Produced by Barbara Tozier, Bill Tozier, Josephine Paolucci
and the Online Distributed Proofreading Team at
https://www.pgdp.net.
THE MIRROR OF TASTE,
AND
DRAMATIC CENSOR.
Vol. I. JUNE, 1810. No. 6.
HISTORY OF THE STAGE.
CHAPTER VI.
THE ROMAN DRAMA.
In proportion as the Romans yielded to the habit of imitating the
Greeks, they advanced into refinement, and receded from their
characteristic roughness and ferocity. Their pace, however, was very
slow, for imagining rudeness and brutality to be synonimous with
independence, they indulged and prided themselves in an adherence to
their original coarseness and despised the manners of the Grecians, as
the latter did those of the Persians, for their extreme refinement and
effeminacy. Of the drama there is not to be found a trace on the records
of Rome till more than three hundred and fifty years after the building
of the city. The people had revels and brutal debauches at which rude
compositions filled with raillery and gross invective were sung,
accompanied with indecent action and lascivous gestures. But the
raillery they used was so personal and calumnious that riots constantly
ensued from the resentment of the injured parties, in consequence of
which the senate passed a law, in the three hundred and second year of
the city, condemning to death any person who should injure the
reputation of his neighbour.
It was a full century after that law when, on occasion of great public
calamity, they, in order to appease the divine wrath instituted feasts
in honour of the gods, and those feasts for the first time exhibited a
sort of irregular theatrical performances, composed wholly of imitation.
The actors in those may in all probability be placed on a level with
those called Mummers in Great Britain, and Livy describes them as
Balladines who travelled to Rome from Tuscany. Though their merit could
not have been great, they were very much applauded. Applause produced
improvement, and they soon formed themselves into companies called
histrioni, who performed regular pieces called satires. These, which
were at best entitled to no higher rank than bad farces, kept exclusive
possession of the public regards for a hundred and twenty years.
It was at the end of that period, and about two hundred and forty years
before the Christian aera that the first play performed after the manner
of the Greeks, was brought forward in Rome, by Livius Andronicus, the
earliest of the Roman dramatic poets. He turned the personal Satires and
Fescenine verses so long the admiration of the Romans, into regular form
and dialogue, and though the character of a player, so long valued and
applauded in Greece, was reckoned vile and despicable among the Romans,
Andronicus himself acted a part in his dramatic compositions. At the
time of Cicero the works of this poet were obsolete; yet some passages
of them are preserved in the _Corpus Poetarum_.
It is related of Livius Andronicus that he at first formed and sung his
pieces in the manner of his predecessors, despairing of being able to
accomplish any improvement in the Roman theatre, but that one day being
surrounded by the multitude and excessively fatigued, he called a slave
to relieve him while he recovered his breath. Displeased with the
bungling manner in which the slave performed this new task, Livius
rebuked him very severely, the slave justified, the master replied, and
a dialogue ensued which the spectators imagining to be a part of the
plan of the piece, greatly applauded. The drama at once broke upon their
view in a new and superior aspect--they perceived that it was in
familiar colloquial communications, such as men use in real life, that
human affairs and the hearts of men could be justly imitated, and
Andronicus taking advantage of this singular and felicitous incident,
composed and represented regular dramas in dialogue.
To Livius Andronicus is due the praise of having first refined the Roman
taste in dramatic poetry, as Ennius had but a short time before done in
Epic, by introducing the Greek model, as the standard of literature.
Both were, according to Suetonius, half Greeks, and were masters of both
languages. The taste for tragedy, however, held its ground but for a
short time; for the Romans, as fickle as ferocious, soon grew weary of
it, and were falling back into their barbarous enjoyment of gladiators
and cruel spectacles, when the poet Pacuvius arose, and restored tragedy
as far as it could be restored among such a people. He was a nephew of
Ennius, and, by descent, tinctured with the Grecian manner. Pacuvius was
not only a poet of considerable merit, but a painter also, whose
productions were greatly admired; particularly his decorations of a
temple of Hercules, which Pliny has mentioned with lavish praise.
