggles amd Triumphs: or, Forty Years' Recollections of P.T. Barnum

“Sure,” replied the woman, indignantly, “an’ I’m not going out at all, at all, nor the children aither, for we’ve brought our dinners and we are going to stay all day.”

Further, investigation showed that pretty much all of my visitors had brought their dinners with the evident intention of literally “making a day of it.” No one expected to go home till night; the building was overcrowded, and meanwhile hundreds were waiting at the front entrance to get in when they could. In despair I sauntered upon the stage behind the scenes, biting my lips with vexation, when I happened to see the scene-painter at work and a happy thought struck me: “Here,” I exclaimed, “take a piece of canvas four feet square, and paint on it, as soon as you can, in large letters —

☞TO THE EGRESS.”

Seizing his brush he finished the sign in fifteen minutes, and I directed the carpenter to nail it over the door leading to the back stairs. He did so, and as the crowd, after making the entire tour of the establishment, came pouring down the main stairs from the third story, they stopped and looked at the new sign, while some of them read audibly: “To the Aigress.”

“The Aigress,” said others, “sure: that’s an animal we haven’t seen,” and the throng began to pour down the back stairs only to find that the “Aigress” was the elephant, and that the elephant was all out o’ doors, or so much of it as began with Ann Street. Meanwhile, I began to accommodate those who had long been waiting with their money at the Broadway entrance.

Notwithstanding my continual outlays for additional novelties and attractions, or rather I might say, because of these outlays, money poured in upon me so rapidly that I was sometimes actually embarrassed to devise means to carry out my original plan for laying out the entire profits of the first year in advertising. I meant to sow first and reap afterwards. I finally hit upon a plan which cost a large sum, and that was to prepare large oval oil paintings to be placed between the windows of the entire building, representing nearly every important animal known in zoology. These paintings were put on the building in a single night, and so complete a transformation in the appearance of an edifice is seldom witnessed. When the living stream rolled down Broadway the next morning and reached the Astor House corner, opposite the Museum, it seemed to meet with a sudden check. I never before saw so many open mouths and astonished eyes. Some people were puzzled to know what it all meant; some looked as if they thought it was an enchanted palace that had suddenly sprung up; others exclaimed, “Well, the animals all seem to have ‘broken out’ last night,” and hundreds came in to see how the establishment survived the sudden eruption. At all events, from that morning the Museum receipts took a jump forward of nearly a hundred dollars a day, and they never fell back again. Strangers would look at this great pictorial magazine and argue that an establishment with so many animals on the outside must have something on the inside, and in they would go to see. Inside, I took particular pains to please and astonish these strangers, and when they went back to the country, they carried plenty of pictorial bills and lithographs, which I always lavishly furnished, and thus the fame of Barnum’s Museum became so wide-spread, that people scarcely thought of visiting the city without going to my establishment.

In fact, the Museum had become an established institution in the land. Now and then some one would cry out “humbug” and “charlatan,” but so much the better for me. It helped to advertise me, and I was willing to bear the reputation – and I engaged queer curiosities, and even monstrosities, simply to add to the notoriety of the Museum.

Dr. Valentine will be remembered by many as a man who gave imitations and delineations of eccentric characters. He was quite a card at the Museum when I first purchased that establishment, and before I introduced dramatic representations into the “Lecture Room.” His representations were usually given as follows: A small table was placed in about the centre of the stage; a curtain reaching to the floor covered the front and two ends of the table; under this table, on little shelves and hooks, were placed caps, hats, coats, wigs, moustaches, curls, cravats, and shirt collars, and all sorts of gear for changing the appearance of the upper portion of the person. Dr. Valentine would seat himself in a chair behind the table, and addressing his audience, would state his intention to represent different peculiar characters, male and female, including the Yankee tin peddler; “Tabitha Twist,” a maiden lady; “Sam Slick, Jr.,” the precocious author; “Solomon Jenkins,” a crusty old bachelor, with a song; the down-east school-teacher with his refractory pupils, with many other characters; and he simply asked the indulgence of the audience for a few seconds between each imitation, to enable him to stoop down behind the table and “dress” each character appropriately.

