[]

THE LORD OF THE MANOR, A COMIC OPERA, AS IT IS PERFORMED AT THE THEATRE ROYAL DRURY-LANE, WITH A PREFACE BY THE AUTHOR.

LONDON: PRINTED FOR T. EVANS IN THE STRAND. M.DCC.LXXXI.

PREFACE.

[v]

AMONG the many unpleaſing circumſtances attending the concealed writer of a dramatic piece (and they are more than are apt at firſt to occur to him), it is not one of the leaſt conſiderable to a liberal mind, that other perſons become ſufferers by his failings. Thus while the real Author, on one hand, has enjoyed the compliment of having the Lord of the Manor aſcribed to ſeveral men, for whom it is great literary credit to be miſtaken; ſo, on the other, he has had the pain to ſee criticiſm extended from poetical to political principles, and made a vehicle for party reflections upon perſons who never ſaw a line of his writing. Not only have the erroneous gueſſes ſhifted from man to man, they have fallen alſo upon men in a body: different ſcenes have been given to different pens; and ſometimes theſe ſuppoſed writers have multiplied upon the imagination, 'till they became almoſt as numerous as the perſonages of the drama.

[vi]Perhaps an apology may be due to every man who has been charged with this foundling; and the more eſpecially as the parent himſelf means to continue ſtill unknown—confeſſing ingenuouſly at the ſame time, that his temptations to break from his concealment far over-balance his diſcouragements: for after duly weighing every defect of fable, conduct, dialogue, &c. with which the ſevereſt critic could tax him, what candidate for praiſe in poetry would not bear the weight ten-fold, for the ſole pride of avowing in his own name the ſongs which by many reſpectable judges have been attributed to Mr. SHERIDAN?

It is unneceſſary to trouble the reader with the motives upon which ſo flattering a gratification is reſiſted.—Some of them perhaps are mere peculiarities of temper—Suffice it to ſay, that they are ſuch, upon the whole, as induce this Author to requeſt the few friends, who neceſſarily have been entruſted with his ſecret, not to think themſelves at liberty, from any thing here ſaid, to divulge it. For his own part he is deſirous ſo far to ſatisfy the public curioſity (if curioſity remains upon ſo trifling a ſubject) as to declare that every word in the following Opera is the production of a ſingle perſon; and ſhould a miſtake ſtill reſt upon any individual, it is [vii] fit that the burthen ſhould be made as light as poſſible, by removing ſome prejudices which have been bevelled unjuſtly againſt the man, whatever may become of others which may have been conceived againſt the piece.

Be it known, then, that theſe ſcenes were written laſt ſummer in the country for mere amuſement—to relax a mind which had been engaged in more intenſe application—and the only view in bringing them upon the ſtage was a continuation of amuſement, encouraged and enhanced by the reflection, that, if they were defective in many parts, they were harmleſs in all; that although they might not correct the follies, they would not offend the morals of the ſpectators.

It could not but be matter of ſurpriſe and ſome pain to a writer intent upon theſe principles, to find himſelf accuſed of having introduced the character of Captain Trepan, for the purpoſe of impeding the recruiting ſervice of the army. To be thought a bad Poet, is but a common misfortune, and it may be borne with temper and in ſilence; but the imputation of being an ill-intentioned citizen requires an anſwer, though in this caſe, it is truſted, a ſhort one will ſuffice.

The writer has ever conceived, that as to ſhew the enormous vices of the time in their [viii] utmoſt deformity ought to be the great end of dramatic ſatire; ſo, in a leſſer degree, to expoſe to ridicule any practice that ſavoured more of abuſe than abſolute vice, had its uſe. They who think the fallacies and frauds of recruiting dealers about this town neceſſary evils, which ought to be connived at, as contributary to the military ſtrength of the nation, are ignorant of facts, or blind to conſequences. So little is the writer of that opinion, that he has thought it incumbent upon him to reſtore in print the paſſages which from apprehenſion of ſudden miſconſtructions, and from no other apprehenſion, were omitted in the repreſentation. An abler hand might have carried ſatire on this ſubject infinitely further, not only with a conſciouſneſs of doing no harm, but alſo a confidence of doing good. Let us ſuppoſe, for illuſtration-ſake, that his Majeſty were pleaſed to command the Firſt Part of King Henry IV. and to order all the boxes to be kept for the new Commanders, which the policy of the times (from the ſcarcity undoubtedly of veterans) has placed at the head of corps raiſing or to be raiſed; and one of the galleries devoted excluſively to the Crimp Captains and their Subalterns—might not public benefit be united with entertainment by a juſt exhibition of old Jack Falſtaff's levies? and [ix] ſhould it happen that any perſon preſent in ſuch an audience were conſcious of ‘"having miſuſed the King's preſs damnably"’—or from any other cauſe were ‘"aſhamed of his ragamuffins"’—ſurely he could not but feel grateful for ſo gentle a hint! and we might ſee effected by wit and mirth, a reformation, which under a harſh Sovereign might have been thought deſerving of direct and exemplary reprehenſion.

A more ſerious defence can hardly be requiſite upon this ſubject, after publication of the piece. At the Theatre, where the attention naturally (and in this inſtance moſt deſervedly) has reſted much upon the muſic, the public ſentiments ſincerely meant to be inculcated may have eſcaped notice; but, in the cloſet, the writer, without a ſhadow of fear, reſts his juſtification from the charge of ill-will to the military ſervice, upon paſſages too numerous to be pointed out. He might almoſt ſay upon every character of the Drama—but particularly upon that of Trumore, where the two extremes of that paſſion which fills, or ought to fill, every youthful breaſt, is employed to excite martial ardour: in one inſtance, diſappointment and deſpondency in love are made the motives for enliſting as a private ſoldier; in the other, ſucceſs in love, the ſupreme happineſs [x] in human exiſtence, is not admitted as an excuſe for relinquiſhing the military ſervice during the exigencies of our country.

To diſavow the aſperſion I have mentioned, was the principal purpoſe of this addreſs to the candour of the reader; but having taken up the pen, I will venture to offer to his further indulgence a few thoughts upon Opera, and particularly that ſpecies of it attempted in the enſuing pages.

The Opera is a favourite entertainment in all the polite countries of Europe, but in none, that I know of, held ſubject to the laws of regular Drama. There is neither uſage nor ſtatute of criticiſm (if I may uſe that expreſſion) to try it by, unleſs we look for ſuch in ſome muſical code. Metaſtaſio, though a very reſpectable ſtage writer, has never been brought to the ſame bar with Corneille or Racine, or any other profeſſors of correct Tragedy. The vital principle and very ſoul of Italian Opera is muſic; and provided it be well maintained in compoſition and execution, every inconſiſtency, in fable, conduct, or character, is not only always pardoned, but often applauded.

The French Opera (without entering into the diſputed points concerning its muſic, or denying the many beautiful paſſages which may be extracted from its poetry) is if poſſible [xi] more abſurd than the Italian in its departure from probability. To the powers of ſound is added all that decoration, machinery, beauty, and grace, can ſupply to enchant the eye and the fancy; and ſo forcible, it muſt be allowed, is their effect, that the judgement receives no ſhock, when tyrants and lovers, heroes and peaſants, Gods and devils, are ſinging and dancing in amicable chorus all together.

The reader will go with me in applying every thing yet ſaid to the ſerious or great Opera. Another ſpecies, but no more of the legitimate family of Comedy than the former is of Tragedy, has been introduced in all the countries I have alluded to. In England both have been in uſe in our native language, but with very different ſucceſs. I have no heſitation in pronouncing an opinion, that the adopting what is called recitative into a language, to which it is totally incongruous, is the cauſe of failure in an Engliſh ſerious Opera much oftener than the want of muſical powers in the performers. In countries where the inflection of voice in recitative upon the ſtage is little more than what the ear is uſed to in common diſcourſe, the dialogue of the drama is ſuſtained and ſtrengthened by a great compaſs of tones; but in our northern climates, in proportion [xii] as the ordinary expreſſion comes nearer monotony, recitative, or muſical dialogue, will ſeem the more prepoſterous*.

I will not contend (though I have my doubts) that it is impoſſible for genius to invent, and for voice to deliver, a ſort of recitative that the Engliſh language will bear. But it muſt be widely different from the Italian. If any ſpecimens can yet be produced of it's having been effected, they will be found to conſiſt only of a few lines introductive of the air which is to follow, and as ſuch received by the ear juſt as ſymphony would be. Very few ſerious pieces, except Artaxerxes, can be recollected upon our Theatre where it has not entirely failed, even when aſſiſted by action: in Oratorios it is, with a few exceptions, and thoſe ſuſtained by accompaniment, a ſoporific that even the thunder of Handel's choruſſes are hardly loud enough to overcome.

There may be enthuſiaſts in muſic who will treat the diſreliſh I have deſcribed to want of ear. Let ear be underſtood merely as the organ by which the mind is to receive more or leſs delight from ſublime Engliſh verſe, and I ſhould be happy to ſee the diſpute brought to public iſſue—the teſt ſhould be the performance of Alexander's Feaſt as [xiii] now ſet to muſic throughout; and the performance of that inimitable ode, with the ſongs alone preſerved in muſic, and the reſt delivered by Mrs. Yates without accompaniment, or other melody, than her emphatic elocution.

I truſt that in contending againſt muſical dialogue in Engliſh, I ſhall not be underſtood to think that all muſic is inapplicable to the higher compoſitions of our ſtage. On the contrary I am convinced that under judicious management muſic is capable of giving them effect beyond what our beſt authors can attain without it—muſic can add energy to Shakſpeare himſelf. Indignant as an Engliſh audience would be to hear King Lear deliver himſelf in recitative, I believe no perſon, who had a heart or taſte, ever contemplated the mute groupe of Cordelia with the aged parent aſleep in her lap, and the phyſician watching by, without an encreaſe of ſenſibility from the ſoft muſic which Mr. Garrick introduced into that ſcene. The ſame obſervation will hold good with reſpect to the additional horror excited in Macbeth, and delight in the Tempeſt, from the judicious uſe of both ſong and inſtruments. I cannot help quoting another inſtance of the application of muſic which I have always thought a happy one. At the cloſe of the tragedy of the Gameſter, when [xiv] the diſtreſs is raiſed to ſuch a pitch that language fails under it, how forcibly is the impreſſion left upon the audience by muſic, accompanying the ſlow deſcent of the curtain over the mournful picture! How preferable ſuch a concluſion to the uſual one of an actor ſtraddling over dead bodies to deliver a tame moral in tame rhime to the pit, in the ſame breath, and often in the ſame tone, in which he is to give out the play. But ſurely no man can be ſo void of diſcernment as not to ſee clearly the difference between recitative and muſic thus applied: the one diverts the attention from ſenſe to ſound, breaks the propriety and very nerve of our language, and by giving to the expreſſion of the paſſions cadences of which we never heard an example, nor can form a conception in real life, deſtroys that deluſion and charm of fancy which makes the ſituations before us our own, and is the eſſence of dramatic repreſentation: the other, upon the principle of the chorus of the antients, ſerves to excite and to combine attention and emotion, and to improve and to continue upon the mind the impreſſions moſt worthy to be retained.

I am aware that I have entered further into the grave Drama than my ſubject required; but the digreſſion will be found excuſable, in as much as the ſame doctrine applies [xv] to comic productions, and as it will ſerve to ſhorten the trouble of the reader in what I have further to offer.

One branch of comic opera which meets with ſucceſs on our ſtage is evidently a graft from the Burletta of the Italians; and little as I may admire it in general, I will venture to ſay, reſpectively to the writing, it is improved in our ſoil. Midas, the Golden Pippin, and ſome others, conſidered as pieces of parody and burleſque, are much better than any Italian Burletta I know. In fact, there is in general in the Italian Drama of this name an inſipidity, mixed with a buffoonery too low to be called farcical, which would make the repreſentation inſupportable in England, were the language underſtood, or attended to in any other view than as the introduction and diſplay of exquiſite muſic.

I cannot eaſily bring myſelf to allow the higher branch of our Comic Opera, to be of foreign extraction. From the time the Beggar's Opera appeared, we find pieces in proſe, with ſongs interſperſed, ſo approaching to regular Comedy in plot, incident, and preſervation of character, as to make them a diſtinct ſpecies from any thing we find abroad—and is it too much to add that the ſenſe, wit, and humour to be found in ſome of them are ſterling Engliſh marks by which we [xvi] may claim the ſpecies as our own? The muſical pieces at Paris, upon the Theatre called Les Italiens, ſprung up from the decline of a ſort of Drama where half the perſonages were Italian, as was half the language. When Harlequin and Argentine grew unfaſhionable, ſuch other repreſentations as ſerved beſt for an hour of mere diſſipation ſucceeded, and the light and eaſy muſic with which they were accompanied, made them very popular. But the pieces are either parodies, or founded in general upon materials which would be thought in England too flimzy for any thing but an after-piece. They are compoſed with an amuſing playfulneſs of imagination, which runs Love thro' all its diviſions, and uſually contain abundance of very pretty vocal muſic with a ſcarcity of incident and little variety of character. It is not intended to degrade or depreciate this ſtile of writing as applicable to a Paris audience: it is only meant to ſtate it more widely ſeparate and diſtinct from the force and ſpirit of regular comedy than our own. They who are unacquainted with the Paris theatre, are referred for judgement upon this ſubject to the Deſerter, Zemira and Azor, and other direct tranſlations; and to Daphne and Amintor, and Thomas and Sally, and other after-pieces, very good in their kind, but written after the French manner. [xvii] The Padlock is above this claſs in diſplay of characters; and the French have nothing upon their Muſical Comic Stage to compare, as reſembling Comedy, with Love in a Village, or the Maid of the Mill, or, to take ſtill greater credit to our Theatre, the Duenna.

The Lord of the Manor, although the leading incident of the ſtory is profeſſedly taken from the Silvain of Marmontel, is an humble attempt at the ſpecies of Opera which I have ventured to call Engliſh, and to deſcribe as a drama the next in gradation below regular Comedy, and which might perhaps be carried a ſtep above it. It will not therefore be thought want of attention to the excellencies of Marmontel's piece, which as adapted to French manners I believe no man of taſte will diſpute, but reſpect and preference to our ſtage, that induced me to alter and enlarge the plan and conduct of the original, to ſubſtitute characters, and to add ſcenes and circumſtances entirely new.

I know not a feature of character preſerved from Marmontel, except the ſenſibility and artleſs innocence of the young women—qualities, which, to be truly repreſented, admit of little diverſity by change of country.