To Pacuvius succeeded his disciple ACCIUS, whose first drama appeared in
the very same year that Pacuvius produced his last. By the advice of his
master he chiefly adhered to the subjects which had before made the
business of the dramatists of Athens, translated several of the
tragedies of Sophocles into the Latin language, and wrote a vast number
of pieces, some of which were comedies. Thus he gained a considerable
share, and in fact reaped the harvest of which Andronicus and Pacuvius
had sown the seed. Thus it often happens in life that the fruits of one
man's virtues, genius, and industry are devoured by a successor.[A]
Yet Accius was unquestionably a lofty and excellent poet, though his
style was censured for harshness. Being told of this fault by Pacuvius,
he replied "I have no cause to be ashamed of it: I shall hereafter write
the better for it. It is with genius as with fruit, that which is sour,
grows sweet as it ripens, while that which is early mellow rots before
it ripens."
No man was held in higher respect than Accius. He received the greatest
marks of honour at Rome. A high magistrate severely reprimanded a man
for uttering the name of Accius without reverence; and an actor was
punished for mentioning his name on the stage. His exalted opinion of
his own dignity may be inferred from the following anecdote respecting
him, transmitted to posterity by Valerius Maximus. Once when Julius
Caesar entered an assembly of poets, Accius alone abstained from rising
to do him homage. He respected Caesar as much as any of them, but he
thought that in an assembly of the learned, the superiority lay on the
part of the poets, and the grandeur of the greatest conqueror was
diminished before the lustre of the best writer.[B]
As the writings of Livius Andronicus, Pacuvius and Accius constitute the
first epoch in the Roman drama, they are generally spoken of together,
and the best critics of antiquity mention them with high commendation
and respect. Of the first, much less is known than of the other two. He
is nowhere, that we know of, spoken of directly, but often collaterally.
He is sometimes coupled with Ennius--the praise of invention is
generally allowed him, and his name is brought forward by Horace rather
for the purpose of marking an aera than of giving an opinion of his
talents.
Ambigitur quoties uter utro fit prior; aufert
Pacuvius docti famam senis, Actius alti:
Dicitur Alfrani toga convenisse Menandro;
Plautus ad exemplar siculi properare Epicharmi,
Vincere Coecilius gravitate, Terentius arte
Hos ediscit, et hos areto stipata theatro
Spectat Roma potens: habet nos numeratque poetas
Ad nostrum tempus, LIVI scriptoris ab aevo.[C]
From which lines it appears that in the time of Horace learning was
considered to be the characteristic feature of Pacuvius and loftiness of
thought that of Accius; and Quintilian speaks of both in the following
terms. "Those splendid writers combined sublimity of conception with
vigorous style in their tragedies; and on the whole if they have not
diffused through their compositions more gracefulness, it was not their
fault, but the fault of the age they lived in."
Unquestionably the first dramatic poets of Rome laboured under great
disadvantages. They had not only to form a drama, but to mould to a
taste for the reception of it a barbarous people, whose softest and most
luxurious enjoyments partook of that ferocity which rendered that race
terrible in the eyes of the world, but to the philosophic mind not
truly great--never, in the slightest measure, amiable or estimable.
Nature, moreover, had been ransacked by the Greek poets, so that nothing
but imitation was left for the Romans, who in letters, science, or arts,
and particularly in the drama, attained no excellence but in proportion
as they copied their Grecian predecessors. Even their copies are allowed
by their own best authors to be wretched productions when compared with
the works of the great originals.[D] Compared with Menander Terence was
frigid and unaffecting, in sublimity even Accius was incomparably
inferior to Eschylus, Pacuvius in philosophic knowledge to Euripides,
and the whole body of the tragic writers of Rome, including Seneca, sink
when put in competition with Sophocles.
A poet of the name of Seneca wrote some tragedies--but it yet remains,
and in all likelihood will ever remain, undecided whether it was Lucius
Annoeus Seneca, the same who distinguished himself as a philosopher,
and whose admirable moral sentiments have been given to the world in an
English dress and arrangement, by Sir Roger Lestrange. There have not
been wanting critics of considerable eminence to maintain that the name
of Seneca was assumed in order to conceal that of the real author.