The Doctor himself was a most eccentric character. He was very nervous, and was always fretting lest his audience should be composed of persons who would not appreciate his “imitations.” During one of his engagements the Lecture Room performances consisted of negro minstrelsy and Dr. Valentine’s imitations. As the minstrels gave the entire first half of the entertainment, the Doctor would post himself at the entrance to the Museum to study the character of the visitors from their appearance. He fancied that he was a great reader of character in this way, and as most of my visitors were from the country, the Doctor, after closely perusing their faces, would decide that they were not the kind of persons who would appreciate his efforts, and this made him extremely nervous. When this idea was once in his head, it took complete possession of the poor Doctor, and worked him up into a nervous excitement which it was often painful to behold. Every country-looking face was a dagger to the Doctor, for he had a perfect horror of exhibiting to an unappreciative audience. When so much excited that he could stand at the door no longer, the disgusted Doctor would come into my office and pour out his lamentations in this wise:

“There, Barnum, I never saw such a stupid lot of country bumpkins in my life. I shan’t be able to get a smile out of them. I had rather be horse-whipped than attempt to satisfy an audience who have not got the brains to appreciate me. Sir, mine is a highly intellectual entertainment, and none but refined and educated persons can comprehend it.”

“Oh, I think you will make them laugh some, Doctor,” I replied.

“Laugh, sir, laugh! why, sir, they have no laugh in them, sir; and if they had, your devilish nigger minstrels would get it all out of them before I commenced.”

“Don’t get excited, Doctor,” I said; “you will please the people.”

“Impossible, sir! I was a fool to ever permit my entertainment to be mixed up with that of nigger singers.”

“But you could not give an entire entertainment satisfactorily to the public; they want more variety.”

“Then you should have got something more refined, sir. Why, one of those cursed nigger break-downs excites your audience so they don’t want to hear a word from me. At all events, I ought to commence the entertainment and let the niggers finish up. I tell you, Mr. Barnum, I won’t stand it! I would rather go to the poor-house. I won’t stay here over a fortnight longer! It is killing me!”

In this excited state the Doctor would go upon the stage, dressed very neatly in a suit of black. Addressing a few pleasant words to the audience, he would then take a seat behind his little table, and with a broad smile covering his countenance would ask the audience to excuse him a few seconds, and he would appear as “Tabitha Twist,” a literary spinster of fifty-five. On these occasions I was usually behind the scenes, standing at one of the wings opposite the Doctor’s table, where I could see and hear all that occurred “behind the curtain.” The moment the Doctor was down behind the table, a wonderful change came over that smiling countenance.

“Blast this infernal, stupid audience! they would not laugh to save the city of New York!” said the Doctor, while he rapidly slipped on a lady’s cap and a pair of long curls. Then, while arranging a lace handkerchief around his shoulders, he would grate his teeth and curse the Museum, its manager, the audience and everybody else. The instant the handkerchief was pinned, the broad smile would come upon his face, and up would go his head and shoulders showing to the audience a rollicking specimen of a good-natured old maid.

“How do you do, ladies and gentlemen? You all know me, Tabitha Twist, the happiest maiden in the village; always laughing. Now, I’ll sing you one of my prettiest songs.”

The mock maiden would then sing a lively, funny ditty, followed by faint applause, and down would bob the head behind the table to prepare for a presentation of “Sam Slick, junior.”

“Curse such a set of fools” (off goes the cap, followed by the curls). “They think it’s a country Sunday school” (taking off the lace handkerchief). “I expect they will hiss me next, the donkeys” (on goes a light wig of long, flowing hair). “I wish the old Museum was sunk in the Atlantic” (puts on a Yankee round-jacket, and broadbrimmed hat). “I never will be caught in this infernal place, curse it;” up jump head and shoulders of the Yankee, and Sam Slick, junior, sings out a merry —

“Ha! ha! why, folks, how de dew. Darn glad to see you, by hokey; I came down here to have lots of fun, for you know I always believe we must laugh and grow fat.”

After five minutes of similar rollicking nonsense, down would bob the head again, and the cursing, swearing, tearing, and teeth-grating would commence, and continue till the next character appeared to the audience, bedecked with smiles and good-humor.

On several occasions I got up “Baby shows,” at which I paid liberal prizes for the finest baby, the fattest baby, the handsomest twins, for triplets, and so on. I always gave several months’ notice of these intended shows and limited the number of babies at each exhibition to one hundred. Long before the appointed time, the list would be full and I have known many a fond mother to weep bitterly because the time for application was closed and she could not have the opportunity to exhibit her beautiful baby. These shows were as popular as they were unique, and while they paid in a financial point of view, my chief object in getting them up was to set the newspapers to talking about me, thus giving another blast on the trumpet which I always tried to keep blowing for the Museum. Flower shows, dog shows, poultry shows and bird shows, were held at intervals in my establishment and in each instance the same end was attained as by the baby shows. I gave prizes in the shape of medals, money and diplomas and the whole came back to me four-fold in the shape of advertising.