I ſhould be ſorry if taking part, or even the whole of a ſtory from a foreign ſtage, when [xviii] ſuch ſtory can be made applicable to our cuſtoms and characters, and is entirely new worked up for that purpoſe, could be deemed plagiariſm, becauſe it would be a confinement to the invention rather pedantick than uſeful.

But while I am taking credit for borrowing ſo little as one incident, there may be thoſe who think I had better have borrowed a great deal more. I can only ſay that tranſlation, or imitation, would have coſt leſs pains, as it is eaſier to ſpin * ſentiment, than to delineate character, and to write twenty ſongs to pleaſe the ear, than half as many lines of ſuch Comedy as ought to ſatisfy the judgement. I do not contend that a direct copy of Marmontel would not have been a much better thing than my talents have been able to make; I only inſiſt it would no have been Engliſh drama. Continued uninterrupted ſcenes of tenderneſs and ſenſibility (Comedie larmoyante) may pleaſe the very refined, but the bulk of an Engliſh audience, including many of the beſt underſtanding, go to a comic performance to laugh in ſome part of it at leaſt. They claim a right to do ſo upon precedents of our moſt valued plays—and every author owes it to them, ſo long as the merrieſt amongſt them ſhews he is equally [xix] capable of reliſhing and applauding what is elevated and affecting—an obſervation I have always ſeen hold good in an Engliſh gallery.

It might be aſſuming too much to quote any paſſages from the Lord of the Manor, as a teſt that every part of the houſe can reliſh refined ſentiment; but were the fact ten times more apparent, I ſhould ſtill adhere to my former opinion, and intermix mirth: the cenſure of a critic of faſhion here and there in the boxes, who reckon every thing low which is out of their own ſphere, would never perſuade me to turn Moll Flagon out of my piece (eaſy as it would be to conduct the ſtory without her) while ſhe excites ſo much pleaſure in general, as to prove the character can neither be falſe in nature, nor void of humour.

And now a few words upon what I conceive would be the plan of writing, were men of genius and taſte to try a ſpecimen of correct muſical comedy.

In a repreſentation which is to hold ‘"a mirror up to nature,"’ and which ought to draw its chief applauſe from reaſon, vocal muſic ſhould be confined to expreſs the feelings of the paſſions, but never to expreſs the exerciſe of them. Song, in any action in which reaſon tells us it would be unnatural to ſing, muſt be prepoſterous. To fight a duel, to cudgel a poltroon in cadence, may [xx] be borne in a burletta, upon the ſame principle that in the ſerious opera we ſee heroes fight lions and monſters, and ſometimes utter their laſt ſtruggles for life in ſong, and die in ſtrict time and tune: but theſe liberties would be totally inadmiſſible in the kind of drama which I am recommending. My idea might be further explained by a paſſage in the piece of Marmontel before referred to. It appeared to one of the newspaper critics, that I had been guilty of a great error in not introducing a ſcene in the Silvain, wherein the Gardes Chaſſe of the Seigneur attack the ſportſman with guns in their hands, threatening to ſhoot him unleſs he ſurrenders his gun which he perſiſts in preſerving. By the bye, this ſort of authority is more natural in France than I hope it would yet be thought to be in England: but that was not my principal objection. This ſcene upon the French ſtage is all in ſong; and even at Paris, where licence of throwing action into ſong is ſo much more in uſe than it is here, and where I have often ſeen it excellently performed, the idea of five or ſix fellows with fuſils preſented at a gentleman's head, and their fingers upon the triggers, threatening his life in baſs notes, he reſiſting in tenor, and a wife or daughter throwing herſelf between them in treble, while the ſpectator is kept in ſuſpence, [xxi] from what in reality muſt be a momentary event, till the compoſer has run his air through all its different branches, and to a great length, always gave me diſguſt to a great degree.

Muſic, therefore, if employed to expreſs action, muſt be confined to dumb ſhew. It is the very eſſence of pantomime; and we have lately ſeen upon the opera ſtage how well a whole ſtory may be told in dance; but in all theſe inſtances muſic ſtands in the place of ſpeech, and is itſelf the only organ to expreſs the ſentiments of the actor.

To return to the application of vocal muſic upon the Engliſh theatre: it muſt not only be reſtrained from having part in the exerciſe or action of the paſſions; care muſt be alſo taken, that it does not interrupt or delay events for the iſſue of which the mind is become eager. It ſhould always be the acceſſory and not the principal ſubject of the drama; but at the ſame time ſpring out of it in ſuch a manner that the difference can hardly be diſcerned, and that it ſhould ſeem neither the one nor the other could be ſpared.

And notwithſtanding all theſe reſtrictions, vocal muſic judiciouſly managed would have many occaſions to diſtinguiſh its own ſpecific charms, at the ſame time that it embelliſhed, [xxii] enriched, and elevated regular dramatic compoſitions. In tragedy, I am convinced, the mind would peculiarly feel its powers.

Not touch'd but rapt, not waken'd but inſpir'd.

In the humbler, but not leſs inſtructive line of comedy, its office would be to convey through the ſweeteſt channel, and to eſtabliſh by the moſt powerful impreſſions upon the mind, maxim, admonition, ſentiment, virtue.

Should any thing I have ſaid ſtrike a man of genius and taſte with the diſtinction I have endeavoured to eſtabliſh between comic opera and muſical comedy, viz. between ‘"elaborate trifles"’ made ſecondary to muſic, and ſenſe and ſpirit inculcated and ſuſtained by it, new ſubjects could not be wanting to engage their trials; or if it occurred to men of that deſcription to try an experiment upon an old ſubject, and a poet could be found courageous enough to engraft upon Shakſpeare, as has been done upon Milton in Comus; perhaps no ſubject could be found in the whole range of fancy better fitted for muſical comedy than the play of "As you like it." Indeed it ſeems by ſome ſongs thrown into the original, that it was the idea of the great author himſelf. To multiply the [xxiii] ſongs, excellent materials might be taken from the piece itſelf, without injury to the eloquent and brilliant paſſages which are better adapted to the energy of elocution and action. And where materials failed in the original, what true votary of the Muſe would not find animation, and aſſiſtance in his inventive faculties, from the proſpect of being admitted before the public a companion to Shakſpeare!

In the mean time the Lord of the Manor has been offered, not as an example, but an excitement to improve that ſpecies of drama—

—fungar vice cotis; acutum
Reddere quae ferrum valet, exſors ipſe ſecandi.

It would be affectation in me, as well as ingratitude to the public, to deny the pleaſure I have had in the very favourable reception of this piece. At the ſame time I truſt that I am duly ſenſible how much of the ſucceſs is to be attributed to the exertions of the performers, the merits of the Orcheſtra, and the excellence of Mr. Jackſon's compoſition. Among all the circumſtances of ſatisfaction, there is not one more pleaſing to the reflection than that the bringing this humble production upon the ſtage, has been the means of making me acquainted with a man whoſe [xxiv] harmony I ſincerely believe to be characteriſtic of his mind,—equal to any exertions, but peculiarly exquiſite; when expreſſive of the ſocial, tender, quiet, and amiable qualities of the human heart.

Before I diſmiſs this theatrical ſubject, upon which I have hazarded many opinions that for aught I know may be ſingly mine, I am free to confeſs, that in calling upon men of genius to try the effect of my ideas, I have had my eye particularly upon Mr. Sheridan. As an author, he is above my encomium; as a friend, it is my pride to think we are exactly upon a level. From the conſideration of him in both thoſe capacities, I feel myſelf more intereſted than the reſt of the world, in a performance he has ſome time given us reaſon to expect. His Muſe, though without participation of my cauſe, will naturally and of neceſſity be the advocate of it, by verifying and exemplifying true muſical comedy; and ſuch a ſanction from the author whom all reſpect, will be rendered doubly precious to myſelf by its proceeding alſo from the man I love.

THE AUTHOR.

The following elegant Editions are juſt publiſhed by T. EVANS, Bookſeller, near York-Buildings, in the Strand.

[]
  • 1. DESIDERATA CURIOSA, a collection of very curious Tracts on Britiſh Hiſtory and Antiquity. Publiſhed from original manuſcripts, by Francis Peck, M.A. Rector of Godeby, near Melton, Leiceſterſhire, in 2 vols. Royal Quarto, with plates; price r l. 11s. 6d. in boards.
  • 2. Old Ballads Hiſtorical and Narrative, with ſome of modern dates, publiſhed from rare copies, and illuſtrated with notes.

    This work is a proper Supplement to Dr. Percy's Collection, 2 vols. price 6s. ſewed.

    ‘"The ſucceſs of Dr. Percy's Collection has inſtigated Mr. Evans to furniſh that Supplement, which is at preſent under our conſideration; and with pleaſure we recommend his work to our readers, as every way deſerving their patronage and attention. We ſincerely wiſh all Editors, like the preſent, thoſe emoluments they have a right to expect, on account of their zeal to preſerve the early efforts of the Britiſh Muſe, their taſte and judgment in ſelection, and their expence and elegance in publication." Critical Review.

    See alſo the Monthly Review.

  • 3. The Works of Richard Savage, Eſq. containing his Plays, Poems and Miſcellanies, with an account of his Life and Writings, by Samuel Johnſon, LL.D. 2. vols. price 7s. ſewed.

    ‘"We are much pleaſed with this elegant Edition of the works of a man whoſe merit as a Poet, and whoſe misfortunes as a man, have rendered him, in a peculiar manner, the object of public attention, an attention that has been greatly heightened by thoſe admirable memoirs of him by Dr. Johnſon, being indeed deſervedly eſteemed as one of the moſt excellent pieces of Biography in the Engliſh language." Monthly Review.

  • 4. Plays and Poems, written by Dr. Smollet, with his Life, Price 3s. ſewed.
  • 5. The Poetical Works of Mr. William Collins, with his Life, and notes by Dr. Langhorn, price 3s. bound.
  • 6. A Supplement to Biſhop Hurd's Edition of Cowley, price 3s. ſewed.
  • 7. Monteſquieu's Spirit of Laws, and his other Works complete, 4 vol. octavo, price 1l. 4s. bound.

This day is publiſhed, elegantly printed in two large volumes [...] octavo, illuſtrated with maps, price, in boards, 10s. 6d.

  • The Hiſtory of the Peloponneſian War, tranſlated from the Greek of Thucydides, to which are annexed three preliminary diſcourſes. 1. On the Life of Thucydides. 2. On his Qualifications. 3. A Survey of the Hiſtory. By William Smith, A.M. Rector of the pariſh of the Holy Trinity, in Cheſter, and Chaplain to the Earl of Derby.

DRAMATIS PERSONAE.

[xxvi]
  • SIR JOHN CONTRAST,
    Mr. Parſons.
    CONTRAST,
    Mr. Palmer.
    TRUMORE,
    Mr. Vernon.
    RASHLY,
    Mr. Banniſter.
    RENTAL,
    Mr. Aickin.
    LE NIPPE,
    Mr. Dodd.
    CAPTAIN TREPAN,
    Mr. Baddeley.
    SERJEANT CRIMP,
    Mr. R. Palmer.
    HUNTSMAN,
    Mr. Du Bellamy.
    CORPORAL SNAP,
    Mr. Williams.
  • ANNETTE,
    Miſs Prudom.
    SOPHIA,
    Miſs Farren.
    PEGGY,
    Mrs. Wrighten.
    MOLL FLAGON,
    Mr. Suett.
  • SOLDIERS, RECRUITS, COUNTRYMEN.

[]THE LORD OF THE MANOR.

ACT I. SCENE I.

At the cloſe of the overture a peal of bells is heard at a diſtance, the curtain continuing down. When the peal is nearly finiſhed the curtain riſes, and diſcovers a magnificent entrance to a park, with a view of a Gothic caſtle on an eminence at a diſtance. On the ſide ſcene, near the park-gate, the outſide of a ſmall neat farmhouſe with a bank of turf before the door, on which Sophia and Annette are ſeated and at work—Annette throws down her work, and runs to meet Peggy, who enters immediately on the other ſide—Sophia continues her work penſively.
PEGGY.

KEEP it up, jolly ringers—ding dong and away with it again. A merry peal puts my ſpirits quite in a hey-day—what ſay you, my little foreigner?

ANNETTE.
[2]

You know, Peggy, my ſpirits are generally in time and tune with your's. I was out of my wits for your coming back to know what was going on—Is all this for the wake?

PEGGY.

Wake! An hundred wakes together would not make ſuch a day as this is like to be. Our new landlord, that has bought all this great eſtate of Caſtle Manor, is arrived; and Rental the ſteward, who went up to London upon the purchaſe, is with him, and is to be continued ſteward. He has been preſenting the tenants—and they are ſtill flocking up to the caſtle to get a ſight of Sir John,—Sir John—

ANNETTE.

What is his name?

PEGGY.

I declare I had almoſt forgot it, tho' I have heard all about him—Sir John Contraſt—Knight and Baronet—and as rich as Mexico—an ox is to be roaſted whole—the whole country will be aſſembled—ſuch feaſting—dancing—

ANNETTE.

Oh! how I long to ſee it! I hope papa will let us go—do not you, ſiſter?

SOPHIA.

No, indeed; my hopes are juſt the reverſe; I hate nothing ſo much as a croud and noiſe.—Enjoy the [3] gaiety for which your temper is ſo well fitted, Annette, but do not grudge me what is equally ſuited to mine—retirement.

ANNETTE.

I grudge it to you only, Sophy, becauſe it nouriſhes pain.

Sings.
If an amorous heart
Is diſtinguiſh'd by ſmart,
Let mine ſtill inſenſible be;
Like the zephyr of ſpring,
Be it ever on wing,
Blythe, innocent, airy, and free.
Love, embitter'd with tears,
Suits but ill with my years,
When ſweets bloom enmingled around;
Ere my homage I pay,
Be the godhead more gay,
And his altars with violets crown'd.
PEGGY.

Well ſaid, my mademoiſelle; though I hate the French in my heart, as a true Engliſhwoman, I'll be friends with their ſunſhine as long as I live, for making thy blood ſo lively in thy veins. Were it not for Annette and me, this houſe would be worſe than a nunnery.

SOPHIA.

Heigh ho!

ANNETTE.
[4]

Aye, that's the old tune. It's ſo all night long—ſigh! ſigh! pine, pine! I can hardly get a wink of ſleep.

PEGGY.

And how is it ever to end? The two fathers are ſpecially circumſtanced to make a family alliance. A curate with forty pounds a year has endow'd his ſon with two ſure qualities to entail his poverty, Learning and Modeſty; and our gentleman (my maſter, God bleſs him!) is poſſeſſed of this manſion, a farm of an hundred acres, a gun and a brace of ſpaniels—I ſhould have thought the example ſo long before your eyes of living upon love might have made you—

SOPHIA.