Quintilian ascribes to him the tragedy of Medea. The Troas and the
Hippolytus are also said to be of his composition, while the
_Agamemnon_, the _Hercules Fureus_, and the _Thyestes_ and _Hercules in
Oeta_, are supposed to have been written by his father _Marcus_
Annoeus Seneca, the declaimer. Be the author of them who he may, there
can be but one opinion on the merit of the compositions. The style is
nervous and replete with beauties, but, according to the corrupted taste
of the time in which they were written, abounds too much with ornament,
is often turgid and inflated. Those tragedies, however, contain much
good morality, conveyed in brilliant sentences and illustrated by lofty
and glowing imagery.
As it became the fashion of every writer of eminence, as well as every
pretender to letters, among the Romans to dabble with the drama, there
were a multitude of tragic poets whose names were soon forgotten, and
many whose names alone are incidentally mentioned while their works
shared the fate of their bodies, and were buried in their graves.
_Gracelius_ wrote a tragedy called _Thyestus; Catullus_ one intitled
_Alemeon; Caesar Adrastus; Augustus Ajax; Maecenas Octavio_; and _Ovid
Medea_. _Marcus Attilius_ translated the Electra of Sophocles into Latin
verse, and wrote some comedies also, but in language so barbarous and
unintelligible that it procured him the name of _Ferreus_, or the iron
poet. A poet of the name of Publius Pontonius, a relative and bosom
friend of Pliny, wrote tragedies which were greatly admired by the
emperor Claudius: and he was of so bold and independent a temper, that
when ordered by the emperor to strike certain passages out of one of his
plays, he peremptorily refused, and said he would appeal to the people.
This man was a great soldier as well as a poet, and once had the honour
of a triumph.
There were many others--Diodorus an Alexandrian of whom Strabo speaks
handsomely, and Sulpitius whose eloquence Cicero has praised, calling
him the tragic orator. All those had their day of celebrity, as our
Lewises, Reynoldses, &c. &c. have now, but their productions have long
since been buried in oblivion, and there is reason to believe that the
world has greater cause to rejoice at, than regret their loss.
FOOTNOTES:
[A] The writer of this remembers to have had a curious illustration of
this several years ago from Dr. Colley Lucas, then surgeon general for
the East India company's establishment at Madras. Lucas was the son of
the celebrated Irish patriot, Doctor Charles Lucas. When the parliament
voted Mr. Grattan L50,000 for doing what had been done before to his
hand by Lucas and Flood, Colley speaking of it said, with some
bitterness, "Ay, my father laid the egg--Flood hatched it, but Grattan
has run away with the chicken."
[B] This reminds us of Doctor Johnson's proud observation on Lord
Chesterfield, "his lordship may be a wit among peers, but he is only a
peer among wits."
[C] Thus translated by Francis,
Whate'er disputes of ancient poets rise, In some one excellence their
merit lies; What depth of learning old Pacuvius shows! With strong
sublime the page of Accius glows; Menander's comic robe Afranius wears,
Plautus as rapid in his plots appears, As Epicharmus; Terence charms
with art And grave Coecilius sinks into the heart. These are the plays
to which our people crowd, 'Till the throng'd playhouse crack with the
dull load. These are esteemed the glories of the stage From the first
drama to the present age.
[D] See last number page 351, 352.
BIOGRAPHY.
ACCOUNT OF LE KAIN.
_The celebrated French Actor._
Henry Louis Le Kain, born at Paris in 1729, of parents employed in the
trade of a goldsmith, was himself designed for that business, after
having received a careful education. He excelled, from his earliest
youth, in the manufacture of chirurgical instruments, and was already
known as a skilful artist in that way, when his inclination for the
stage caused him to neglect his profession, in order to declaim tragedy.
He sought for an opportunity of playing in public: he had the good
fortune to be introduced to M. de Voltaire, who had at that time, in the
street of _Traversiere_, a small theatre, where this great man loved to
make a trial of the pieces he had newly composed. The celebrated tragic
poet soon discovered in Le Kain the actor who seemed formed to feel and
express the sublime beauties of his performances. He gave him frequent
lessons; he made him give up every pursuit except that of the theatre,
and lodged him in his own house. Le Kain played successively the parts
of _Leide_ and _Mahomet_; and astonished and delighted his master by his
forcible manner of playing. He transported him by pronouncing these
words in the fifth act of Mahomet--"Il est donc des remords!"--Voltaire
could not contain his admiration, and the actor has acknowledged that he
never felt a more lively and profound sensation than he did at that
moment. To be brief he made his appearance on the French stage, in the
part of _Titus_, in the tragedy of _Brutus_, and that of _Leide_, in
_Mahomet_.