There was great difficulty, however, in awarding the principal prize of $100 at the baby shows. Every mother thought her own baby the brightest and best, and confidently expected the capital prize.

For where was ever seen the mother
Would give her baby for another?

Not foreseeing this when I first stepped into the expectant circle and announced in a matter of fact way that a committee of ladies had decided upon the baby of Mrs. So and So as entitled to the leading prize, I was ill-prepared for the storm of indignation that arose on every side. Ninety-nine disappointed, and as they thought, deeply injured, mothers made common cause and pronounced the successful little one the meanest, homeliest baby in the lot, and roundly abused me and my committee for our stupidity and partiality. “Very well, ladies,” said I in the first instance, “select a committee of your own and I will give another $100 prize to the baby you shall pronounce to be the best specimen.” This was only throwing oil upon flame; the ninety-nine confederates were deadly enemies from the moment and no new babies were presented in competition for the second prize. Thereafter, I took good care to send in a written report and did not attempt to announce the prize in person.

At the first exhibition of the kind, there was a vague, yet very current rumor, that in the haste of departure from the Museum several young mothers had exchanged babies (for the babies were nearly all of the same age and were generally dressed alike) and did not discover the mistake till they arrived home and some such conversation as this occurred between husband and wife:

“Did our baby take the prize?”

“No! the darling was cheated out of it.”

“Well, why didn’t you bring home the same baby you carried to the Museum?”

I am glad to say that I could not trace this cruel rumor to an authentic source.

In June 1843, a herd of yearling buffaloes was on exhibition in Boston. I bought the lot, brought them to New Jersey, hired the race course at Hoboken, chartered the ferry-boats for one day, and advertised that a hunter had arrived with a herd of buffaloes – I was careful not to state their age – and that August 31st there would be a “Grand Buffalo Hunt” on the Hoboken race course – all persons to be admitted free of charge.

The appointed day was warm and delightful, and no less than twenty-four thousand people crossed the North River in the ferry-boats to enjoy the cooling breeze and to see the “Grand Buffalo Hunt.” The hunter was dressed as an Indian, and mounted on horseback; he proceeded to show how the wild buffalo is captured with a lasso, but unfortunately the yearlings would not run till the crowd gave a great shout, expressive at once of derision and delight at the harmless humbug. This shout started the young animals into a weak gallop and the lasso was duly thrown over the head of the largest calf. The crowd roared with laughter, listened to my balcony band, which I also furnished “free,” and then started for New York, little dreaming who was the author of this sensation, or what was its object.

Mr. N. P. Willis, then editor of the Home Journal, wrote an article illustrating the perfect good nature with which the American public submit to a clever humbug. He said that he went to Hoboken to witness the Buffalo Hunt. It was nearly four o’clock when the boat left the foot of Barclay Street, and it was so densely crowded that many persons were obliged to stand on the railings and hold on to the awning posts. When they reached the Hoboken side a boat equally crowded was coming out of the slip. The passengers just arriving cried out to those who were coming away, “Is the Buffalo Hunt over?” To which came the reply, “Yes, and it was the biggest humbug you ever heard of!” Willis added that passengers on the boat with him instantly gave three cheers for the author of the humbug, whoever he might be.

After the public had enjoyed a laugh for several days over the Hoboken “Free Grand Buffalo Hunt,” I permitted it to be announced that the proprietor of the American Museum was responsible for the joke, thus using the buffalo hunt as a sky-rocket to attract public attention to my Museum. The object was accomplished and although some people cried out “humbug,” I had added to the notoriety which I so much wanted and I was satisfied. As for the cry of “humbug,” it never harmed me, and I was in the position of the actor who had much rather be roundly abused than not to be noticed at all. I ought to add, that the forty-eight thousand sixpences – the usual fare – received for ferry fares, less what I paid for the charter of the boats on that one day, more than remunerated me for the cost of the buffaloes and the expenses of the “hunt,” and the enormous gratuitous advertising of the Museum must also be placed to my credit.

With the same object – that is, advertising my Museum, – I purchased, for $500, in Cincinnati, Ohio, a “Woolly Horse” I found on exhibition in that city. It was a well formed, small sized horse, with no mane, and not a particle of hair on his tail, while his entire body and legs were covered with thick, fine hair or wool, which curled tight to his skin. This horse was foaled in Indiana, and was a remarkable freak of nature, and certainly a very curious looking animal.

