Gambling of Costermongers.

It would be difficult to find in the whole of this numerous class, a youngster who is not--what may be safely called--a desperate gambler. At the age of fourteen this love of play first comes upon the lad, and from that time until he is thirty or so, not a Sunday passes but he is at his stand on the gambling ground. Even if he has no money to stake, he will loll away the morning looking on, and so borrow excitement from the successes of others. Every attempt made by the police, to check this ruinous system, has been unavailing, and has rather given a gloss of daring courage to the sport, that tends to render it doubly attractive.

If a costermonger has an hour to spare, his first thought is to gamble away the time. He does not care what he plays for, so long as he can have a chance of winning something. Whilst waiting for a market to open, his delight is to find out some pieman and toss him for his stock, though, by so doing, he risks his market-money and only chance of living, to win that which he will give away to the first friend he meets. For the whole week the boy will work untiringly, spurred on by the thought of the money to be won on the Sunday. Nothing will damp his ardour for gambling, the most continued ill-fortune making him even more reckless than if he were the luckiest man alive.

Many a lad who had gone down to the gambling ground, with a good warm coat upon his back and his pocket well filled from the Saturday night’s market, will leave it at evening penniless and coatless, having lost all his earnings, stock-money, and the better part of his clothing. Some of the boys, when desperate with “bad luck,” borrow to the utmost limit of their credit; then they mortgage their “king’s-man” or neck-tie, and they will even change their cord trousers, if better than those of the winner, so as to have one more chance at the turn of fortune. The coldest winter’s day will not stop the Sunday’s gathering on the river-side, for the heat of play warms them in spite of the sharp wind blowing down the Thames. If the weather be wet, so that the half-pence stick to the ground, they find out some railway-arch or else a beer-shop, and having filled the tap-room with their numbers, they muffle the table with handkerchiefs, and play secretly. When the game is very exciting, they will even forget their hunger, and continue to gamble until it is too dark to see, before they think of eating. One man told me, that when he was working the races with lemonade, he had often seen in the centre of a group, composed of costers, thimble-riggers and showmen, as much as 100l. on the ground at one time, in gold and silver. A friend of his, who had gone down in company with him, with a pony-truck of toys, lost in less than an hour his earnings, truck, stock of goods, and great-coat. Vowing to have his revenge next time, he took his boy on his back, and started off on the tramp to London, there to borrow sufficient money to bring down a fresh lot of goods on the morrow, and then gamble away his earnings as before.

It is perfectly immaterial to the coster with whom he plays, whether it be a lad from the Lambeth potteries, or a thief from the Westminster slums. Very often, too, the gamblers of one costermonger district, will visit those of another, and work what is called “a plant” in this way. One of the visitors will go before hand, and, joining a group of gamblers, commence tossing. When sufficient time has elapsed to remove all suspicion of companionship, his mate will come up and commence betting on each of his pals’ throws with those standing round. By a curious quickness of hand, a coster can make the toss tell favourably for his wagering friend, who meets him after the play is over in the evening, and shares the spoil.

The spots generally chosen for the Sunday’s sport are in secret places, half-hidden from the eye of the passers, where a scout can give quick notice of the approach of the police: in the fields about King’s-cross, or near any unfinished railway buildings. The Mint, St. George’s-fields, Blackfriars’-road, Bethnal-green, and Marylebone, are all favourite resorts. Between Lambeth and Chelsea, the shingle on the left side of the Thames, is spotted with small rings of lads, half-hidden behind the barges. One boy (of the party) is always on the look out, and even if a stranger should advance, the cry is given of “Namous” or “Kool Eslop.” Instantly the money is whipped-up and pocketed, and the boys stand chattering and laughing together. It is never difficult for a coster to find out where the gambling parties are, for he has only to stop the first lad he meets, and ask him where the “erht pu” or “three up” is going on, to discover their whereabouts.

If during the game a cry of “Police!” should be given by the looker-out, instantly a rush at the money is made by any one in the group, the costers preferring that a stranger should have the money rather than the policeman. There is also a custom among them, that the ruined player should be started again by a gift of 2d. in every shilling lost, or, if the loss is heavy, a present of four or five shillings is made; neither is it considered at all dishonourable for the party winning to leave with the full bloom of success upon him.