Nature had given to Le Kain a disadvantageous countenance, a thick and
rough voice, a short figure, and, indeed, appeared to oppose almost
insurmountable obstacles to his success: but art developed the feelings
concentered on his heart, animated his whole person, suggested to him
the most graceful attitudes, strengthened his voice, and impressed in
every motion of his body the grand character of passion. Indeed, in the
parts of _Orosmanes_, _Tancred_, _Mahomet_, _Gengiskan_, _Bayard_, &c.
he appeared superior even to nature, and every object was eclipsed
around him. He fixed the attention and interest of every spectator.
Nevertheless, Le Kain had not only to conquer nature, but also the
efforts of envy, the intrigues of the green-room, and of the fashionable
world, and the precipitate opinions of bad judges. The _parterre_ alone
constantly admired and applauded him. His debut continued seventeen
months, and every body anticipated his disgrace, when he was appointed
to play before the court the part of _Orosmanes_. Even Louis XV, had
been prejudiced against him. But that king, who possessed judgment,
intelligence, and a natural taste that nothing could pervert, appeared
astonished that any person should have formed so ill an opinion of the
new actor, and said--_"Il m'a fait pleurer, mot qui ne pleure
guere."_--_He has drawn tears from me, 'albeit unused to the melting
mood.'_ This expression was sufficient. He could not do otherwise than
admit him into his company. The French theatre possessed at that time,
in tragedy, Dumesnil, Gaussin, Clairon, Sarrasin, Lanoue, &c. and this
combination of eminent talents gave to the stage a degree of perfection
and eclat, which will hardly ever be seen again. It served to form the
style of Le Kain, and to unite in this actor all the perfections of
which he was then a witness, and of which he afterwards became the
preserver and the model. It is well known that Le Kain and Mad. Clairon
cast off the ridiculous dresses of the old actors, and consulted the
costume of their characters, and that they were the first who
established it on the French stage. Le Kain himself designed dresses
suitable to his parts: he spared nothing to render them as brilliant as
he judged necessary, at a time when these decorations were very
indifferent. He paid equal attention to all the _minutiae_ of the
performance. He made himself master of the scene, and at one view
commanded every surrounding object. He was well versed in history,
letters, and every species of knowledge connected with his art. He was
passionately fond of poetry, and nobody knew how to recite verses better
than himself. Le Kain carried into company much of simplicity, a deal of
information independent of his professional knowledge, good sense, wit,
and sometimes gayety, although his character, in general, was inclined
to melancholy, in consequence of being so constantly employed in
conceiving and expressing the higher passions. It were vain to attempt
to analyse his talents;--they who have seen him play can alone form any
just idea of them. He was not an actor; he was the very person he
represented. He finished his theatrical career with the part of
_Vendome_, in _Adelaide Duguesclin_, eight days before his death. Just
before he went on the stage, he said, he felt an ardor that he had never
felt before, and that he hoped to play his character very well. In fact,
he appeared to surpass himself; he astonished and charmed the whole
audience, and he could not refrain from an indulgence upon this occasion
which he seldom allowed himself. He appeared to give out the play, and
received the loudest applause from all parts of the theatre, which was
continued long after he had quitted the stage.
This fine actor, it is said, from an imprudent exposure of his health,
was seized with an inflammatory fever, which in four days brought him to
his grave. He met the approaches of death without alarm, and surrounded
by his friends, resigned himself cheerfully to his fate. He died on the
8th of February, 1778.
The manner in which Le Kain made his way to distinction, on the French
stage, is very remarkable, and it proves that a performer may sometimes
be a better judge of his own abilities than the manager; but how few
actors are there that possess the talents of Le Kain, and how numerous
are those who _think themselves_ equal to the most arduous and
conspicuous characters in the drama.
When Le Kain first appeared on the French stage, Grandval played the
principal tragic characters. He did not perceive the talent of Le Kain;
he saw only the natural defects of this sublime actor, and knew not how
to appreciate the sensibility and intelligence which so amply atoned for
them.