I had not the remotest idea, when I bought this horse, what I should do with him; but when the news came that Colonel John C. Fremont (who was supposed to have been lost in the snows of the Rocky Mountains) was in safety, the “Woolly Horse” was exhibited in New York, and was widely advertised as a most remarkable animal that had been captured by the great explorer’s party in the passes of the Rocky Mountains. The exhibition met with only moderate success in New York, and in several Northern provincial towns, and the show would have fallen flat in Washington, had it not been for the over-zeal of Colonel Thomas H. Benton, then a United States Senator from Missouri. He went to the show, and then caused the arrest of my agent for obtaining twenty-five cents from him under “false pretences.” No mention had been made of this curious animal in any letter he had received from his son-in-law, Colonel John C. Fremont, and therefore the Woolly Horse had not been captured by any of Fremont’s party. The reasoning was hardly as sound as were most of the arguments of “Old Bullion,” and the case was dismissed. After a few days of merriment, public curiosity no longer turned in that direction, and the old horse was permitted to retire to private life. My object in the exhibition, however, was fully attained. When it was generally known that the proprietor of the American Museum was also the owner of the famous “Woolly Horse,” it caused yet more talk about me and my establishment, and visitors began to say that they would give more to see the proprietor of the Museum than to view the entire collection of curiosities. As for my ruse in advertising the “Woolly Horse” as having been captured by Fremont’s exploring party, of course the announcement neither added to nor took from the interest of the exhibition; but it arrested public attention, and it was the only feature of the show that I now care to forget.

It will be seen that very much of the success which attended my many years proprietorship of the American Museum was due to advertising, and especially to my odd methods of advertising. Always claiming that I had curiosities worth showing and worth seeing, and exhibited “dog cheap” at “twenty-five cents admission, children half price” – I studied ways to arrest public attention; to startle, to make people talk and wonder; in short, to let the world know that I had a Museum.

About this time, I engaged a band of Indians from Iowa. They had never seen a railroad or steamboat until they saw them on the route from Iowa to New York. Of course they were wild and had but faint ideas of civilization. The party comprised large and noble specimens of the untutored savage, as well as several very beautiful squaws, with two or three interesting “papooses.” They lived and lodged in a large room on the top floor of the Museum, and cooked their own victuals in their own way. They gave their war-dances on the stage in the Lecture Room with great vigor and enthusiasm, much to the satisfaction of the audiences. But these wild Indians seemed to consider their dances as realities. Hence when they gave a real War Dance, it was dangerous for any parties, except their manager and interpreter, to be on the stage, for the moment they had finished their war dance, they began to leap and peer about behind the scenes in search of victims for their tomahawks and scalping knives! Indeed, lest in these frenzied moments they might make a dash at the orchestra or the audience, we had a high rope barrier placed between them and the savages on the front of the stage.

After they had been a week in the Museum, I proposed a change of performance for the week following, by introducing new dances. Among these was the Indian Wedding Dance. At that time I printed but one set of posters (large bills) per week, so that whatever was announced for Monday, was repeated every day and evening during that week. Before the Wedding Dance came off on Monday afternoon, I was informed that I was to provide a large new red woollen blanket, at a cost of ten dollars, for the bridegroom to present to the father of the bride. I ordered the purchase to be made; but was considerably taken aback, when I was informed that I must have another new blanket for the evening, inasmuch as the savage old Indian Chief, father-in-law to the bridegroom, would not consent to his daughter’s being approached with the Wedding Dance unless he had his blanket present.

I undertook to explain to the chief, through the interpreter, that this was only a “make believe” wedding; but the old savage shrugged his shoulders, and gave such a terrific “Ugh!” that I was glad to make my peace by ordering another blanket. As we gave two performances per day, I was out of pocket $120 for twelve “wedding blankets,” that week.

One of the beautiful squaws named Do-humme died in the Museum. She had been a great favorite with many ladies, – among whom I can especially name Mrs. C. M. Sawyer, wife of the Rev. Dr. T. J. Sawyer. Do-humme was buried on the border of Sylvan Water, at Greenwood Cemetery, where a small monument, erected by her friends, designates her last resting place.

The poor Indians were very sorrowful for many days, and desired to get back again to their western wilds. The father and the betrothed of Do-humme cooked various dishes of food and placed them upon the roof of the Museum, where they believed the spirit of their departed friend came daily for its supply; and these dishes were renewed every morning during the stay of the Indians at the Museum.

It was sometimes very amusing to hear the remarks of strangers who came to visit my Museum. One afternoon a prim maiden lady from Portland, Maine, walked into my private office, where I was busily engaged in writing, and taking a seat on the sofa she asked:

“Is this Mr. Barnum?”

“It is,” I replied.

“Is this Mr. P. T. Barnum, the proprietor of the Museum?” she asked.

“The same,” was my answer.