Charmed with it Peggy—And ſo indeed I am—It was the life of a mother I can never forget. I do not paſs an hour without reflecting on the happineſs ſhe enjoyed and diffuſed—"May ſuch be my ſituation! it is my favourite proſpect."

PEGGY.

"Aye, 'tis like your favourite moonſhine, juſt of the ſame ſubſtance." Helpleſs ſouls! you have not a ſingle faculty to make the pot boil between you—I ſhould like to ſee you at work in a dairy—your little nice fingers may ſerve to rear an unfledged linnet, but would make ſad work at cramming poultry for market—

SOPHIA.
[5]

But you, my good Peggy, ought not to upbraid me; for you have helped to ſpoil me by taking every care and labour off my hands—the humility of our fortunes ought to have put us more upon a level.

PEGGY.

That's a notion I cannot bear. I ſpeak my mind familiarly to be ſure, becauſe I mean no harm; but I never pretend to be more than a ſervant; and you were born to be a lady—I'm ſure on't—I ſee it as ſure as the gypſies in every turn of your countenance.—Read Pamela Andrews, and the Fortunate Country Maid.

SOPHIA.

Have done Peggy, or you'll make me ſeriouſly angry; this ſeems your particular day of nonſenſe.

PEGGY.

No nonſenſe, but a plain road to fortune. Our young landlord, Sir John Contraſt's ſon, is expected every hour; now get but your ſilly paſſion for Trumore out of your head, and my life on't it will do—I dreamt laſt night I ſaw you with a bunch of nettles in your breaſt for a noſegay; and that's a ſure ſign of a wedding—Let us watch for him at the park-gate, and take your aim; your eyes will carry further, and hit ſurer, than the beſt gun your father has.

ANNETTE.

Peggy, how odd you are!

PEGGY.
[6]

Yes, my whole life has been an oddity—all made up of chequers and chances—you don't know half of it—but Margery Hearts-eaſe is always honeſt and gay; and has a joke and a ſong for the beſt and worſt of times.

Sings.
I once was a maiden as freſh as a roſe,
And as fickle as April weather;
I lay down without care, and I wak'd from repoſe,
With a heart as light as a feather.
I work'd with the girls, I play'd with the men,
I was always or romping or ſpinning;
And what if they pilfer'd a kiſs now and then,
I hope 'twas not very great ſinning.
I married a huſband as young as myſelf,
And for every frolic as willing;
Together we laugh'd while we had any pelf,
And we laugh'd when we had not a ſhilling.
He's gone to the wars—Heav'n ſend him a prize!
For his pains he is welcome to ſpend it;
My example, I know, is more merry than wiſe,
—But, Lord help me, I never ſhall mend it!
ANNETTE.

It would be a thouſand pities you ever ſhould.

PEGGY.

But here comes your father, and Rental the ſteward;—they ſeem in deep diſcourſe.

SOPHIA.
[7]

Let us go in then; it might diſpleaſe my father to interrupt them.

[Exit Sophia.
PEGGY.

Go thy ways, poor girl! thou art more afraid of being interrupted in diſcourſing with thy own ſimple heart.

ANNETTE.

Peggy, when do you think my ſighing-time will come?

PEGGY.

Don't be too ſure of yourſelf, miſs; there is no age in which a woman is ſo likely to be infected with folly, as juſt when ſhe arrives at what they call years of diſcretion.

[Exeunt.
Enter Raſhly and Rental.
RENTAL.

But you are the only tenant upon the manor, that has not congratulated our new lord upon taking poſſeſſion of his purchaſe.

RASHLY
(aſide.)

Strange diſpoſition of events! That he of all mankind ſhould be a purchaſer in this county!—I muſt not ſee Sir John Contraſt.

RENTAL.
[8]

Why ſo? he is prepared—in giving him an account of his tenants, your name was not forgot.

RASHLY.

And pray, my friend, how did you deſcribe me?

RENTAL.

As what I always found you—an honeſt man. One can go no farther than that word in praiſe of a character; therefore, to make him the better acquainted with yours, I was forced to tell him the worſt I knew of you.

RASHLY.

Good Rental, what might that be?

RENTAL.

I told him, you had the benevolence of a prince, with means little better than a cottager; that conſequently your family was often indebted to your gun (at which you were the beſt hand in the country) for the only meat in your kitchen.

RASHLY.

But what ſaid he to the gun?

RENTAL.

He ſhook his head, and ſaid, if you were a poacher, woe be to you when his ſon arrived.

RASHLY.

His ſon!—

RENTAL.
[9]

Yes, his only ſon in fact. The eldeſt it ſeems was turned out of doors twenty years ago, for a marriage againſt his conſent. This is by a ſecond wife, and declared his heir. He gives him full rein to run his own courſe, ſo he does not marry—and by all accounts a fine rate he goes at.

RASHLY.

And what is become of that elder?

RENTAL.

Nobody knows. But the old ſervants who remember him are always lamenting the change.

RASHLY.

You know him well.

RENTAL.

What do you mean?

RASHLY.

A diſcovery that will ſurprize you—I have lived with you, the many years we have been acquainted—an intimate—a friend—and an impoſtor.

RENTAL.

An impoſtor!

RASHLY.

Your new maſter, the purchaſer of this eſtate is an obſtinate father—I am a diſinherited ſon—put thoſe [10] circumſtances together, and inſtead of Raſhly, call me—

RENTAL.

Is it poſſible!

RASHLY.

Call me Contraſt.

RENTAL.

Mr. Raſhly, Sir John Contraſt's ſon!

RASHLY.

Even ſo—for the ſole offence of a marriage with the moſt amiable of womankind, I received one of Sir John's reſcripts as he calls the ſignification of his pleaſure, with a note of a thouſand pounds, and a prohibition of his preſence for ever. I knew his temper too well to reply.

RENTAL.

You muſt know him beſt—I had conceived him of a diſpoſition more odd than harſh.

RASHLY.

You are right; but this oddity has all the effects of harſhneſs. Sir John Contraſt has ever thought deciſion to be the criterion of wiſdom; and is as much averſe to retract an error as a right action. In ſhort, in his character, there is a continual variance between a good heart and a perverſe head; and he often appears angry with all mankind, when in fact he is only out of humour with himſelf.

RENTAL.
[11]

I always thought you muſt have been bred above the ſtation I ſaw you in, but I never gueſſed how much—could you immediately ſubmit to ſuch a change of ſituation?

RASHLY.

No, I thought of different profeſſions to ſupport the rank of a gentleman. I afterwards placed my eldeſt daughter, then an infant, under the care of a relation, and went abroad—There my Annette was born, and for the ſake of oeconomy for ſome years educated. In ſhort, after various trials, I found I wanted ſuppleneſs for ſome of my purſuits, and talents perhaps for others; and my laſt reſource was a cottage and love, in the moſt literal ſenſe of both.

RENTAL.

But why did you change your name?—the pride of Sir John Contraſt would never have ſuffered it to be ſaid, that his ſon was in the capacity of a poor farmer.

RASHLY.

Our claims were upon the virtues, not the weakneſſes of the heart; and when they failed, obſcurity was not only choice but prudence. Why give our children the name and knowledge of a rank that might alienate their minds from the humble life to which they were deſtined?

RENTAL.

What a ſacrifice! how ſtrange this ſituation muſt have appeared to you at firſt!

RASHLY.
[12]

My Anna was equally fitted for a cottage or a court. Her perſon, her accompliſhments, her temper—the univerſal charm of her ſociety, made our new life a conſtant ſource of delight—

—"The deſart ſmil'd,
And Paradiſe was open'd in the wild."
Sings.
Encompaſs'd in an angel's frame,
An angel's virtues lay;
Too ſoon did heav'n aſſert the claim,
And call its own away.
My Anna's worth, my Anna's charms,
Muſt never more return!
What now ſhall fill theſe widow'd arms?
Ah, me! my Anna's urn!
RENTAL.

Not ſo, my good ſir, you have two living images of her; and for their ſakes you muſt try to work upon this old obdurate—Heaven has ſent you together for that purpoſe.

RASHLY.

No my friend, he is inflexibility itſelf—I mean to fly him—it muſt be your part to diſpoſe of my farm and little property.

RENTAL.

Your intention is too haſty—I pretend to no ſkill in plotting, but I think I ſee my way clearly in your caſe—dear Sir, be adviſed by me—

LA NIPPE
[13]
(without.)

Hollo countryman, do you belong to the lodge?

RASHLY.

Hey-day, what ſtrange figure have we here?

RENTAL.

As I live, the young heir's gentleman. I got acquainted with his character when I was in London to ſolicit the ſtewardſhip, and it is as curious as his maſter's.

RASHLY.

What countryman is he?

RENTAL.

True Engliſh by birth. He took his foreign name upon his travels to ſave his maſter's reputation—nothing ſo diſgraceful now-a-days, as to be waited upon by your own countrymen—pray be contented to—

Enter La Nippe (affectedly dreſs'd as a foreign valet de chambre, with a little cloak bag made of ſilk on his ſhoulder.
LA NIPPE.

Hollo! countrymen, which is the neareſt way—What Mr. Rental! faith the ſun was ſo much in my eyes I did not know you.

RENTAL.
[14]

Welcome to Caſtle Manor, Mr. Homeſtall—I forget your French name.

LA NIPPE.

La Nippe at your ſervice; and when you ſee me thus equipped, I hope you'll forget my Engliſh one.

RENTAL.

Pray how came you to be on foot?

LA NIPPE.

A ſpring of the chaiſe broke at the bottom of the hill; the boy was quite a bore in tying it up; ſo I took out my luggage and determined to walk home.

RASHLY.

The prettieſt little package I ever ſaw.

RENTAL.

What may it contain?

LA NIPPE.

The current utenſils of a fine gentleman—as neceſſary to his exiſtence as current caſh. It is a toilette à chaſſe, in Engliſh the macaroni's knapſack—It contains a freſh perfum [...]d fil [...]et for the hair, a pot of cold cream for the face, and a callico under-waiſtcoat compreſſed between two ſachets à l'adorat de Narciſſe; with a dreſſing of Marechalle powder, court plaiſter, lip-ſalve, eau de luce—

[Raſhly ſmiling.
RENTAL
[15]
(laughing.)

To be ſure that cargo does not exactly ſuit the family of the Homeſtalls.

LA NIPPE.

Non, non—my maſter would not truſt a black pin in my hands, if I did not talk broken Engliſh—I expect him here every minute.

RENTAL.

What time was he to leave London?

LA NIPPE.

The chaiſe was order'd at one this morning—I muſt allow him an hour for yawning, picking his teeth, and damning his journey—that would bring it to—

RASHLY.

Upon my word, a pretty full allowance for ſuch employments.

LA NIPPE.

Nothing—I have known Lord Dangle and his friend Billy Vapid in ſuſpence in St. James's Street, between a fruit-ſhop and a gambling-houſe, thrice the time, and the chaiſe door open all the while.

RASHLY.

Well ſaid, Mr. La Nippe. I ſee you are a ſatyriſt.

RENTAL.
[16]

But what time of the morning had you brought him to?

LA NIPPE.

Two o'clock—oh, he dares not ſtay much longer—for he is made up for the journey. I doubt whether he could take himſelf to pieces; but, if he could, I am ſure he could never put himſelf together again without my aſſiſtance—his curls pinned, his ancles rolled, his—

RASHLY.

His ancles rolled? pray what may you mean by that?

LA NIPPE.

The preſervation of a Ranelagh leg—the true mode of keeping it from one ſeaſon to another—What's a Macaroni without a Ranelagh leg—our's has carried it hollow ſix ſeaſons together.

RASHLY.

We don't underſtand you.

LA NIPPE.

Why ſir, with ſix yards of flannel roller to ſweat the ſmall, and prop the calf, and only an hour's attention every day (nothing for a gentleman to ſpare), to ſit with his heels in the air, and keep the blood back, I will undertake to—oh I'll leave nature in the lurch at her beſt works—and produce a leg with the muſcle of a Hercules, and the ancle of the Apollo Belvidere.

RASHLY.
[17]

And is this a common practice?

LA NIPPE.

Common! what do you think, but to hide the roller, makes the young fellows ſo damn'd fond of boots at all hours?—they can't leave them off at the play-houſe now-a-days—but let me be gone.

RENTAL.

Nay, nay, you have time to ſpare—He muſt be many miles off; for it is a hundred and twenty from London.

LA NIPPE.

Lord help you! I ſee you have no notion how a genius travels.

RENTAL.

He cannot fly, I ſuppoſe.

LA NIPPE.

Yes, and in a whirlwind—over orange-barrows and oyſter-baſkets at every corner—You may trace his whole journey by yelping dogs, broken-back'd pigs, and diſmember'd geeſe.

RENTAL.

Ha! ha! ha!

LA NIPPE.

There's no deſcribing it in common words—I'll give you a ſample in muſic.

[18]Sings.
O'er the pavement when we rattle,
Trim the drivers, ſharp the cattle,
How the people gape and wonder!
Whirling with our wheels in chorus,
Ev'ry earthly thing before us,
We come on like peals of thunder!
Cracking, ſmacking,
Backing, tacking,
Brats here bawling, Sir,
Dogs here ſprawling, Sir,
Now they tumble, now they ſkip,
Zounds take care, Sir!
Safe to a hair, Sir!
Helter, ſkelter,
Swelter, ſwelter,
Duſt and ſun, Sir,
Help the fun, Sir,
Oh! the glories of the whip!
RENTAL.

Glories! I am ſure it has made you ſweat to deſcribe them; and I hardly know if I have a whole bone in my body at hearing them.

LA NIPPE.

Well, I'm glad it pleaſes you; but as ſure as death my maſter will get home before me—

(going.)
RENTAL.

Never fear; you've time enough, I tell you—He ſtops ſhort at the edge of the foreſt—His game-keepers and pointers meet him there—He ſhoots home.

LA NIPPE.
[19]

What the Devil ſignifies that? the ſportſmen of faſhion ſhoot as faſt as they travel

[whiſtle without].

Zounds! there's his whiſtle—If he finds me loitering here, he'll vent more oaths in a minute than have been heard in this foreſt ſince its foundation.

RASHLY.

Sir, you may ſtep into Mr. Raſhly's houſe till he is gone by.

LA NIPPE.

I thank you, Sir.

[Exit.
RASHLY.

My brother here? farewell, Rental—

(going.)
RENTAL.

Stay Sir, it is impoſſible he can have a ſuſpicion of you—Let us ſee whether he tallies with this impudent fellow's account—ſift him boldly—I have a thouſand thoughts for you.