Le Kain, nevertheless, vegetated, for more than sixteen months in the
rank of a pensioner. At length, disgusted with his situation, the
impetuous Le Kain went in search of the haughty Grandval, and, without
being intimidated at the uncivil reception he met with, said to him--"I
come, sir, to request that you will let me play _Orosmanes_ before the
king." "You, Sir," said Grandval; "_Orosmanes!_ before the
court!--Surely you are not serious--do you mean to ruin yourself at
once?"--"I have weighed every thing, Sir," replied the young tragedian;
"I know the risk I run. It is time in short, that my fate were
decided."--"Very well, Sir," said Grandval, "I consent to your playing
the part; but if the result should turn out contrary to your wishes,
remember that it is entirely your own act." Le Kain withdrew, and
hastened to study, with the attention due to the important task he had
undertaken, the character he was about to perform.
The day arrived--the new actor appeared on the stage. His figure and
height excited at first some surprise, and even the women, accustomed to
the grace and handsome person of Grandval, suffered a slight murmur, of
disappointment to escape them. Le Kain had forseen this; he was not
astonished at it; but the little vexation he felt at it gave him
additional energy, and the success he experienced in the first act
prepared the way only to his triumph in those which succeeded. In
proportion as the interest of the scene advanced, his soul expanded
itself over and beamed through his features; and soon the eyes of every
spectator, dimmed with the tears that overflowed them, could no longer
distinguish whether the actor was beautiful or ugly, and he left nothing
upon the minds of the audience but the most powerful impression of the
feelings which had animated him through his whole performance.
After the representation, the first gentleman of the chamber asked his
majesty what he thought of him. The king made the reply which we have
quoted above.
This reception, so novel in its nature, astonished his brother
performers; but they were obliged to yield to his superiority, and
Grandval, who acknowledged his error, no longer delayed to put Le Kain
in possession of the first characters in tragedy.
Le Kain published shortly after his success, the following particulars
of his first connexion with M. de Voltaire, to which he prefixed this
expressive motto from the play of Oedipus.
"L'amite d'un grand homme est un bienfait des Dieux."
"May I not be permitted to boast of a title which at once fixed my
condition, my fortune, and the happiness of my life? The brief account I
am about to give, will justify the motto I have chosen, which may, at
the first view, have the appearance of too much vanity.
"The peace of 1748 reviving amusements of every kind in the city of
Paris, gave birth at the same time to the institution of several
societies of citizens, who assembled together to enjoy the pleasure of
acting plays.
"The first was established at the hotel de _Soyecourt_, St. Honore; the
second at the hotel de _Clermont-Tonnerre_, Marais; and the third at the
hotel de _Jabac_, in the street of St. Mery. Of this last theatre I was
the founder.
"Of all the young people who acquired celebrity upon these stages, and
some of whom are settled in the provincial theatres, I am the only one
who have obtained a situation in Paris; and for this favour I am
indebted more to my good stars, than to my poor talents. The
circumstances which led to it are these.
"The proprietor of the hotel de Jabac, being obliged to make some
repairs on the inside of the hall which we occupied, laid us under the
necessity of requesting permission from the comedians of
Clermont-Tonnerre, to play alternately with them upon their stage. It
was stipulated between us, in the month of July 1749, that we should pay
a moiety of the expenses; and accordingly we made our debut there with
_Sidney_ and _Georges Dandin_.
"It may be easily conceived, that the competition of these two societies
excited much difference of opinion in the public, the result of which
could not be favourable to one company, without diminishing the credit
with which the other had till then performed. Some divided in our
favour, and some in favour of our rivals. 'These ladies,' observed one
party, 'are prettier than the other.'--'Ah!' replied their neighbours,
'but then the latter have better knowledge of the stage, more grace and
vivacity, &c. &c.'
"In this manner the public amused themselves, and selected their
favourites either from Messrs. de _Tonnerre_, or Messrs. de _Jabac_. But
who could imagine that a society of young people, who attended to
decorum in the midst of their amusements, would have excited the
jealousy and complaint of the great disciples of Melpomene.
