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THE SONGS, RECITATIVES, AIRS, DUETS, TRIOS, AND CHORUSSES, INTRODUCED IN THE PANTOMIME ENTERTAINMENT, OF THE ENCHANTED CASTLE, AS PERFORMED AT THE THEATRE-ROYAL, COVENT-GARDEN. THE WORDS BY MILES PETER ANDREWS, Eſq AND THE MUSIC BY MR. SHIELDS.

"Of FORESTS and ENCHANTMENTS drear,
"Where more is meant than meets the ear."
MILTON's Penſeroſo.
J. BELL Bookseller to His Royal Highness, the PRINCE of WALES.

LONDON: PRINTED FOR THE AUTHOR, AND SOLD AT THE BRITISH LIBRARY, IN THE STRAND. M,DCC,LXXXVI. PRICE SIX-PENCE.

PREFACE.

[][]

IN this Age of Theatric change, when TRAGEDIES have found themſelves to be COMEDIES, and COMEDIES have bordered upon PANTOMIME; nothing has changed ſo little as Pantomime itſelf. Harlequin ſkips away his Paſſion;—Colombine foots it to the ſame Tune;—the choſen Lover ſlides acroſs the Stage, melancholy and gentlemanlike;—the Clown breaks his Head pleaſantly againſt the Scene, and the Father tumbles over him, in the ſame Way, and fortunately with the ſame Merriment, he has done any Time theſe Hundred Years.

Theſe Witticiſms are certainly good ones, for they are undoubtedly the oldeſt, and of the longeſt ſtanding of any in Chriſtendom.

But one Jeſt cannot unfortunately live for ever. In the Eaſt Indies, the ſame Joke laſts only a Twelvemonth, and is terminated by the Arrival of the next Ships.

For this Reaſon, the Author of the Pantomime, in which the following Songs bear a Part, has attempted to ſtray from the beaten Road; but it is requeſted the Audience will not be alarmed. The [iv] Hero of to Night is not about to be a Man of Sentiment; tho' Othello might be ſuch with a black Face, he had not the good, or the ill Fortune, to have a Party-colour'd Jacket, which cuts ſhort all Sentiment at once.

The Novelty attempted to be dramatiſed To-night, takes its Riſe from the Writings of MISS AIKIN, and the HON. HORACE WALPOLE. The Caſtle of Otranto, and the Fragment of Sir Bertrand, form the Baſis of an Endeavour to bring upon the Stage ſomewhat of the Effects which may be produced by Midnight Horror, and Agency ſupernatural. What may be the Reſult of this Experiment, To-night muſt determine, for hitherto the Experiment has not been made.

The Ghoſt of Hamlet, and the Witches of Macbeth do not militate againſt this Aſſertion. Their Appearance, tho' out of Nature, was ſimple and not combined. The Clank of Chains, the Whiſtling of hollow Winds, the Clapping of Doors, Gigantic Forms, and viſionary Gleams of Light, attended not their Effects upon the Stage. The firm Mind certainly may laugh at all this; but if ever, on a late Winter Evening, at a well-told Story of an Apparition, the Company have found themſelves unuſually attentive, and ſometimes unwittingly look'd back;—if they have felt no Wiſh to part;—if imperceptibly they have ſat more cloſely together, and heard the Summons to Reſt and Separation,—the retiring to a lone Chamber with Reluctance, not [v] to ſay Diſquietude;—if all this has happen'd, then are we right in thinking there is ſomewhat of Enthuſiaſm, or Superſtition in theſe Matters, which Reaſon ſmiles at, but cannot prevail over.—

If this is a Weakneſs, the greateſt and the beſt of all Times have felt its Force;—Henry the Fourth, the great Duke of Marlborough,—and a Family of Rank in this Country, with whom the Author has had the Honor of being intimate, were remarkable Inſtances of this Truth.

Mix'd up with lighter Things to counteract the Gloom, ſome Grains of this Species of Compoſition will form the Potion of the Pantomime in Queſtion; in other Matters the Author humbly hopes he ſhall not be more dull than his Neighbours have been before him: perhaps quite as nonſenſical, and ſometimes more abſurd.—He truſts, however, the Audience will not be diſpleaſed with him, for having ſubſtituted a talkative Attendant upon Harlequin in the room of the uſual Dumb Grimace of the Clown, or having given them the youthful Accompliſhments of Miſs WILKINSON as a Colombine in the Place of a Figurante.

VOCAL CHARACTERS.