RASHLY.

If he anſwers the deſcription I have heard, I ſhall never keep my temper.

RENTAL.

Perhaps ſo much the better—but he is alighting from his horſe.

CONTRAST
(without.)

Searchum, take up the dogs, one might as well beat for game in Hyde-Park.

[20][Enters, attended with game-keepers—a gun in one hand, and a ſilk paraſol in the other.

The manors are poached to deſolation, the ſaddles are gridirons, and the air is impregnated with ſcurf and freckle—In another half hour I ſhall be a Mulatto in grain, in ſpite of my paraſol, by all that's ſultry—but come to buſineſs—

[Gives the gun to one of his attendants.

Searchum, get warrants immediately for ſeizing guns, nets, and ſnares, let every dog in the pariſh be collected for hanging to-morrow morning—give them a taſte of Norfolk diſcipline—"Nothing like executions to ſupport government."

RASHLY.

I hope, young gentleman, you will be better adviſed than to proceed ſo raſhly.

CONTRAST.

And pray, friend, who may you be, that are ſo forward with your hope?

RASHLY.

A tenant upon this eſtate theſe ſixteen years, where I have been uſed to ſee harmony between high and low eſtabliſhed upon the beſt baſis—Protection, without pride, and reſpect without ſervility.

CONTRAST.

Odd language for a farmer!—but in plain Engliſh it implies indulgence for arrears, and impunity for poaching.—And you, Sir, what may be your occupation?

RENTAL.
[21]

I have been long, ſir, ſteward at Caſtle Manor; your father's goodneſs continues me ſo. I'm ſorry, ſir, you have had no ſport—but your game-keepers are ſtrangers—if this gentleman had been with you, he knows every haunt of the country.

CONTRAST.

Oh I don't doubt it; and is this gentleman qualified to carry a gun?

RASHLY.

I always thought ſo, ſir.

CONTRAST.

Where is your qualification?

RASHLY.

In my birth-right as a free man—Nature gave the birds of the air in common to us all; and I think it no crime to purſue them, when my heart tells me I am ready, if called upon, to exerciſe the ſame gun againſt the enemies of my king and country.

CONTRAST.

A period again! if it were not for his dreſs I ſhould take him for a ſtrolling orator eſcaped from Soho—but to cut the diſpute ſhort—You Mr. Steward, and you Mr. Monitor of the foreſt, take notice that I require unconditional ſubmiſſion in my ſupremacy of the game.

RENTAL.
[22]

In what manner, ſir?

CONTRAST.

The county gaol ſhall teach tranſgreſſors—thanks to my fellow ſportſmen in the ſenate, we have as good a ſyſtem of game laws as can be found in the moſt gentleman-like country upon the continent.

"RASHLY.

"By gentleman-like I am afraid, young ſir, you mean arbitrary—It is true we have ſuch laws—modern and unnatural excreſcences, which have grown and ſtrengthened by inſenſible degrees, 'till they lie upon our ſtatute-book like a wen upon a fair proportion'd body—a deformity fed by wholeſome juices.—I hope, ſir, we ſhall have your aſſiſtance to remove the evil."

"CONTRAST.

"Juſt the contrary. Tho' our ſyſtem be excellent for the preſervation of game, it ſtill wants a little foreign enforcement—In France, the inſignia of a Lord Paramont of the chace are gallowſes with his arms upon every hill in his eſtate—they embelliſh a proſpect better than the fineſt clump Brown ever planted." You look at me with ſurprize, old reformer of the groves.

RASHLY.

I confeſs I do, ſir! In days when I frequented the world, a high-bred town ſpark and a ſportſman were [23] the greateſt oppoſites in nature—The bean and the ſquire were always—

CONTRAST.

Oh, I begin to take you—your days—the ruſticated remains of a ruined Temple Critic—a ſmatterer of high life from the ſcenes of Cibber, which remain upon his imagination, as they do upon the ſtage, forty years after the real characters are loſt—Thy ideas of a gentleman are as obſolete, old ſpeculator, as the flaxen wig, and "ſtap my vitals."

RASHLY.

May I preſume, ſir, to aſk what is the character that has ſucceeded?

CONTRAST.

Look at me—

(turning round.)
RASHLY.

We were comparing, ſir—

CONTRAST.

Coxcombs—never baulk the word—the firſt thing in which we differ from your days is, that we glory in our title, and I am the acknowledged chief.—In all walks of life, it is true ambition to be at the head of a claſs.

RASHLY.

And may I aſk, ſir, if the claſs over which you ſo eminently preſide is very numerous?

CONTRAST.
[24]

No, faith; and we diminiſh every day; the cockade predominates—the times have ſet nine tenths of our men of faſhion upon being their own ſoldiers—I ſhou'd as ſoon have thought of being my own gunſmith.

RASHLY.

But is it poſſible you can have been idle at ſuch times?

CONTRAST.

Idle!—I never killed more birds any ſeven days in my life than in the preciſe week the French were off Plymouth.

RASHLY.

Singular character!

CONTRAST.

Right for once, old Tramontane—ſingularity is the ſecret of refined life. In the preſent day it connects the Nimrod and the man of taſte—thus we hunt our pointers at full ſpeed; our foxes at midday; crown the evening with French cookery, and waſh down our fatigues with orgeat and icid lemonade.

Enter La Nippe running.

Sir, ſir,—apart un inſtant, Monſieur—ſuch an adventure! I have diſcovered ſuch a girl 1 ſuch a ſhape! ſuch—

CONTRAST.
[25]

Bête! did you ever know me think of a woman in the country?

LA NIPPE
(aſide.)

No, nor much any where elſe.

[Takes him aſide, and ſeems eagerly to preſs him.
Rental
aſide to Raſhly.

I think, I diſcover Monſieur la Nippe's buſineſs—humour it, I beſeech you, ſir, and aſk Contraſt in.

RASHLY.

Sir, will you accept any refreſhment my poor houſe affords?—I hope you take nothing ill I have ſaid.

CONTRAST.

No, ſir, I bear no malice, and I will drink your health in a bowl of milk and water—

(aſide).

I'd not take the trouble of looking at his daughter, if it was not for the hope of being reveng'd of this old cruſty de triſtibus.

LA NIPPE
(aſide.)

I muſt get him into this intrigue, for my own ſake with the maid, if not for his with the miſtreſs.

[Exeunt.
Enter Trumore.

How ſurely and involuntarily my feet bring me to this ſpot! Conſcious ſcenes! Sophy! Doſt thou remember [26] them with my conſtancy?—Doſt thou viſit them with my ſenſibility?

Sings.
Within this ſhade, beneath this bough,
We paſs'd the tender mutual vow;
Recording loves were liſt'ning round,
And in ſoft echoes bleſs'd the ſound.
Come, Sympathy, with aſpect fair,
And, ſoaring Hope, that treads on air,
Smile on our truth, our cauſe befriend,
And footh the paſſions that you blend!

Is it impoſſible to get a glance at her at a diſtance? If I could but do it unperceiv'd—

Enter Peggy.

So, ſir, do you think I did not ſpy you from the window, prowling like a fox about a hen-rooſt? but ſet your heart at reſt, the pullet you are in ſearch of will ſoon be upon a perch too high for your reach.

TRUMORE.

What do you mean?

PEGGY.

Do you ſee that caſtle there?—there—Sir John Contraſt's great ſeat—mine are no caſtles in the air.

TRUMORE.

Well, what of that?

PEGGY.
[27]

Well then, if you had my ſecond ſight, you wou'd ſee Sophy in a coach and ſix white horſes driving in at the great gate.

TRUMORE.

What wou'd you lead my thoughts to?

PEGGY.

Patience!—Reaſon!—Sir John's ſon is paying his addreſſes within—Conſult Sophy's intereſt, and your own too in the end, and reſign her.

TRUMORE.

Horror and diſtraction! you cannot be in earneſt—would Sophia ſuffer even a look from a ſtranger without a repulſe?

PEGGY.

Time enough to repulſe when ſtrangers grow impertinent—mean while, why not be courted a little? there's curioſity in it, only to ſee how many ways the creatures can find to pleaſe us.

TRUMORE.

Theſe are your thoughts—but, Sophia.

PEGGY.

Thinks like me, or ſhe's not a woman. Look ye, I hate to be ill-natur'd—but don't fancy I'm your enemy, becauſe I'm her friend; and depend upon it we all love to be tempted—ſome few to be ſure for the [28] pride of reſiſting, and that may be Sophy's caſe—but ten for one think the pleaſure of yielding worth the chance of repentance. I won't promiſe I am not one of the number.

Sings.
All women are born to believe
In the ſweets of the apple of Eve:
If it comes in my eye,
'Tis in vain to deny;
I ſo much long to try,
I muſt bite tho' I die—
—'Tis done!—and, oh, fye!
Lack, how ſilly was I!
Oh, the deviliſh apple of Eve!
[Exit.
TRUMORE
(alone.)

Tormenting woman,—I cannot however but be alarmed, and ſhall watch your ſteps cloſely, young gentleman; yes, my Sophia, I will hover round thee like a watchful ſpirit—inviſible, but anxious to prove thy truth, and if neceſſary, to defend it.

[Exit.
[Scene changes to the inſide of the houſe, Contraſt, La Nippe, Raſhly, Sophy, Annette.]
LA NIPPE
(apart to Contraſt.)

What do you think of her eyes?

CONTRAST.

Paſſable for a village,

LA NIPPE.
[29]

Her complection! her ſkin! her delicacy!

CONTRAST.

Oh perfectly delicate; ſhe looks like the diet of her nurſery, extract of leveret and pheaſant with egg.

RASHLY.

Girls, you may retire when you pleaſe.

[As they are going off, enter Peggy with a guitar.
SOPHIA.

Peggy, what are you doing?

PEGGY
(aſide.)

"Gad, but he ſhall ſee a little more of her firſt."—It's only the guitar, madam!—It hung ſo looſe upon the peg, I was afraid the kitten wou'd pull it off—

[Touches the ſtring.

Lord! it ſpeaks of itſelf, I think—juſt as if it wanted—

CONTRAST
(aſide.)

Muſic too—a ſyren compleat—I am to be tempted by all the enchantments of Calypſo's Grotto—à la bonheur, try your ſkill, my dear.

SOPHIA.

Officious girl, carry it back directly.

CONTRAST.

Oh, by no means, miſs, pray favour us with a ſong.

RASHLY.
[30]

Come, girls, don't be aſhamed of an innocent and pleaſing talent—perhaps the warble of Nature may pleaſe Mr. Contraſt, from its novelty.

SOPHIA.

Indeed, Sir, I wiſh to be excuſed; upon my word, I am not able to ſing—

ANNETTE.

Dear ſiſter, ſing the ſong my father made upon a butterfly—I have laugh'd at the inſect ever ſince.

SOPHIA ſings.
Hence reveller of tinſel wing,
Inſipid, ſenſeleſs, trifling thing;
Light ſpendthrift of thy ſingle day,
Pert inſignificance, away!
How joyleſs to thy touch or taſte
Seems all the ſpring's profuſe repaſt;
Thy buſy, reſtleſs, varied range
Can only pall the ſenſe by change.
CONTRAST.

Bravo, Miſs; very well indeed—

PEGGY
(as going off.)

Gad, I don't know what to make of him; but all great men are of the family of the Whimſicals.

CONTRAST.
[31]

La Nippe, on to the caſtle; announce me to my father, and get things to cool—I am ſtill hot enough to be page of the preſence in the palace of Lucifer.

[Horns without.

What horns are thoſe?

LA NIPPE,
looking out.

Your honour's maſter of the hounds, and your whole hunting equipage are arrived.

CONTRAST.

Have they the new liveries?

LA NIPPE.

They have—and for elegance they would ſhame the hunt at Fontainebleau.

CONTRAST.

Let them draw up before the door, I'll ſee them as I paſs.—

[Exit La Nippe.

One word at parting, friend Raſhly.—Your daughters are not without attractions—nor you void of a certain ſort of oddity that may be diverting; but your gun muſt be ſurrender'd, and from a pheaſant to a ſquirrel—chaſſe defendue—no pardon for poaching—and ſo good day, old Aeſop in the ſhades.

[Exit.
RENTAL.

I muſt follow—but I requeſt you to take no ſteps till you ſee me again—give me but time to work in your favour!—

RASHLY.
[32]

You are too ſanguine—but I conſent, upon condition that I do not ſee my father.

RENTAL.

As yet it is no part of my plan that you ſhould.

[Exeunt ſeverally.
Scene changes to the outſide of the houſe.
Enter Contraſt, La Nippe, and Huntſmen.
LA NIPPE.

The huntſmen, Sir, have been practiſing a new chorus ſong; will you hear it?

CONTRAST.

A hunting ſong quite breaks my ears, it is a continued yell of horn and morn, wake the day and hark away—but they may begin; I ſhall hear enough as I walk off.

I.
When the orient beam firſt pierces the dawn,
And printleſs yet gliſtens the dew on the lawn,
We riſe to the call of the horn and the bound,
And Nature herſelf ſeems to live in the ſound.
Chorus.
Repeat it quick, Echo, the cry is begun,
The game is on foot, boys, we'll hunt down the ſun.
[33]II.
The Chace of old Britons was ever the care,
Their ſinews it brac'd, 'twas the image of war.
Like theirs ſhall our vigour by exerciſe grow,
Till we turn our purſuit to our country's foe.
Chorus.
Repeat it, ſhrill Echo, the war is begun,
The foe is on foot, boys, we'll fight down the ſun.
III.
With ſpirits thus fir'd, to ſleep were a ſhame,
Night only approaches to alter the game.
Diana's bright creſcent fair Venus ſhall grace,
And from a new goddeſs invite a new chace.
Chorus.
Be ſilent, fond Echo, the whiſper's begun,
The game is on foot, boys, we want not the ſun.
END of the FIRST ACT.
[34]

ACT II. SCENE I.

A Shrubbery.
Enter Sophia and Annette, arm in arm.
SOPHIA.

I Confeſs, Annette, you are a very forward ſcholar in affairs of the heart: but would you really perſuade me, that the women in France ſcorn to be in love?

ANNETTE.

Juſt the contrary. Love, there, is the paſſion of all ages. One learns to liſp it in the cradle; and they will trifle with it at the brink of the grave; but it is always the cherup of life, not the moping malady, as it is here.

SOPHIA.

And according to the notions of that fantaſtical people, how is the paſſion to be ſhewn?

ANNETTE.

Oh! in a woman, by any thing but confeſſing it.

SOPHIA.