That the description of one of these Sunday scenes might be more truthful, a visit was paid to a gambling-ring close to ----. Although not twenty yards distant from the steam-boat pier, yet the little party was so concealed among the coal-barges, that not a head could be seen. The spot chosen was close to a small narrow court, leading from the street to the water-side, and here the lad on the look-out was stationed. There were about thirty young fellows, some tall strapping youths, in the costers’ cable-cord costume,--others, mere boys, in rags, from the potteries, with their clothes stained with clay. The party was hidden from the river by the black dredger-boats on the beach; and it was so arranged, that should the alarm be given, they might leap into the coal-barges, and hide until the intruder had retired. Seated on some oars stretched across two craft, was a mortar-stained bricklayer, keeping a look-out towards the river, and acting as a sort of umpire in all disputes. The two that were tossing had been playing together since early morning; and it was easy to tell which was the loser, by the anxious-looking eye and compressed lip. He was quarrelsome too; and if the crowd pressed upon him, he would jerk his elbow back savagely, saying, “I wish to C----t you’d stand backer.” The winner, a short man, in a mud-stained canvas jacket, and a week’s yellow beard on his chin, never spake a word beyond his “heads,” or “tails;” but his cheeks were red, and the pipe in his mouth was unlit, though he puffed at it.

In their hands they each held a long row of halfpence, extending to the wrist, and topped by shillings and half-crowns. Nearly every one round had coppers in his hands, and bets were made and taken as rapidly as they could be spoken. “I lost a sov. last night in less than no time,” said one man, who, with his hands in his pockets, was looking on; “never mind--I musn’t have no wenson this week, and try again next Sunday.”

The boy who was losing was adopting every means to “bring back his luck again.” Before crying, he would toss up a halfpenny three times, to see what he should call. At last, with an oath, he pushed aside the boys round him, and shifted his place, to see what that would do; it had a good effect, for he won toss after toss in a curiously fortunate way, and then it was strange to watch his mouth gradually relax and his brows unknit. His opponent was a little startled, and passing his fingers through his dusty hair, said, with a stupid laugh, “Well, I never see the likes.” The betting also began to shift. “Sixpence Ned wins!” cried three or four; “Sixpence he loses!” answered another; “Done!” and up went the halfpence. “Half-a-crown Joe loses!”--“Here you are,” answered Joe, but he lost again. “I’ll try you a ‘gen’” (shilling) said a coster; “And a ‘rouf yenap’” (fourpence), added the other. “Say a ‘exes’” (sixpence).--“Done!” and the betting continued, till the ground was spotted with silver and halfpence.

“That’s ten bob he’s won in five minutes,” said Joe (the loser), looking round with a forced smile; but Ned (the winner) never spake a word, even when he gave any change to his antagonist; and if he took a bet, he only nodded to the one that offered it, and threw down his money. Once, when he picked up more than a sovereign from the ground, that he had won in one throw, a washed sweep, with a black rim round his neck, said, “There’s a hog!” but there wasn’t even a smile at the joke. At last Joe began to feel angry, and stamping his foot till the water squirted up from the beach, cried, “It’s no use; luck’s set in him--he’d muck a thousand!” and so he shifted his ground, and betted all round on the chance of better fortune attending the movement. He lost again, and some one bantering said, “You’ll win the shine-rag, Joe,” meaning that he would be “cracked up,” or ruined, if he continued.

When one o’clock struck, a lad left, saying, he was “going to get an inside lining” (dinner). The sweep asked him what he was going to have. “A two-and-half plate, and a ha’p’orth of smash” (a plate of soup and a ha’p’orth of mashed potatoes), replied the lad, bounding into the court. Nobody else seemed to care for his dinner, for all stayed to watch the gamblers.

Every now and then some one would go up the court to see if the lad watching for the police was keeping a good look-out; but the boy never deserted his post, for fear of losing his threepence. If he had, such is the wish to protect the players felt by every lad, that even whilst at dinner, one of them, if he saw a policeman pass, would spring up and rush to the gambling ring to give notice.