[]
  • NECROMANCER.
  • FIRST MAGICIAN.
  • SECOND MAGICIAN.
  • HARLEQUIN.
  • ZANY
  • GENIUS OF THE WOOD.
  • HYMEN.
  • BACCHANAL.
  • MAYOR.
  • FIRST GIANT.
  • SECOND GIANT.
  • BALLAD SINGER.
  • NEPTUNE.
  • ATTENDANT NYMPHS.
  • COLOMBINE.

[]ENCHANTED CASTLE.

ACT I.

SCENE I.

Enter Two MAGICIANS.
1ſt.

GOOD morrow, Brother Conjurer, how do you do?

2d.

Pretty well, I thank you, Brother, how do you?

1ſt.

I'm come abroad—

2d.

I ſee you are.

1ſt.

To take a little ride.

2d.
Then, for the ſake of goſſiping, let's jog on, ſide by ſide.
What think you of our mighty Necromancer,
And the young Virgin he keeps in a trance here?
1ſt.

I think he won't ſucceed.

2d.

Agreed! Agreed!

1ſt.
On India's coaſt he found the lovely maid,
And to this Magic Iſle by charms convey'd.
[8]Each night he wakes her, and his ſuit renews;
By turns he threatens, and by turns he ſues.
She ſtill rejects him—he grows vex'd, and then
Shakes his rough beard, and—pops her to ſleep again,
2d.

Zounds, why not force her?

1ſt.
Aye friend, there's the curſe,
His pow'r is limited.
2d.
So much the worſe.
In England, that's the way to ſave evaſion.
1ſt.

No force us'd there—

2d.

Why not?

1ſt.
There's no occaſion.
He comes, ſo ſtand aſide:—He and his Dragon
Take as much room as wou'd a broad wheel waggon.
Enter NECROMANCER.
Nec.
Brothers of the black deſign,
Liſten to this tale of mine,
Sure as I am Virtue's foe,
Some misfortune threatens now.—
Wafted from ſome diſtant land,
A wretched mortal graſps our Strand;
Shipwreck'd on this magic coaſt,
Friends, poſſeſſions, here are loſt:
Nothing ſav'd of all his pelf,
But his ſervant and himſelf.
[9] DUET. MAGICIANS.
Is this all we have to fear?
Sure our maſter does but jeer!
Why for mortals make ſuch fuſs,
They can never injure us!—
What diſaſter need we fear?
Nec.
Great diſaſter!—Hear me! Hear!—
Climbing up the rugged ſteep,
That o'er hangs the briny deep,
Where the ſacred tree doth grow;
They, by chance, in evil hour,
Have ſecur'd one fatal bough,
Which protects them from our pow'r:
Hither, unknowing of their doom,
Nor conſcious of it's worth, they come.
TRIO.
Hark! I hear the woeful knell,
That new evils doth foretel,
All around us is not well.
Here we can no longer ſtay,
Spells and charms we muſt diſplay,
Hie away then—hie away!

SCENE II.

[10]
GENIUS of the WOOD. To Harlequin.
In me, behold the Genius of the Wood,
Fear not, my friends, my errand is your good;
That bough which you poſſeſs, gives me the pow'r
To aid, to ſhield you in this dang'rous hour.
Each teeming moment, every ſtep you tread,
Is fraught with magic myſteries, dire and dread.
Reſtore the bough, (obſerve me, and believe,)
In glad exchange, this powerful ſword receive.
This ſhall protect you, in Enchantment's ſpite,
Midſt Error, Horror, Darkneſs, and Affright!
From every ill but one—nay, do not ſtart,
I mean the Error of the human Heart;—
True to yourſelf, with joy, the gift you'll wear,
If not, 'twill only bring increaſe of care.
Depriv'd of ſpeech, each bleſſing you deſcry,
Will, in the moment of expectance fly.—
Farewell!—
1ſt. Sprite.
Raſh intruders, come not near,
Sprites and Spectres harbour here!
2d. Sprite.
I'm a goblin, mortal's foe,
Murder ſtalks where'er I go.

SCENE VII.

[11]
RECITATIVE, accompanied. HYMEN.
The ſpell is broke, the fair you've taught to ſmile,
With grateful tenderneſs, rewards your toil;
Yet, mark me well, what valour now hath won,
May, by immoral conduct, be undone.
AIR. COLOMBINE.
As yet untaught to veil my heart,
My youthful boſom knows no art;
Ev'n now, it's grateful ſenſe to prove,
When you are nigh,
It heaves a ſigh,
Ah, tell me if that ſigh is love!
With thee, how ſweet the paſſing hours!
Without thee, all life's morning low'rs:
Each moment then will ling'ring move;
When you're not near,
I drop a tear;
Ah, tell me if that tear is love!
[12]
To chear my friend's ſequeſter'd day,
With joy I'd tune my native lay;
As true, as tender as the dove;
Each charming toil,
Wou'd wake the ſmile;
Ah, tell me if that ſmile is love!