Surely, Annette, you muſt now be wrong: inſincerity and artifice may, for aught I know, be the vices [35] of fine folks in courts and cities; but in the rural ſcenes, where you as well as myſelf have been bred, I am perſuaded the tongue and the heart go together in all countries alike.

ANNETTE.

So they may too: it would be wrong if the tongue told fibs of the heart; but what occaſion for telling all the truth?—I wiſh you ſaw a girl in Provence as ſhe trips down the mountain with a baſket of grapes upon her head, and all her ſwains about her, with a glance at one, and a nod at another, and a tap to a third—'till up riſes the moon, and up ſtrikes the tabor and pipe—away go the baſkets—"Adieu panniers, Vendange eſt faite!"—her heart dances faſter than her feet, and ſhe makes ten lads happy inſtead of one, by each thinking himſelf the favourite.

SOPHIA.

But the real favourite is not to be in ſuſpence for ever?

ANNETTE.

No, no; ſhe ſolves the myſtery at laſt, but in a lively key.

("A ſhort French ſong.")
SOPHIA.

I admire your vivacity, Annette; but I diſlike your maxims. For my part, I ſcorn even the ſhadow of deceit towards the man I love, and would ſooner die than give him pain.

ANNETTE.
[36]

So wou'd I too, dear ſiſter—but why not beſtow pleaſures with a ſmile?

SOPHIA.

Giddy girl—you know not love.

ANNETTE.

Oh! but you are miſtaken—I underſtand ſentiment perfectly, and could act it to admiration. I cou'd gaze at the moon, prattle to the evening breeze, and make a companion of a roſe for hours together—"only I don't like to prick my fingers with it"—à propos now; here's a charming buſh in full blow, and you ſhall hear me addreſs it exactly in your character—

Sings to a roſe.
Reſt, beauteous flow'r, and bloom anew,
To court my paſſing love;
Glow in his eyes with brighter hue,
And all thy form improve.
And while thy balmy odours ſteal
To meet his equal breath;
Let thy ſoft bluſh for mine reveal
The imprinted kiſs beneath.
SOPHIA.

Get you gone, you trifler—you'll make me angry.

ANNETTE.
[37]

Well, I'll only ſtroll with you as far as yonder great tree, and leave you to kiſs the reſt of the roſes to the ſame tune.

[Exeunt.
Enter La Nippe, beckoning Contraſt.
LA NIPPE.

Yonder ſhe is—and the young one going away—now's the time—at her, Sir.

CONTRAST.

It's a damn'd vulgar buſineſs you're drawing me into, La Nippe—I could never ſhew my face again if it were known I was guilty of the drudgery of getting a woman for myſelf.

LA NIPPE.

What do you mean, Sir, that you never make love?

CONTRAST.

No, certainly, you blockhead—modern epicures always buy it ready-made.

LA NIPPE.

"Aye, and in town it is fitted to all purchaſers, like a ſhoe in Cranburn-alley—but here—

"CONTRAST.

"Is the ſcene of novelty and experiment—be it ſo for once—it is the ſporting ſeaſon—I'll courſe this [38] little puſs myſelf." But hold, ſhe is turned, and coming this way.

[Exit La Nippe.
Enter Sophia.

I did not recollect that theſe walks are no longer to be open for the neighbourhood—How ſimple was that girl not to remind me! If I ſhould be ſeen, I may be thought impertinent—and alone too—

CONTRAST.

So, Miſs Raſhly, we meet as patly as if you had known my inclinations.

SOPHIA
(aſide and confuſed).

He too, of all others!—I know it is an intruſion, Sir, to be here—I was retiring.

[to him]
CONTRAST.

It is the moſt lucky intruſion you ever made in your life.

SOPHIA
(ſtill confuſed).

Permit me, Sir, to paſs?

CONTRAST.

Not till you hear your good fortune, my dear. You have attracted in one moment what hundreds of your ſex have twinkled their eyes whole years for in vain—my notice—I will bring you into the world myſelf—your fortune's made.

SOPHIA
[39]
(confuſed and angrily).

Sir, this ſort of converſation is new to me, and I wiſh it to continue ſo.

[Still endeavouring to paſs.
CONTRAST
(examining her).

Yes, ſhe'll do when ſhe is well dreſs'd—one ſees by her bluſh how rouge will become her—I ſhall ſoon teach her to ſmile—La belle gorge when adjuſted in French ſtays—

SOPHIA
(more angrily).

Sir, tho' your language is incomprehenſible, your manners are offenſive—I inſiſt upon paſſing.

CONTRAST.

Oh fye child—the firſt thing you do muſt be to correct that frown and this coyneſs—they have no more to do with thy figure than a red cloak or blue ſtockings—No, no, my girl, learn to look a man in the face, whatever he ſays to you—it is one of the firſt principles for high life; and high as the very pinnacle of female ambition ſhall thine be—thou ſhalt drive four poneys with a poſtilion no bigger than a marmoſet.

SOPHIA.

Inſufferable!

CONTRAST.

You ſhall make your firſt appearance in my box at the opera—a place of enchantment you can have no [40] notion of—Have you ſeen Contraſt's Sultana? ſhall be the cry—"All the women in the town are Aethiops to her, or blindneſs confound me"—there's the language to fix a woman's reputation!—there's the ſecret to make her adored—beauty!—it is not worth that,

[fillips his fingers.

in compariſon of faſhion.

SOPHIA.

Sir, I have tried while I could to treat you with ſome degree of reſpect—you put it out of my power—reſentment and contempt are the only—

CONTRAST.

Clariſſa Harlow in her altitudes!—what circulating library has ſupplied you with language and action upon this occaſion? or has your antiquated father inſtructed you, as he has me, in the mode of his days?—Things are reverſed, my dear—when we fellows of ſuperior claſs ſhew ourſelves, the women throw themſelves at us; and happy is ſhe we deign to catch in our arms.

[Offers to take hold of her.
SOPHIA.
(Enraged; and at laſt burſting into a paſſion of tears).

Unheard-of aſſurance! What do you ſee in me to encourage ſuch inſolence? Or is it the very baſeneſs of your nature, that inſults a woman becauſe ſhe has no protector?

[Breaks from him—at the inſtant,
Enter Trumore.

Protection is not ſo diſtant as you imagined—compoſe yourſelf, my Sophia—I have heard all—leave [41] to me to ſettle the difference with this unworthy ruffian.

CONTRAST.

Way-laid, by all that's deſperate—a ruſtic bully—but I muſt ſubmit, for I conclude he has a foreſt mob within call.

TRUMORE.

A mob to encounter thee!—a mob of fleas—of gnats—of piſmires—a waſp would be a ſure aſſaſſin—but to be ſerious, Sir—tho' the brutality of your behaviour calls for chaſtiſement, the meanneſs of it places you beneath reſentment.

CONTRAST.

How he aſſumes! becauſe I know as little of a quarter-ſtaff, as he of the weapons of a gentleman.

TRUMORE.

It would indeed be profanation of Engliſh oak to put it into ſuch hands—thou outſide without a heart—when the mind is nerveleſs, the figure of a man may be cudgelled with a nettle.

SOPHIA.

For heaven's ſake, Trumore, be not violent, you make me tremble—no further quarrel.

TRUMORE.

Another word, Sir, and no more—could I ſuppoſe you a real ſample of our faſhionable youth, I ſhould think my country indeed degraded—but it cannot be—away!—and tell your few fellows, if even few exiſt, that there is ſtill ſpirit enough among common [42] people to defend beauty and innocence; and when ſuch as you dare affronts like theſe, it is not rank nor eſtate, nor even effeminacy, that ſhall ſave them.

CONTRAST.

Very ſententious truly—quite Raſhly's flouriſh.—In Italy now I could have this fellow put under ground for a ſequin—in this damned country, we can do nothing but deſpiſe him. Boxing was once genteel; but till the faſhion returns, it would be as low to accept the challenge of a vulgar as to refuſe it to an equal.

[Exit.
TRUMORE.

How is my Sophia? happy, happy moment that brought me to your reſcue.

SOPHIA.

If the thoughts you moſt wiſh I ſhould entertain of my deliverer can repay you, trace them by your own heart, Trumore; they will harmonize with its tendereſt emotions.

TRUMORE.

Oh, the rapture of my Sophia's preference! thus let me pour forth my gratitude.

[Kneeling, and kiſſing her hand.
Enter Raſhly.

So, inconſiderate pair, is it thus you keep your engagements with me? Neither the duty of one, nor the word of honour of the other, I ſee, is a ſanction—

TRUMORE.
[43]

Reſtrain your diſpleaſure, Sir, till you hear what has happened—no breach of promiſe—

RASHLY.

I have no leiſure for excuſes, nor for reproaches—fortune more than my reſentment is againſt you.—Sophy, my affairs will probably compel me to ſeek another and a diſtant home. Prepare yourſelf to ſet out with me at an hour's warning.

TRUMORE.

What do I hear? Sir, part us not—I'll be your ſlave to obtain her preſence—let me but follow her—let me but enjoy the hopes of at laſt deſerving her.

SOPHIA.

What have you not already deſerved?—If we are to ſeparate, here in a father's preſence I engage to you a faith that time and diſtance ſhall never change.

TRUMORE.

I accept in the ſame preſence the ſacred pledge, and will cheriſh the remembrance of it with a truth, which, like the brilliant ore, proves its purity by its trials.

Sings.
Superior to this adverſe hour
True Love, my Fair, ſhall riſe;
The turn of chance, the ſtroke of power,
A faithful heart defies.
[44]
A parent may this frame controul
By his ſevere decree;
But thought, the eſſence of the ſoul,
Shall ne'er remove from thee.
RASHLY.

Here then break off, and to time and diſtance leave the further teſt of your ſincerity: at preſent I can flatter you with no other remedy.—Daughter, return to the houſe.—Trumore, you muſt not follow.

TRUMORE.

I ſubmit; I have ſaved her from a ruffian—I reſign her to a father—and angels aſſiſt to guard her!

RASHLY.

Come, Sophia—the world is wide, and innocence an univerſal paſſport.

Trio.
Thus when the wint'ry blaſts are near,
The Stork collects her brood
Trains their weak pinions high in air
And points the longſome road.
At length the final flight they try,
Farewel the parent neſt,
They ſeek from fate a milder ſky
Attain it, and are bleſt.
[Exeunt.
[45]Enter Contraſt and La Nippe meeting.
CONTRAST
(after a pauſe).

Get poſt-horſes for the chaiſe directly.

LA NIPPE.

To carry her off, Sir?—quick work—I thought how it would be when you ſet yourſelf to it.

CONTRAST.

I wiſh you had been among the other curs I order'd to be hanged before you had put me upon the trace of her—find me a quick conveyance from this region of barbariſm, or the ſpirit of the place ſhall be tried upon you—it will be no "profanation of Engliſh oak to cudgel you."

LA NIPPE.

In the name of wonder, what has happened?

CONTRAST.

Happened! I have been nearly worried by a curſed confounded two-legged maſtiff. Where was you, Sir, not to be within call?

LA NIPPE.

Juſt where I ought to be by the true rule of a valet de chambre's office all the world over—trying the ſame game with the maid, I ſuppoſed you were trying with the miſtreſs—

[Contraſt looks angry.

but, all for your honour's intereſt, to make her your friend—

CONTRAST.
[46]

Rot her friendſhip—I would not expoſe my nerves to a ſecond encounter with this new piece of Piety in pattens, to ſecure all the ruſtic females from the Land's End to the Orknies.

LA NIPPE.

You ſhall not need till ſhe is brought to proper terms. Look ye, ſir, Peggy the maid is a fly wench, why not make her a convenient one?—Commiſſion me to pay her price, and ſhe ſhall deliver this toy into your hands—that's love exactly in your own way, you know.

CONTRAST.

I would not give five pounds for her, if it were not for vengeance.

LA NIPPE.

Your vengeance need not ſtop there. The father you know, by his own confeſſion, is a poacher. I have enquired of Peggy if he has no enemies—he has but one it ſeems in the pariſh; but he is worth a hundred—an attorney—broken by Raſhly's faculty in deciding differences—this fellow ſhall ſaddle him with as many actions for game in half an hour, as ſhall ſend him to jail, perhaps for the reſt of his days.

CONTRAST.

Your plan is not unpromiſing, and you may try one of my rouleaus upon it.—If I could at the ſame time correct the dog of a lover, I believe I ſhould grow cool again, and put off my journey for the accompliſhment.

LA NIPPE.
[47]

It is not impoſſible—what think you of a preſsgang?

CONTRAST.

Tranſcendent, if one could be found. The game laws and the preſs act ought always to go hand in hand—and, were they properly enforced, the conſtitution might be more bearable to a man of faſhion.

LA NIPPE.

I'll about this buſineſs directly.

CONTRAST.

Content: mean while, I'll give an airing to my inability upon the lawn.—Hark ye, La Nippe, before you go, I think the ſummary of our projects is thus—the father to jail; the lover to ſea; my pointers, if you will, in Raſhly's chamber; and his daughter in exchange in mine.

LA NIPPE.

Exactly, ſir.

[Exeunt ſeverally.
Inſide of Raſhly's houſe.
Enter Raſhly, and Sophia under his arm, as continuing a converſation.
"RASHLY.

"Beſides theſe peculiarities of my circumſtances, and many others which you are yet a ſtranger to, you [48] muſt ſee an unſurmountable reaſon for diſcontinuing an intercourſe with Trumore—the abſence of his father—it would be indelicate in you, as well as diſhonourable in me, to proceed to a union unknown to him, and to which he may have the greateſt objections.

"SOPHIA.

"Dear ſir, there wanted no argument to convince me of your tenderneſs—I am intirely at your diſpoſal—if a tear drops when I obey you, it is an involuntary tribute to my fortune, think it not repugnance to your will."

RASHLY.

Be comforted, Sophia, with the reflection that I lament, and do not blame your attachment; you know I agree, both upon experience and principle, that the only baſis for happineſs in every ſtation of life is diſintereſted love.

Sings.
I.
When firſt this humble roof I knew,
With various cares I ſtrove;
My grain was ſcarce, my ſheep were few,
My all of wealth was love.
II.
By mutual toil our board was dreſs'd;
The ſtream our drink beſtow'd;
But, when her lips the brim had preſs'd,
The cup with Nectar flow'd.
[49]III.
Content and Peace the dwelling ſhar'd,
No other gueſt came nigh,
In them was given, tho' gold was ſpar'd,
What gold could never buy.
IV.
No value has a ſplendid lot
But as the means to prove,
That from the caſtle to the cot
The all of life was love.
Enter Annette haſtily.
ANNETTE.

Sir, Mr. Rental is coming into the gate, and with him a ſtrange gentleman I never ſaw before—an old man, and Rental is pulling off his hat and bowing; I wonder who he is.