When the tall youth, “Ned,” had won nearly all the silver of the group, he suddenly jerked his gains into his coat-pocket, and saying, “I’ve done,” walked off, and was out of sight in an instant. The surprise of the loser and all around was extreme. They looked at the court where he had disappeared, then at one another, and at last burst out into one expression of disgust. “There’s a scurf!” said one; “He’s a regular scab,” cried another; and a coster declared that he was “a trosseno, and no mistake.” For although it is held to be fair for the winner to go whenever he wishes, yet such conduct is never relished by the losers.

It was then determined that “they would have him to rights” the next time he came to gamble; for every one would set at him, and win his money, and then “turn up,” as he had done.

The party was then broken up, the players separating to wait for the new-comers that would be sure to pour in after dinner.

“VIC. GALLERY.”

On a good attractive night, the rush of costers to the threepenny gallery of the Coburg (better known as “the Vic”) is peculiar and almost awful.

The long zig-zag staircase that leads to the pay box is crowded to suffocation at least an hour before the theatre is opened; but, on the occasion of a piece with a good murder in it, the crowd will frequently collect as early as three o’clock in the afternoon. Lads stand upon the broad wooden bannisters about 50 feet from the ground, and jump on each others’ backs, or adopt any expedient they can think of to obtain a good place.

The walls of the well-staircase having a remarkably fine echo, and the wooden floor of the steps serving as a sounding board, the shouting, whistling, and quarrelling of the impatient young costers is increased tenfold. If, as sometimes happens, a song with a chorus is started, the ears positively ache with the din, and when the chant has finished it seems as though a sudden silence had fallen on the people. To the centre of the road, and all round the door, the mob is in a ferment of excitement, and no sooner is the money-taker at his post than the most frightful rush takes place, every one heaving with his shoulder at the back of the person immediately in front of him. The girls shriek, men shout, and a nervous fear is felt lest the massive staircase should fall in with the weight of the throng, as it lately did with the most terrible results. If a hat tumbles from the top of the staircase, a hundred hands snatch at it as it descends. When it is caught a voice roars above the tumult, “All right, Bill, I’ve got it”--for they all seem to know one another--“Keep us a pitch and I’ll bring it.”

To any one unaccustomed to be pressed flat it would be impossible to enter with the mob. To see the sight in the gallery it is better to wait until the first piece is over. The ham-sandwich men and pig-trotter women will give you notice when the time is come, for with the first clatter of the descending footsteps they commence their cries.

There are few grown-up men that go to the “Vic” gallery. The generality of the visitors are lads from about twelve to three-and-twenty, and though a few black-faced sweeps or whitey-brown dustmen may be among the throng, the gallery audience consists mainly of costermongers. Young girls, too, are very plentiful, only one-third of whom now take their babies, owing to the new regulation of charging half-price for infants. At the foot of the staircase stands a group of boys begging for the return checks, which they sell again for 1-1/2d. or 1d., according to the lateness of the hour.

At each step up the well-staircase the warmth and stench increase, until by the time one reaches the gallery doorway, a furnace-heat rushes out through the entrance that seems to force you backwards, whilst the odour positively prevents respiration. The mob on the landing, standing on tiptoe and closely wedged together, resists any civil attempt at gaining a glimpse of the stage, and yet a coster lad will rush up, elbow his way into the crowd, then jump up on to the shoulders of those before him, and suddenly disappear into the body of the gallery.

The gallery at “the Vic” is one of the largest in London. It will hold from 1500 to 2000 people, and runs back to so great a distance, that the end of it is lost in shadow, excepting where the little gas-jets, against the wall, light up the two or three faces around them. When the gallery is well packed, it is usual to see piles of boys on each others shoulders at the back, while on the partition boards, dividing off the slips, lads will pitch themselves, despite the spikes.

As you look up the vast slanting mass of heads from the upper boxes, each one appears on the move. The huge black heap, dotted with faces, and spotted with white shirt sleeves, almost pains the eye to look at, and should a clapping of hands commence, the twinkling nearly blinds you. It is the fashion with the mob to take off their coats; and the cross-braces on the backs of some, and the bare shoulders peeping out of the ragged shirts of others, are the only variety to be found. The bonnets of the “ladies” are hung over the iron railing in front, their numbers nearly hiding the panels, and one of the amusements of the lads in the back seats consists in pitching orange peel or nutshells into them, a good aim being rewarded with a shout of laughter.