To chear my friend's ſequeſter'd day, &c.

SCENE IX.

GENIUS of the WOOD. To Harlequin.
See, to what ſhame (altho' forewarn'd) thou'rt come!
In vain thou ſtriv'ſt to anſwer, thou art dumb.
America's the ſhore thou now art toſs'd on,
And yon far diſtant riſing town is Boſton;
Thither repair, like a repentant rover,
Amend thy conduct, and thy ſpeech recover.

SCENE X.

[13]
AMERICAN BALLAD.
Boſton is a yankee town, ſo is Philadelphia,
You ſhall have a ſugar-dram, and I'll have one myſelfy.
Yankee doodle, doodle doo, yankee doodle dandy,
High doodle, doodle doo, yankee doodle dandy.
Jenny Locket loſt her pocket, Sukey Sweetlips found it,
Devil a thing was in the pocket, but the border round it.
Yankee doodle, &c.
Firſt I bought a porridge-pot, then I bought a ladle
Then my wife was brought to bed, and now I rock the cradle.
Yankee doodle, &c.
Za. Boſton is a ſilly town, and if I'd my deſire,
Firſt I'd knock the Rulers down, and then I'd kick the Crier.
Yankee doodle, &c.
[14] AIR. COLOMBINE.
A raree-ſhew!—A raree-ſhew! here is to be ſeen,
A girl who would a huſband have, altho' ſhe's but ſixteen.
O, ſay, is that ſo rare a ſhew?
I ſay, No!
A miracle!—A miracle!—a lover in the lurch,
Who from a Miſs, wou'd force a kiſs, before they went to church.
O, ſay, is that ſo much amiſs?
I ſay, Yes!
A raree-ſhew!—A raree-ſhew, myſelf can beſt explain,
A female, who, tho' once deceived, ſtill ventures once again.
O, ſay, is that ſo rare a ſhew?
I ſay, No!

FINALE. Firſt ACT.

[15]
GIANTS.
Without.

Fe, fa, fum!

Zany.
Here they come,—here they come!
Both in dudgeon,
Arm'd with bludgeon,
At my maſter's earneſt pray'r,
To protect him from the May'r;
Gog and Magog have ſtept down,
And they'll crack his Worſhip's crown.
Giants.
What the devil is the matter?
Whence is all this noiſe and clatter?
Such confuſion in our hall,
Sure the devil's in you all!
Zany.

State-men!

Mayor.

Great men!

Giants.
Hold your prate, Men!
Not a law-ſuit when they try it;
Not the lottery, when they cry it;
Not the Aldermen, when ſnoring;
Not the common Crier roaring;
Not the Livery, when bawling,
Can exceed this caterwawling.
Mayor.
[16]
Call forth all our troops,
See my ſword-bearer droops;
Mr. Common-Hunt's, but one,
Where's the Common Council gone?
Zany.
They are gone to take a nap.
Lack-a-daiſy, what miſhap!
Mayor.

Where are all the Train Bands?

Zany.
They are all in ſtrange hands!
Lord have mercy, what a ſlap!
Struck by Harl.
Giants.
Bring him here, bring him here!
Never fear,—never fear!—
And betwixt us, he ſhall go, he ſhall go.
Zany.

Oh, ho, ho! Muſt he ſo? No, no, No!

Mob.

Hah, hah, hah!—Let him go—let him go.

ACT II.

[17]

SCENE I.

GENIUS of the WOOD.
Sad miſcreant! ſay, on what pretence
Doſt thou preſume to take offence?
Thy love, whoſe fondneſs free from art,
Had deſtin'd thee her youthful heart:
Stung by thy baſeneſs, yield her hand,
Where worth and honor form the band—
Speak for thyſelf.—
Genius.
Enough! Contrition ſpeaks the ſoften'd mind,
Thy candour pleads for thee; the fair is kind,
True to her faith: the rival ſhe approves
Is Hymen's ſelf, who waits to crown your loves.
AIR. HYMEN.
'Tis your's to poſſeſs, if you practice no harm
In the fulneſs of joy, life's moſt exquiſite charm!
What no wealth can procure, what no pow'r can remove,
That pureſt of paſſions, the Virgin's firſt love.
How ſweet in the candour of youth to impart,
The earlieſt impreſſion that fixes the heart;
Which fondly betrays, while it ſtrives to reprove
The glance, and the ſigh, and the whiſper of love.
[18]
Oh, cheriſh that bliſs, which ſo rarely is found!
Be your vows with the wreath of fidelity crown'd;
Then bleſt in the Wife, new endearments you'll prove,
To equal the charms of the Virgin's firſt love.