RASHLY
(with emotion).

Sir John Contraſt! how my heart throbs at his approach!

(Aſide)

Girls, I have a reaſon to be concealed; you muſt not diſcover I was within—

[Walks with his daughters to the top of the ſcene, as giving them direction, and exit—Sophia and Annette remain a little behind the laſt ſide-ſcene.
[50]
Scene changes to the inſide of Raſhly's houſe.
Enter Sir John Contraſt—Rental following.
SIR JOHN.

I tell you, Rental, that laſt cottage ſhall come down, there is not a male creature about it—nothing but girls with black eyes, and no induſtry—but what ſort of dwelling have we here?

RENTAL.

The ſeat of innocence, once the ſeat of more happineſs than at preſent.

SIR JOHN.

The ſeat of innocence?—aye, to be ſure, and theſe I ſuppoſe are the children of innocence that inhabit it—

[Perceiving Sophia and Annette who come timidly forward.
SOPHIA.

What could my father mean by going away himſelf, and inſiſting we ſhou'd not decline an interview with Sir John Contraſt and Rental?—I have ſeen enough of the family already.

ANNETTE.

Is that he? Lord! ſiſter, don't quake; he does not look ſo ungracious—

[They approach timidly.
SIR JOHN
[51]
(examining them).

Zounds! are all my farms over-run thus with evil-eyed wenches?

RENTAL.

Suſpend your opinion, I beſeech you, ſir, and ſpeak to the young women; the family is indeed worth your notice.—

(Aſide)

Now, Nature and Fortune, work your way.

SIR JOHN.

Young women, how may you earn your livelyhood?

SOPHIA and ANNETTE
(embarraſs'd).

Sir!

SIR JOHN
(to Rental).

They are too innocent, I ſee, to anſwer a plain queſtion.

RENTAL.

You alarm them, ſir; they are as timid as fawns. My young miſtreſſes, it is Sir John Contraſt ſpeaks to you; in your father's abſence, he wants to enquire of you into the circumſtances of your family.

SIR JOHN.

What is your father, young woman?

SOPHIA.

The beſt of parents.

SIR JOHN.
[52]

Not very rich, I imagine?

SOPHIA.

He is content.

SIR JOHN.

What buſineſs does he follow?

SOPHIA.

He has a ſmall farm of his own; he rents a larger upon this manor—he cultivates both.

SIR JOHN.

You two are not of much ſervice to him, I'm afraid?

SOPHIA.

Too little, ſir,—his indulgence ſometimes prevents even our feeble attempts—Mr. Rental knows it is his fault—but I believe his only one.

SIR JOHN.

What then is your employment?

SOPHIA.

I work at my needle for him; I read to him; I receive his inſtructions—I once receiv'd them from a mother—I repeat to him her precepts—they often draw his tears; but he aſſures me they are pleaſing.

ANNETTE.

Yes, but I always ſtop them for all that—the moment his eyes moiſten, I ſing or chatter them dry.

SIR JOHN.
[53]

This is paſt bearing, Rental—the ſeat of innocence!—it is the ſeat of witchcraft.

RENTAL.

Pure Nature, ſir.

SIR JOHN.

And what witchcraft's ſo powerful?—have not you learnt that it is a bleſſing when the ſex takes to artifice and affectation? Were women to continue in perſon and in heart, as Nature forms her favourites among them, they would turn the heads of all mankind.

RENTAL.

Permit me, ſir, to ſay you are the firſt that were ever angry at finding them undegenerated.

SIR JOHN.

Have not I ſuffer'd by it?—I loſt a ſon by this ſort of artleſs Nature before—my preſent Hopeful, it is true, is an exception; Nature wou'd ſtand a poor chance with him againſt a French heel, and a head as big as a buſhel.

RENTAL.

I am glad, ſir, you are eaſy upon that head.

SIR JOHN
(to Annette).

And ſo, my little gypſey (for I find you talk gibberiſh), your prattle is always at your tongue's end?

ANNETTE.
[54]

Not always—I can hold my tongue to people I don't like.—I talk to divert my father—and would do the ſame now—if it could put you in a humour to be his friend.

SOPHIA.

Fye, Annette, you are very bold.

ANNETTE.

Siſter, I am ſure the gentleman is not angry. I ſhou'd not have ventur'd to be ſo free, if he had not the very look, the ſort of half-ſmiling gravity of papa, when he is pleas'd with me in his heart—and does not care directly to own it.

SIR JOHN.

Wheedling jade!—but, may be, that's another proof of woman in pure Nature.

ANNETTE.

Indeed, ſir, I mean no harm; and I am ſure you have not thought I did, for your frowns vaniſh like ſummer clouds, before one can well ſay they are formed.

Sings.
So the chill miſt, or falling ſhow'r,
O'erſpreads the vernal ſcene;
And in the vapour of the hour
We loſe the ſweet ſerene.
[55]
But ſoon the bright meridian ray
Diſpels the tranſient gloom;
Reſtores the promiſe of the day,
And ſhews a world in bloom.
SIR JONH.

This is paſt enduring.—Rental, take notice—the decree is paſt irrevocably as fate—no reply—this houſe and all that belongs to it—father, daughters, ſervants, to the very ſquirrels and linnets, ſhall—

RENTAL.

Be laid low, Sir?

SIR JOHN.

Be ſecur'd! protected! raiſed!—It ſhall become the manſion of plenty and joy; and theſe girls ſhall pay the landlord in ſong and ſentiment.

RENTAL.

I thank you in the name of their father. A man more worthy your favour does not live—and you only can ſave him from his enemies.

SIR JOHN.

Who are they?

RENTAL.

He has one in particular, honourable and benevolent in his nature, but who vowed enmity to him in a fit of paſſion, and has obſtinately adhered to it ever ſince.

SIR JOHN.
[56]

Does he ſo? gad, that's no fool tho'! no weathercock!—and how did he deſerve this enmity? but that's no matter with a man of the deciſion and wiſdom you deſcribe.

RENTAL.

You'll beſt decide upon the provocation, when the effects of it are laid before you as an impartial judge.

SIR JOHN.

I hate impartiality, and ſet out this buſineſs upon a quite contrary principle.—Come forward, my little clients, give a kiſs of partiality a piece—now I am feed your advocate for ever—ſo come to the Caſtle in the evening; bring your father with you; let this obſtinate dog appear if he dare—my obſtinacy is now bound to defeat his, right or wrong—he ſhall give way, and he may look for an excuſe to himſelf in the eyes of my little charmers.

RENTAL.

He is very poſitive.

SIR JOHN.

He ſhall go to the ſtocks, if he is.—What, not yield when the intereſt of my darlings is in queſtion? By all that's ſteady, I'll build a new houſe of correction, and they ſhall keep the key.

RENTAL.

But be upon your guard, Sir; he will be aſſerting his former reſolutions.

SIR JOHN.
[57]
Tell not me of his aſſertions,
Mine are laws of Medes and Perſians;
Vain againſt them all endeavour,
Right or wrong they bind for ever.
SOPHIA.
Remember then a daughter's prayer,
Receive a parent to your care;
ANNETTE.
Frown on his foe's obdurate plea,
But keep benignant ſmiles for me.
Enter Peggy.
PEGGY.
When I ſee my betters hearty,
How I long to be a party!
Pardon me if I intrude, Sir;
I'd be pleaſant, but not rude, Sir.
SOPHIA.

Peggy, have done.

ANNETTE.

It is Sir John.

PEGGY.

I'm ſure he looks compliant.

SOPHIA and ANNETTE.
[58]
From hence he goes,
To cruſh our foes.
SIR JOHN.

As Jack did once the Giant.

SOPHIA.

Remember your clients with troubles beſet.

ANNETTE.

Remember Sophia, remember Annette.

SIR JOHN.
The cauſe of my clients I'll never forget,
The kiſs of Sophia, the kiſs of Annette.
END of the SECOND ACT.
[59]

ACT III. SCENE I.

Enter Peggy and La Nippe (following and courting).
PEGGY.

IF you offer to be impudent again, you ſhall have it on both ears inſtead of one. I tell you I'm a married woman; is not that an anſwer?

LA NIPPE.

Yes, of encouragement, my dear—it ſeldom is an objection in the world I have inhabited.

PEGGY.

The world is at a fine paſs by your account—"But theſe are ſome of your outlandiſh notions—they wou'd make fine cutting of throats among Engliſh huſbands.

LA NIPPE
(laughing).

"Cutting throats! Oh, my ſweet Peg, how ignorant you are! I wiſh your huſband was at home with all my heart—I'd ſhew you how to follow the example of our betters—I wou'd dine with you both every day, and he ſhould thank me for preſerving the peace of his family.

[puts his arm round her.
PEGGY
[60]
(puſhing him).

"Keep your diſtance, Mr. Aſſurance"—If this be the new ſtyle of matrimony, Heaven keep Sophia clear of it, I ſay.

LA NIPPE.

Oh my dear, you need be in no pain about that. She is not in the leaſt danger.

PEGGY.

Why, did not you tell me your maſter was mad in love for her, and wou'd make my fortune if I wou'd help him?

LA NIPPE.

Exactly! but what has that to do with marriage?

PEGGY
(in ſurprize).

What the deuce has it to do with elſe?

LA NIPPE.

Pleaſure and profit. He'll love her out of vanity if ſhe makes a figure as his miſtreſs; he'd hate her for faſhion's ſake if ſhe was his wife. Let us but get the couple well eſtabliſhed in London—who knows but you and I may be exalted to be their toads.

PEGGY.

Toads!

LA NIPPE.

One takes any name for a fortune, and this is become a faſhionable one I aſſure you. In ſhort you [61] will be the companion of her pleaſures; dreſs'd as well as herſelf; courted by every man who has a deſign upon her—and make a market of her every day. Oh, you'll have quite the pull of me in employment.

PEGGY.

Indeed!

LA NIPPE.

Yes, I ſhall change damnably for the worſe in quitting the life of a valet for that of a companion. "Follower to what he calls a man of faſhion! zounds I'd rather be a bailiff's follower by half—if it was not for what may come after.

PEGGY.

I have no longer any patience with the Rogue's impudence!

(aſide.)

"So having declar'd yourſelf a pimp—you wou'd make me a procureſs, and Miſs Sophy a—

LE NIPPE
(ſtopping her mouth).

"Hold your tongue, you jade—and don't give groſs names to characters ſo much in faſhion." Come, don't be ſilly and angry now—I have dealt openly with you, knowing you to be a woman of ſenſe and ſpirit—

[Peggy ſeems angry.

Don't be in a paſſion I tell you—here my dear—here's a gentle receipt for anger—here—did you ever ſee this ſort of thing before?

[Takes a rouleau of guineas from his pocket.
PEGGY.

What is it?

LA NIPPE
[62]
(meaſuring the rouleau on his finger).

A rouleau! fifty guineas wrapt up in this ſmall compaſs. One may know it by its make, it is from the firſt club in town—there it is, eſcaped from ſharpers and creditors, to purchaſe beauty and kindneſs.

PEGGY
(aſide).

I cou'd tear his eyes out—is there no way to be even with him?

LA NIPPE.

Aye, take a minute my dear to conſider—I know but few of your ſex wou'd require ſo much time.

PEGGY
(to herſelf).

No means of fitting the rogue! Gad I have a thought—if I am not too much in a paſſion to diſſemble—I am not much uſed to artifice—but they ſay it never fails a woman at a pinch.

(Looking kindly)

Why to be ſure, I was conſidering upon that little device—let's feel, is it heavy?

[Taking the money.
LA NIPPE.

Oh! of great weight.

PEGGY.

Law not at all, I cou'd carry a hundred of them—but pray now tell me fairly what am I to do for it?

LA NIPPE.
[63]

Nothing but an office of good-nature—you are to put your miſtreſs into my maſter's hands—you women can do more with one another in this ſort of buſineſs in a day, then a lover (at leaſt ſuch a one as ours) will do in a year.

PEGGY.

Lord, how modeſt you are all at once—ſpeak out—I am to ſeduce my miſtreſs for—

LA NIPPE.

Fye, what names you are giving things again!—you are to remove fooliſh prejudices; to open a friend's eyes to their intereſt—zounds child it's an office for a ſtateſman.

PEGGY.

Oh, that's all—

LA NIPPE.

Not quite all; you know there's a ſomething that regards ourſelves, but that goes of courſe in negociations of this ſort.

PEGGY.

Oh, does it?—and what do you call this pretty invention?

LA NIPPE.

An abridgement of polite arithmetic—a purſe muſt be counted, which is troubleſome; a note requires [64] reading, which to ſome perſons may be inconvenient—but the rouleau conveys fifty guineas to your pocket without a ſingle chink, and takes up leſs room than a toothpick caſe.

PEGGY.

This bewitches me, I think,

LA NIPPE.

Yes, my dear, it's always reckon'd bewitching.

Sings.
The rouleau is form'd with a magical twiſt,
To conquer caprice or diſpleaſure:
If your object the offer of one ſhould reſiſt,
You have only to double the meaſure.
It finds to all places its way without eyes,
Without tongue it diſcourſes moſt ſweetly;
To beauty or conſcience alike it applies,
And ſettles the buſineſs completely.
PEGGY.
Well, who could have thought ſuch a wonderful pow'r,
In a compaſs ſo ſmall could be hidden;
To ſweeten at once the grapes that are ſour,
And purchaſe e'en fruit that's forbidden:
A magic ſo pleaſant muſt ſurely be right,
Without ſcruple I pocket the evil,
I'll ſhew you the proper effect before night,
And leave you to account with the devil.
LA NIPPE.
[65]

Excellent! now you are a girl exactly after my own heart—where ſhall we meet?

PEGGY.

Why, you muſt know this is the day of our wake; and Sir John gives a treat to all the tenants, ſo every body will be buſy, and ſo about an hour before ſun ſet come to the hay rick by the poole of the farm yard.

LA NIPPE.

Oh, you jade, I ſhall have no patience if you make me wait.

PEGGY.

I'll come whenever I am ſure the coaſt is clear—but in the mean time you ſhall find a harveſt cag, with a ſup of cordial to keep up your ſpirits; in the country we never make a bargain with dry lips.

LA NIPPE
(aſide).

What the devil, my dairy-maid drinks drams!—ſhe'll be fit to cry milk in the ſtreets of London—I need not have paid ſo high if I had known that.

PEGGY.

Be ſure now to be punctual.

LA NIPPE.

And you to be complying.

PEGGY.
[]

Oh, as for that you know—"If your object your offer of one ſhould reſiſt" &c.