When the orchestra begins playing, before “the gods” have settled into their seats, it is impossible to hear a note of music. The puffed-out cheeks of the trumpeters, and the raised drumsticks tell you that the overture has commenced, but no tune is to be heard. An occasional burst of the full band being caught by gushes, as if a high wind were raging. Recognitions take place every moment, and “Bill Smith” is called to in a loud voice from one side, and a shout in answer from the other asks “What’s up?” Or family secrets are revealed, and “Bob Triller” is asked where “Sal” is, and replies amid a roar of laughter, that she is “a-larning the pynanney.”

By-and-by a youngster, who has come in late, jumps up over the shoulders at the door, and doubling himself into a ball, rolls down over the heads in front, leaving a trail of commotion for each one as he passes aims a blow at the fellow. Presently a fight is sure to begin, and then every one rises from his seat whistling and shouting; three or four pairs of arms fall to, the audience waving their hands till the moving mass seems like microscopic eels in paste. But the commotion ceases suddenly on the rising of the curtain, and then the cries of “Silence!” “Ord-a-a-r!” “Ord-a-a-r!” make more noise than ever.

The “Vic” gallery is not to be moved by touching sentiment. They prefer vigorous exercise to any emotional speech. “The Child of the Storm’s” declaration that she would share her father’s “death or imprisonment as her duty,” had no effect at all, compared with the split in the hornpipe. The shrill whistling and brayvos that followed the tar’s performance showed how highly it was relished, and one “god” went so far as to ask “how it was done.” The comic actor kicking a dozen Polish peasants was encored, but the grand banquet of the Czar of all the Russias only produced merriment, and a request that he would “give them a bit” was made directly the Emperor took the willow-patterned plate in his hand. All affecting situations were sure to be interrupted by cries of “orda-a-r;” and the lady begging for her father’s life was told to “speak up old gal;” though when the heroine of the “dummestic dreamer” (as they call it) told the general of all the Cossack forces “not to be a fool,” the uproar of approbation grew greater than ever,--and when the lady turned up her swan’s-down cuffs, and seizing four Russian soldiers shook them successively by the collar, then the enthusiasm knew no bounds, and the cries of “Bray-vo Vincent! Go it my tulip!” resounded from every throat.

Altogether the gallery audience do not seem to be of a gentle nature. One poor little lad shouted out in a crying tone, “that he couldn’t see,” and instantly a dozen voices demanded “that he should be thrown over.”

Whilst the pieces are going on, brown, flat bottles are frequently raised to the mouth, and between the acts a man with a tin can, glittering in the gas-light, goes round crying, “Port-a-a-a-r! who’s for port-a-a-a-r.” As the heat increased the faces grew bright red, every bonnet was taken off, and ladies could be seen wiping the perspiration from their cheeks with the play-bills.

No delay between the pieces will be allowed, and should the interval appear too long, some one will shout out--referring to the curtain--“Pull up that there winder blind!” or they will call to the orchestra, saying, “Now then you catgut-scrapers! Let’s have a ha’purth of liveliness.” Neither will they suffer a play to proceed until they have a good view of the stage, and “Higher the blue,” is constantly shouted, when the sky is too low, or “Light up the moon,” when the transparency is rather dim.

The dances and comic songs, between the pieces, are liked better than anything else. A highland fling is certain to be repeated, and a stamping of feet will accompany the tune, and a shrill whistling, keep time through the entire performance.

But the grand hit of the evening is always when a song is sung to which the entire gallery can join in chorus. Then a deep silence prevails all through the stanzas. Should any burst in before his time, a shout of “orda-a-r” is raised, and the intruder put down by a thousand indignant cries. At the proper time, however, the throats of the mob burst forth in all their strength. The most deafening noise breaks out suddenly, while the cat-calls keep up the tune, and an imitation of a dozen Mr. Punches squeak out the words. Some actors at the minor theatres make a great point of this, and in the bill upon the night of my visit, under the title of “There’s a good time coming, boys,” there was printed, “assisted by the most numerous and effective chorus in the metropolis--” meaning the whole of the gallery. The singer himself started the mob, saying, “Now then, the Exeter Hall touch if you please gentlemen,” and beat time with his hand, parodying M. Jullien with his baton. An “angcore” on such occasions is always demanded, and, despite a few murmurs of “change it to ‘Duck-legged Dick,’” invariably insisted on.