SCENE VIII.

1ſt. Mag.
Dear brother black legs, all our ſchemes are undone,
Hither this Harlequin returns from London.
2d.
Dear brother Beetle-brow, if that's the caſe,
He cou'd not come from a more wicked place;
1ſt.
He there has play'd the devil, and I fear
Now he intends to play the devil here.
2d.
What, among Conjurers! then his time were paſt ill,
Like carrying coals to ſell them at Newcaſtle.
Nec.
What means this trifling, when with Giant-Stride,
Deſtruction threatens us on every ſide!
[19] TRIO.
Haſte! the Myſtic Temple ſave!
Frighten, or the foe will brave!
Yelling ſpectres raiſe to ſcare him!
Beck'ning phantoms to enſnare him!
Here a ſhadow, there a ghoſt!
'Tis too late, that diſmal ſound
'Bodes confuſion round and round!
Horror! horror! all is loſt!

SCENE X.

Gen.
'Tis well, the Myſtic Temple's raz'd,
Ev'n now the Magic Grove's on fire;
Thy fair companion's fears are cas'd,
And all thy enemies expire.
Chang'd into brutes, ſad diſaſt'rous band,
Still aſk relief from thy victorious hand;
By thee they ſhall their wonted forms reſume,
And thank thy care for each averted doom.

SCENE XI.

[20]
CHORUS of ANIMALS.
Releaſe us! Releaſe us!
From our dreadful ſituation;
From our horrid transformation,
Releaſe us! Releaſe us!
Thanks to great Harlequin, who does our ſhapes reſtore!
Boar.

For I ſhall grunt,

Aſs.
And I ſhall bray,
And I ſhall hoot no more.
Thanks to great Harlequin, our wonderful protector!
Tur.

Here am I from turtle, chang'd to Leaden-hall director!

Woodc.
And I a lawyer, from among
Thoſe birds, whoſe bills are rather long:
Aſs.

And I, a Juſtice from an aſs.

SEMI-CHO.

—Such things before have come to paſs!

Boar.
[21]

I am a buck, who was a boar!

SEMI-CHO.

—We all have ſeen the like before!

Boar.
Soon again ſhall booted Bobby,
Strut about the play-houſe Lobby;
Soon again ſhall lawyer Quirk,
With his worſhip make ſome work.
CHORUS
Repeated.

—Thanks to great Harlequin, &c.

Gen.
Thy toils are o'er, this lovely maid's thy own,
Protect and prize the jewel thou haſt won:
Thee and thy bride I'll now tranſport,
To where her early years were paſt;
There, in her father's ſplendid court,
Thou ſhalt be ſhelter'd at the laſt;
And while the daughter duteous kneels,
Each ſault, the parent will forgive;
Will ſhare with both, the joys he feels,
And bid his child's deliverer live.

LAST SCENE.

FINALE.
Colom.
See the hero now before you
Comes, your daughter to reſtore you;
If he has been ſomewhat wild,
Think 'twas he who ſav'd your child.
[22] To the Audience.
While my huſband's cauſe I plead,
Sure you wiſh me to ſucceed.
Sweet is the ſong,
Of the fair and the young,
When they ſue
As we do,
Our friends among.
CHORUS.

—Sweet is the ſong, &c.

India now no more repining,
Shall with us in commerce joining,
While it's treaſures round us float,
Mutual happineſs promote.
To the Audience.
Beaux ſo ſmart, and belles ſo fine,
All in eaſtern pomp may ſhine;
Shawls for the fair,
Di'mond ſprigs for the hair,
With a bulſe
To repulſe,
And ſhame deſpair.
CHORUS.

—Shawls for the fair, &c.

Here we bring your hearts to ſoften,
What you do not meet with often;
Rakes atoning for the paſt,
Marry and grow good at laſt.
[23] To the Ladies.
Ladies, if he gives delight,
Come and ſee him every night;
Cheriſh the ſong
Of the fair and the young,
Give applauſe
To our cauſe,
And hither throng.
CHORUS.

—Cheriſh the ſong, &c.

FINIS.
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Citation Suggestion for this Object
TextGrid Repository (2020). TEI. 3486 The songs recitatives airs duets trios and chorusses introduced in the pantomime entertainment of The enchanted castle as performed at the Theatre Royal Covent Garden The words by Miles Pete. University of Oxford Text Archive. . https://hdl.handle.net/21.T11991/0000-001A-5D49-B