[Exeunt ſeparately, ſhe ſinging, he nodding.
Scene—Booths for a country wake—a large one in the form of a tent—recruits in different colour'd cockades at work in fitting it up.
CAPTAIN TREPAN.

Come, ſtir my lads—briſkly, briſkly—up with the reſt of the advertiſements—we ſhall have the wake fill'd before we are ready.

Enter Rental.

Hey day! what have we here? if you have any ſhew to exhibit friend, you ought to aſk leave before you erect your booth.

TREPAN.

Ah, ſir, the Lord of the Manor is too good a ſubject to obſtruct my work.—

(To the workmen)

Bring forward the great Butt there, place it in view by the drum and colours.

RENTAL.

By your dreſs you ſhould belong to the army; pray, ſir, what is your real buſineſs?

TREPAN.
[67]

I am a manufacturer of honor and glory—vulgarly call'd a recruiting dealer—or more vulgarly ſtill, a ſkin merchant. I come to a country wake as to a good market—a little patience, and you ſhall ſee my practice—come paſte up more bills—and the devices—they are not half thick enough—where's the lyon rampant, with a grenadier's cap upon his head?

1ſt WORKMAN.

Here, ſir, here.

TREPAN.

And the marine device?

2d WORKMAN.

Here it is—done to the life—the prize boarded; the decks running with arrack punch, and dammed up with gold duſt.

TREPAN.

Right lad, place that next the lyon. I don't ſee the London Taylor with his foot upon the neck of the French king.

3d WORKMAN.

Here he is in all his glory.

TREPAN.

Paſte him up on the other flank of the lyon—ſo, ſo, pretty well—what have you left for the corner?

4th WORKMAN.
[68]

The Eaſt-Indies, Captain, a nabob in triumph, throwing rough diamonds to the young fifers to play at marbles.

TREPAN
(to Rental).

Very well, very well—ſir, how do you like my ſhop.

RENTAL.

Faith, ſir, the conſtruction ſeems to be as curious as your employment—I think you call'd yourſelf a ſkin merchant.

TREPAN.

Mine, ſir, is a new trade, but a neceſſary and a happy one, for it flouriſhes in proportion to the ſpirit of the nation—and if our rulers will but employ it properly—Captain Trepan ſhall furniſh them for next year with twenty thouſand new Alexanders at five pence a day.

RENTAL.

Well, captain, as you have call'd your's a trade, will you oblige me ſo much as to explain how it is carried on?

TREPAN.

Oh, with pleaſure, ſir! ſuppoſe new regiments are to be raiſed—I am applied to—Captain Trepan—that's my name, ſir—How are ſkins now?—how many may you want?—five hundred—Why, your honor, anſwers I, thoſe that are fit for all uſe, that [69] bear fire, and wear well in all climates, cannot be affoarded for leſs than ten pounds a piece—we have an inferior ſort that we ſell by the hundred—I'll take half and half ſays my employer!—your place of delivery?—Plymouth!—agreed!—and they are on ſhipboard in a month.

RENTAL.

But captain, ſure this buſineſs is ſubject to frauds?

TREPAN.

Yes, there are rogues in all trades—but my word is known. I never run the ſame recruit thro' more than three regiments in my life—and that only when we have been hard preſſed for a review.

RENTAL.

Very conſcientious, upon my word.

TREPAN.

Aye, and my conſcience has made me—I export more goods than all the trade together. Let us but have a fair trial with our enemies in any part of the world—and then ſee if captain Trepan's ſkins don't figure—but here, ſerjeant Crimp, let the recruits fall in.

RENTAL
(reading the bills).

"Very fine language, Captain—I ſee you are a great writer as well as an orator.

TREPAN.

"I cou'd not do without the talents of both, Sir—next to gold and brandy, a glib tongue and a ready [70] pen are the beſt implements in our trade—novelty in every line, you ſee—new cloaths, new arms, new commanders, new

RENTAL.

"There I doubt a little, whether novelty is ſo proper—would not old commanders be more encouraging?

TREPAN.

"No it is not thought ſo—old commanders, like old wines, may be good to ſtick to; but the new ſparkles, and gets into the head, and preſently makes it fit to be run againſt the wall"—ſee how my new Colonels ſtand over the old ones with their names in capitals as tall as their ſpontoons.

RENTAL.

Arranged with a great deal of fancy indeed.

TREPAN.

Aye, and meaning too—I can tell you—but do only look at my recruits—do but look at them—

[Crimp gives the word March.

there's ſtuff for all work—ſouthern rangers, and northern hunters—low-landers and high-landers, and loyals and royals, and chaſſeurs and daſheurs—I ſuppoſe now you would like ſuch a fellow, as that.

[Pointing to a ſmart recruit.
RENTAL.

It is a thouſand pities he ſhould be ſhot at.

TREPAN.
[71]

Be in no apprehenſion, he'll never die by powder.

RENTAL.

What do you mean?

TREPAN.

Lord help you, how you might be impoſed upon—he's my decoy-duck—mere ſhew goods for the ſhop window—not an inch of wear and teat in the whole piece.—The dog inherited deſertion from his family. His brother was called Quick-Silver Jack, he was hanged at laſt at Berlin, after having ſerved ſix different princes in the ſame pair of ſhoes.

Enter Trumore (haſtily).

Which is the commander of the party?

TREPAN.

Your pleaſure, Sir.

TRUMORE.

A muſquet in a regiment upon foreign ſervice.

TREPAN.

And a handful of guineas to boot, my lad of mettle; this is ſomething like a recruit.

Rental
to Trumore.

What's this—Trumore enliſting—can I believe my eyes?

TRUMORE.
[72]

Yes, and your heart too—which is always on the ſide of a well-meant action.

RENTAL.

What has driven you to ſuch an act of deſperation?

TRUMORE.

Raſhly quits the country—I am convinced his repugnance to my union with his daughter is the cauſe. He is provident—I am undone—he is beſides in immediate trouble—perhaps going to jail upon informations for killing game—I muſt give him a proof of my reſpect and my friendſhip—as well as of my reſignation.

RENTAL
(aſide).

Generous youth—but I'll let all things go on—if they do not unitedly work upon the old man's heart, it muſt be adamant. Captain, you'll ſee Sir John Contraſt.

TREPAN.

I ſhall atteſt my recruits before him, and this brave fellow at their head.

[Exit Rental.
TRUMORE.

I ſhall be ready, but there is a condition muſt firſt be complied with.

TREPAN.

Name it.

TRUMORE.
[73]

Twenty guineas to make up a ſum for an indiſpenſible obligation—I ſcorn to take it as enliſting money—you ſhall be repaid.

TREPAN.

You ſhall have it—any thing more?

TRUMORE.

Abſence for half an hour—in that time depend upon't I'll meet you at the Caſtle.

[Exit.
Re-enter Serjeant Crimp
(to Trepan).

Here's a fine ſet of country fellows getting round us, a march and a ſong might do well.

TREPAN.
(Aſide)

You are right!

(Aloud)

Come, my lads, we'll give you a taſte of a ſoldier's life. Corporal Snap—give them the ſong our officers uſed to be ſo fond of—it will pleaſe their ſweethearts as well as themſelves—ſtrike up drums.

Corporal SNAP ſings.
Gallant comrades of the blade,
Pay your vows to beauty.
Mars's toils are beſt repaid,
In the arms of beauty.
[74]
With the myrtle mix the vine,
Round the laurel let them twine;
Then to glory, love, and wine
Pay alternate duty.
Chorus.
Gallant comrades, &c.
Scene changes.
Enter Peggy, with an empty cag laughing.

The rogue has drank it every drop; poppy water and cherry brandy together work delightfully—he'll ſleep ſome hours in a charming ditch where I have had him convey'd—pleaſant dreams to you, monſieur La Nippe. What wou'd I give if I cou'd requite your maſter as well.

Enter Serjeant Crimp and Soldiers.
CRIMP.

My life on't the dog's off—the moment Trepan told me of his pelaver—I ſuſpected he was an old hand—with his voluntary ſervice—and his honour—and his half hour.

[Seeing Peggy.

Miſtreſs, did you ſee a young fellow with a ſcarlet cockade in his hat paſs this way?

PEGGY.

Not I, indeed, friend—I was otherways employed.

CRIMP.

Nay, don't be croſs—we are looking for a deſerter—he is deſcribed as a likely young fellow—come, if [75] you can give me intelligence, you ſhall have half the reward for apprehending him.

PEGGY.

Here's another bribe—one may have them, I ſee, for betraying either ſex. And what would you do with him?

CRIMP.

Oh, no harm, as it is the firſt fault. We ſhould put him in the black hole at preſent, juſt to give him the reliſh of bread and water; the party marches at midnight; he'll be handcuffed upon the road; but as ſoon as he gets between decks in a tranſport—he'll be perfectly at liberty again.

PEGGY.

Gad, whoever he is, if I cou'd ſee him, I'd give him a hint of your intended kindneſs.

[looking out.

Hey! who's this coming—the hero of the plot, young Contraſt

(ruminates)

it wou'd be ſpecial vengeance—a bold ſtroke its true—but a public juſtice to woman kind—hang fear—I'll do't—hark ye—Mr. what d'ye call 'em—did you ever ſee the man you are in ſearch of?

CRIMP.

No, but I think I ſhould know him.

PEGGY
(pointing).

That's your mark, I fancy.

CRIMP.

Gad it muſt be ſo—but I don't ſee his cockade.

PEGGY.
[76]

I ſaw him pull it off, and throw it in the ditch as he came over yonder ſtile.

CRIMP.

Ah! an old hand, as I ſuſpected—meet me at the Caſtle, where we ſhall convict him—you ſhall have the reward.

PEGGY.

To be ſure, money does every thing; but have ſome pity upon the young man—you won't treat him worſe than what you told me.

CRIMP.

No, no, get you gone, he'll never know who did his buſineſs.

PEGGY
(archly).

But don't treat him hardly?—

[Exit.
Enter Contraſt yawning—Crimp comes behind and taps him upon the ſhoulder.

Well overtaken brother ſoldier.

CONTRAST.

Friend, I conclude you are of this neighbourhood, by the happy familiarity that diſtinguiſhes it; but at preſent it is miſapplied, you miſtake me for ſome other.

CRIMP.
[77]

Miſtake you—no, no, your legs wou'd diſcover you among a thouſand—I never ſaw a fellow better ſet upon his pins.

CONTRAST
(looking at his legs).

Not ſo much out there.

CRIMP.

But where have you been loitering ſo long? is your knapſack packed? have you taken leave of your ſweetheart?—ſhe muſt not go with you, I can tell you—we are allowed but four women a company for embarkation, and the officers have choſen them all already.

CONTRAST.

Sure there is ſome ſtrange quality in this air—the people are not only impudent—but mad.

CRIMP.

I ſhall find a way to bring you to your ſenſes, ſir; what did you pull the cockade out of your hat for, you dog?

CONTRAST.

What the devil can he mean?

CRIMP.

Why, you raſcal, you won't deny that you are enliſted to embark immediately for the Weſt-Indies? have not you touched twenty guineas for the legs you are ſo proud of? pretty dearly bought.

CONTRAST.
[78]

Now it's plain how well you know me—thy own gunpowder ſcorch me, if I'd lie in a tent two nights to be Captain General of the united Potentates of Europe.

CRIMP.

The dog's inſolence out-does the common—but come, walk on quietly before me.—

[Puſhing him.
CONTRAST.

Walk before you!—

[reſiſting.
CRIMP.

Oh, oh! mutinous too—

[whiſtles.
Enter four or five SOLDIERS.
1ſt SOLDIER.

Here we are, ſerjeant! what are your orders?

CRIMP.

Lay hold of that fellow—he's a deſerter—a thief—and the ſaucieſt dog in the army.—Have you no handcuffs?

[79]Enter Moll Flagon—A ſoldier's coat over her petticoat, a gin bottle by her ſide, and a ſhort pipe in her mouth.
MOLL.

No occaſion for 'em, maſter ſerjeant—don't be too hard upon the young man—brandy be my poiſon but I like the looks of him—hear my heart—take a whiff—

(offers her pipe)

—what, not burn priming! come load then.—

[gives him a glaſs of brandy.
CONTRAST.

It is plain theſe are a ſet of murderers—no help! no relief!

MOLL.

Relief, ſirrah! you're no centry yet. Serjeant, give me charge of him—Moll Flagon never fail'd when ſhe anſwer'd for her man.

CRIMP.

With all my heart, honeſt Moll!—and ſee what you can make of him.—

MOLL.

Never fear, I'll make a ſoldier and a huſband of him—here, firſt of all—let's ſee—what a damn'd hat he has got—here, change with him Jack.—

[Puts a cap upon his head.
CONTRAST.

Why, only hear me—I'm a man of faſhion—

MOLL.
[80]

Ha! ha! ha! I'll faſhion you preſently—

[puts a knapſack upon him.

There, now you look ſomething like—and now let's ſee what caſh you have about you.

CONTRAST.

Very little—but you ſhall have it every farthing if you'll let me go.

MOLL.

Go, you jolly dog—ay, that you ſhall, thro' the world; you and I together—I'll ſtick to you thro' life, my ſon of ſulphur.

Sings.
I.
Come my ſoul
Poſt the cole,
I muſt beg or borrow:
Fill the can,
You're my man;
'Tis all the ſame to-morrow.
II.
Sing and quaff,
Dance and laugh;
A fig for care or ſorrow,
Kiſs and drink,
But never think;
'Tis all the ſame to-morrow.
CONTRAST.
[81]

Oh, I am a man of faſhion.

[Exeunt, thruſting him off.
Enter Sophia and Annette, croſſing the ſtage haſtily—Trumore after them.
TRUMORE.

Stop, Sophia.

SOPHIA.

Trumore, this is the only moment I cou'd refuſe liſtening to you. My father is, for aught I know, going to jail.

TRUMORE.

Comfort yourſelf on his part—I promiſe you his ſafety. I would not leave the county 'till I was certain of it. I now take leave of him—of you—and all that makes life dear.

SOPHIA.

Oh my fears! what means that ribband in your hat?

TRUMORE.

The enſign of honor, when worn upon true principles. A paſſion for our country is the only one that ought to have competition with virtuous love—when they unite in the heart, our actions are inſpiration.

[82]Sings.
I.
From thine eyes imbibing fire,
I a conqueror mean to prove;
Or with brighter fame expire,
For my country and my love:
II.
But ambition's promiſe over,
One from thee I ſtill ſhall crave;
Light the turf my head ſhall cover,
With thy pity on my grave.
SOPHIA.

Trumore, this is too much for me—heaven knows how little I am formed for the reliſh of ambition—theſe heroic notions, how often do they lead to the miſery of ourſelves!—of thoſe we leave!—I claim no merit in my apprehenſions—alas, they are too ſelfiſh.

TRUMORE.

I came to bid farewell in one ſhort word; but the utterance fails me—Annette, ſpeak for me; and when I am gone, comfort your ſiſter.

ANNETTE.

Indeed, Trumore, it will be out of my power—my notes will now be as melancholy as her own—to ſooth her, I muſt ſympathize with her in the alarms of abſence and danger.

[83]Sings.
I.
The ſleepleſs bird from eve to morn
Renews her plaintive ſtrain;
Preſſes her boſom to the thorn,
And courts th' inſpiring pain.
II.
But, ah! how vain the ſkill of ſong,
To wake the vocal air;
With paſſion trembling on the tongue,
And in the heart deſpair!
Enter Rental.

What is here!—a concert of ſorrow? Reſerve your tears, my young miſtreſſes, if your ſmiles will not do the buſineſs better, to work upon the old Baronet in the cauſe of your father—he is going to be called before him—let a parent owe his happineſs to you in the firſt place; and may it be an omen for your lover being as fortunate in the next!

TRUMORE.

Raſhly appearing before the juſtice! I have an intereſt and a buſineſs there before you—I fly to execute it—then, Fortune, grant me one more look of her, and take me afterwards to thy direction!

[Exit.
RENTAL.

The moment is ſtrangely critical to you all. Come on, young ladies, I have a ſtory for you will ſurprize and encourage you.

SOPHIA.
[84]

We are guided by you—but what can we hope from our ſilly tears, oppoſed to the malice of my father's enemies?

RENTAL.

Every thing—you know not half the intereſt you poſſeſs in the judge.

[Exeunt.
Scene laſt. A large Gothic Hall.
Sir John Contraſt, followed by Trepan.
SIR JOHN.

I have atteſted the men, in compliance with your beating order—but no more of your occupation—I'm not for purchaſing human fleſh—give me the man (aye, and the woman too) that engages upon frank love and kindneſs, and ſo to other buſineſs.

Enter Crimp, whiſpers Trepan.
TREPAN.

One word more, your worſhip. The ſerjeant has juſt apprehended a deſerter. I am ſure your worſhip will be glad to have him convicted—he is the worſt of ſwindlers.

SIR JOHN.

How do you make him out a ſwindler?

TREPAN.
[85]

He borrows for ſhew the moſt valuable commodities in the nation, courage and fidelity; and ſo raiſes money upon property of which he does not poſſeſs an atom.

SIR JOHN.

Does he ſo?—then bring him in—I'd rather ſee one thief of the public puniſh'd, than an hundred private ones.

CRIMP.

Here, Moll, produce your priſoners.—

[Lugs in Contraſt.
SIR JOHN.

What, in the name of ſorcery, is this! my ſon in a ſoldier's accoutrements!—I ſhould not have been more ſurprized, if he had been metamorphoſed into a fiſh.

CONTRAST.

I was in a fair way to be food for one—I ſhou'd have been ſhark's meet before I got half way to the Weſt Indies.

SIR JOHN.

Stark mad, by all that's fantaſtical!—Can nobody tell me how he was ſeized?

CONTRAST.

Seized! why, by that ruffian, neck and heels; and for my accoutrements, you muſt aſk this harpy, who aſſiſted at my toilette.

CRIMP.
[86]

A perfect innocent miſtake, as I hope to be pardon'd, your worſhip—I was ſent to ſeek a deſerter—with the beſt legs in England—was it poſſible not to be deceived? but, thanks to Fortune, here's a ſure acquittal—this baggage put him into my hands as the very perſon.

Enter Peggy.
PEGGY.

Only a little retaliation, your worſhip—a wolf was in full chace of an innocent lamb, that, to be ſure, I had fooliſhly helped to expoſe to his paws—a trap offered to my hand, and I muſt own I did ſet it, and the wolf was caught, as you ſee. But, indeed, I was coming to your worſhip, to prevent all further harm. I meant honeſtly, and a little merrily I confeſs—I cannot be one without the other for my life.

CONTRAST.

Plague on you all! this myſtery thickens, inſtead of clearing.

TREPAN.

It is clear, however, my party is out of the ſcrape—and as for the fellow really enliſted—

Enter Trumore.

He is here to fulfill all engagements.

TREPAN.
[87]

Well ſaid, my lad of truth; then my twenty guineas are alive again.

TRUMORE.

You ſhall ſee them employ'd; I wou'd have mortgaged ten lives rather than have wanted them.

[To Sir John.

Mr. Raſhly is charged with informations for killing game to the amount of forty pounds. By aſſiſtance of this gentleman I have made up the ſum. The law is cruel to him; to me it is kind; it enables me to ſhew him the heart he perhaps has doubted.

[Lays down the money.

He is free—and now, Sir, I am your man, and will follow wherever the ſervice of my country leads.

[To Trepan.
RENTAL
(coming forward.)

Brave generous fellow! I foreſaw his intent, and wou'd not have baulked it for a kingdom.

SIR JOHN.

Oh, Rental, I am glad you are come; you find me in a wilderneſs here.

RENTAL.

A moment, Sir, and I'm ſure you'll not miſtake your path.

PEGGY
(opening the rouleau.)

The twiſt is magical, indeed, I think, for I can't undo it—oh, there it is at laſt—

[pours the money upon the table.

[88] Put up your's again, Mr. Trumore—poor fellow! you'll want it in your new life.

CONTRAST.

One of my rouleaus! I have been robbed, I ſee, as well as kidnapped.

SIR JOHN.

Huſſy! how came you by all that money?

PEGGY.

Perfectly honeſtly—I ſold my miſtreſs and myſelf for it—it is not neceſſary to deliver the goods, for his honour is provided with a miſtreſs;

[Pointing to Moll.

and my lover is about as well off.—Come, Sir, never look ſo croſs after your money—what fine gentleman wou'd grudge to let an honeſt man out of jail, when he can buy his daughter's modeſty into the bargain?

SIR JOHN.

Rental, do you ſee into this?

RENTAL.

Clearly, Sir, and it muſt end with reconciling you to your ſon.

SIR JOHN.

How! reconcile me to bribery and debauchery!—never—if the dog cou'd ſucceed with a girl by his face, or his tongue, or his legs, or any thing that nature has given him, why there's a ſort of fair play that might palliate—but there is an unmanlineſs in [89] vice without paſſion—death! inſipidity is converted into infamy—but where is this Raſhly and his girls?

Enter Raſhly—between his daughters—they throw themſelves at Sir John's feet—a long pauſe.
SIR JOHN
(in the greateſt ſurprize).

This Raſhly! this the father of theſe girls! and do not his features deceive me?—who is it I ſee?

RENTAL.

The ſon I mean to reconcile—who offended upon principles the moſt oppoſite to thoſe you juſt now condemned—the children of his offence—and thanks only to the inheritance of his virtues, that they are not become the puniſhment of his poverty.

CONTRAST.

My elder brother come to light!

SIR JOHN.

Riſe till I am ſure I am awake—this is the confuſion of a delirium.

RENTAL
(to Raſhly).

Why do not you ſpeak, Sir?

RASHLY.

What form of words will become me? to ſay I repent, would be an injury to the dead and living. I have erred, but I have been happy—one duty I can plead; reſignation to your will—ſo may I thrive in [90] the deciſion of this anxious moment as I never taxed your juſtice.

SIR JOHN
(after a pauſe).

Rental, do you expect I ſhall ever retract?

RENTAL.

No, Sir, for I was witneſs to the ſolemnity of your vow, that you would protect the father of your little clients againſt all his enemies—right or wrong, they ſhould yield.

SIR JOHN.

Yes, but I little thought how very ſtubborn an old fellow I ſhould have to deal with.

RENTAL.

Come forward, clients.

SOPHIA.

I am overcome with dread.

SIR JOHN.

Come, I'll make ſhort work of it as uſual—ſo hear all—my decree is made.

RENTAL.

Now juſtice and nature!

SOPHIA.

Memory and tenderneſs!

CONTRAST
[91]
(aſide.)

Caprice and paſſion!

SIR JOHN.

Deciſion and conſiſtency!—I diſcarded one ſon for a marriage—I have brought up a ſecond—not to marry—but to attempt to debauch his own niece—I'll try what ſort of vexation the other ſex will produce—ſo liſten, girls—take poſſeſſion of this caſtle—it is yours—nay, I only keep my word—you remember how I promiſed to treat the old obſtinate your father was afraid of. This is the houſe of ſelf-correction, and I give you the key.

SOPHIA and ANNETTE
(kneeling).

Gratitude—love and joy—

SIR JOHN.

Up, ye little charmers—your looks have aſked me bleſſing this hour.

RENTAL.

And now for Trumore to compleat the happineſs. Sir John permit me your ear apart.

[takes him aſide.
CONTRAST.

So! the confuſion of chances ſeems winding up to a miracle, and quite in my favour—the run of theſe laſt twelve hours exceeds all calculation, ſtrike me pennyleſs—where is that dog La Nippe?

Enter La Nippe covered with mud.
LA NIPPE.

Here he is in a pleaſant plight—

CONTRAST.

Whence, in the devil's name, comeſt thou?

LA NIPPE.
[92]

From the bottom of a black ditch—how I got there I know no more than the man in the moon—I waked and found myſelf half ſmother'd in dirt, lying like King Log in the fable, with a congreſs of frogs on my back.

PEGGY.

My dear, I hope you are ſatisfied with your bargain, I did my beſt "to ſettle your buſineſs compleatly."

LA NIPPE.

Oh! thou witch of Endor.

[Peg and La Nippe continue to act in dumb ſhew.
SIR JOHN.

Another plot upon me, Rental—but does the young fellow ſay nothing himſelf for his pretenſions.

TRUMORE.

I have none, Sir—they aſpired too high when directed to Sophy Raſhly; they muſt ceaſe for ever when I think of Miſs Contraſt.

SIR JOHN.

Now, for the blood of me, I can't ſee that diſtinction. Can you, Contraſt?

[to Raſhly.
RASHLY.

So far from it, Sir, that I think the purity of his attachment to the poor farmer's daughter, is the beſt recommendation to the fortune of the heireſs.

SIR JOHN.
[93]

I confirm the decree—it is exactly my old way—I have not been apt to retract an action, but no man more ready to correct it by doing the reverſe another time. I am now convinced mutual affection makes the only true equality in marriage; and in my preſent humour (I don't know how long 'twill laſt) I wiſh there was not a wedding in the nation formed upon any other intereſt—what ſay you, man of faſhion?

[to young Contraſt.
RASHLY.

Dear Sir, don't treat my brother's foibles too ſeverely. His zeal, to be eminent, only wants a right turn.

SIR JOHN.

Let him find that turn, and he knows I have where-withal to keep him from the inconvenience of a younger brother, though he loſes Caſtle Manor.

CONTRAST.

I reſign it, and all its appendages. And with all my faults, my brother ſhall find I am neither envious nor mercenary.

[To La Nippe.]

Horſes for town inſtantly; there is my true ſphere—and if ever I am caught in a rural intrigue again, may I be tied to an old ram, like my pointers for ſheep-biting, and but [...]ed into a conſiſtence with the clay of this damned foreſt.

[Exit, La Nippe following.
SIR JOHN.

And now to return to my recruit—I promiſed he ſhould be atteſted to-night—and ſo he ſhall—to his [94] bride—if afterwards his country demands his aſſiſtance—get him a commiſſion, Sophy, and pray for a ſhort end to the war—a prayer in which every good ſubject in the nation will join you.

TRUMORE.

Sir, you have given me a poſſeſſion that makes all other treaſures poor. Witneſs love and truth, how much I deſpiſe the temptation of ambition, when weighed againſt one hour of Sophia's ſociety. But theſe are times when ſervice to the public is a tribute that juſtice and virtue indiſcriminately impoſe upon private happineſs. And the man who refuſes upon their call, a ſacrifice to the exigency of his country, ill deſerves to be a ſharer in her proſperity.

RENTAL.

Sir, the tenants from the wake, in eagerneſs of honeſt joy, preſs to be admitted.

SIR JOHN.

Throw open the doors.

RENTAL.

I hope you will not ſee a countenance that does not expreſs an intereſt in the events of Caſtle Manor.

Scene draws to an enlargement of the hall.
Enter Tenants, &c.
FINALE.
RASHLY.
Partners of my toils and pleaſures,
To this happy ſpot repair;
See how juſtly Fortune meaſures,
Favours to the true and fair:
[95]
With choruſſes gay,
Proclaim holiday
In praiſe of the Lord of the Manor;
And happy the ſong,
If it trains old and young
In the leſſons of Caſtle Manor.
SOPHIA.
When a mutual inclination
Once a glowing ſpark betrays;
Try with tender emulation
Which ſhall firſt excite the blaze:
I plighted my troth
To a generous youth,
I found him at Caſtle Manor.
To one only be kind,
And leave faſhion behind,
'Tis the leſſon of Caſtle Manor.
TRUMORE.
Gallants, learn from Trumore's ſtory,
To aſſociate in the breaſt
Truth and honour, love and glory,
And to fortune leave the reſt.
My ambition was fame;
From beauty it came,
From beauty at Caſtle Manor.
'Tis an honour to arms
To be led by its charms,
Like the ſoldier of Caſtle Manor.
PEGGY.
[96]
Briſk and free, but true to duty,
Sure I've play'd an honeſt part;
Would you purchaſe love and beauty,
Be the prize a faithful heart:
Should a knave full of gold
Think Peg's to be ſold,
Let him meet me at Caſtle Manor;
A bed in the mire
To cool bis deſire,
Is the leſſon of Caſtle Manor.
ANNETTE.
Tho' I trip in my expreſſion,
Critics, lend a patient ear—
If coquetting be tranſgreſſion—
Siſterhood, be not ſevere.
To love while we live
And all faults to forgive,
Is the leſſon of Caſtle Manor:
Be friends to our cauſe
And make your applauſe,
A new bleſſing at Caſtle Manor.
FINIS.
Notes
*
See Mr. Addiſon upon this ſubject, Spectator No. 29, and others of his papers upon the Opera.
*
Filer le Sentiment.
Distributed by the University of Oxford under a Creative Commons Attribution-ShareAlike 3.0 Unported License

Citation Suggestion for this Object
TextGrid Repository (2020). TEI. 4066 The lord of the manor a comic opera as it is performed at the Theatre Royal Drury Lane with a preface by the author. University of Oxford Text Archive. . https://hdl.handle.net/21.T11991/0000-001A-61DF-C