"Through their interference we were obliged to shut up our theatre. A
Jansenist priest, however, procured its re-establishment. M. l'Abbe
Chauvelin of the parliament of Paris, condescended to interest himself
for the _pupils_, in opposition to their _masters_, and got us to play
_Le Mauvais Riche_, a five act comedy in verse, by M. d'Arnaud. The
piece did not possess much merit in the opinion of the most brilliant
assembly that was at that time to be met with in all Paris. This was in
the month of February 1750.
"M. de Voltaire was invited by the author to attend the representation:
and whether it was to gratify M. d'Arnaud, or through pure kindness to
the actors, who exerted themselves to the utmost to give effect to a
very feeble and uninteresting drama, that great man appeared tolerably
satisfied, and anxiously inquired the name of the person who had
performed the part of the lover. He received for answer, that he was the
son of a goldsmith at Paris, who played at present for his amusement,
but who had a serious intention of making the stage his profession. He
expressed to M. d'Arnaud a desire to be acquainted with me, and begged
that he would prevail upon me to go and see him the next day but one.
"The pleasure that this invitation afforded, was greater even than my
surprise at receiving it. But I have never been able to describe what
passed in my mind at the sight of this man, whose eyes sparkled with
fire, genius, and imagination. When I spoke to him, I felt myself
penetrated with respect, enthusiasm, admiration, and fear. I was almost
overpowered by these several sensations, when M. de Voltaire had the
goodness to put an end to my embarrassment, by opening his paternal
arms, and _thanking God for having created a being who had moved and
affected him in the recitation of such wretched verses_. He afterwards
put several questions to me respecting my own condition, and that of my
father; the manner in which I had been educated, and my future prospects
in life. Having satisfied him in all these particulars, and taken my
share of a dozen cups of chocolate mixed with coffee[E], I told him,
boldly, that I knew no other happiness on earth than that of acting
plays; that a severe and afflicting event having left me master of my
actions, and enjoying a small patrimony of 750 livres a year, I had
reason to hope, that by abandoning my father's business, I should lose
nothing by the change, if I might hope one day to be admitted into the
king's company of comedians.
"'Ah, my friend!' cried M. de Voltaire, 'never form this resolution. Be
ruled by me; play comedy for your amusement, but never make it your
profession. It is the finest, the most rare and difficult talent that
can be; but it is disgraced by blockheads, and proscribed by hypocrites.
At some future day France will esteem your art, but then there will be
no more Barons, Lecouvreurs, nor Dangevilles. If you will renounce your
project, I will lend you 10,000 francs to form your establishment, and
you shall repay me when you can. Go, my friend, return to me towards
the end of the week, reflect maturely upon my advice and proposal, and
give me a positive answer.'
"Stunned, confused, and moved even to tears at the goodness and
generosity of this great man, who had been called avaricious, severe and
pitiless, I wished to pour forth my gratitude. I attempted to speak no
less than four times, but was unable to articulate my thanks. I was
about to retire, when he called me back, and requested that I would
recite to him a few passages from the characters that I had already
played.
"Scarcely knowing what I was about, I unfortunately proposed to declaim
the great speech from _Gustavus_, in the second act--'No Piron! no
Piron!' he cried out, in a thundering and terrific voice, 'I do not love
bad verse; let me have all you know from Racine.'
"I luckily recollected, that when I was at the _College Mazarin_, I had
learnt the entire tragedy of Athaliah, from having heard it often
repeated by the scholars who were about to play it.
"I began, therefore, the first scene, speaking alternately the parts of
Abner and Joad; but I had hardly finished, before M. de Voltaire
exclaimed, with the highest enthusiasm--'Ah! my God! what exquisite
verses! and how very astonishing it is that the whole play should be
written with the same spirit, and the same purity, from the first scene
to the last. The poetry is inimitable. Adieu, my child!' he continued,
embracing me, 'I predict that you will possess a most heart-rending
voice [_la voice dechirante_]; that you will one day be the delight of
all Paris; but for God's sake never appear upon any public stage.'
"This is a faithful account of my first interview with M. de Voltaire:
the second was more determinative, since he consented, after the most
earnest solicitations on my part, to receive me as his pensioner, and to
cause a small theatre to be erected near his dwelling, where he had the
kindness to let me play in company with his nieces, and the whole
society to which I belonged. He expressed great dissatisfaction at
learning that it had hitherto cost us a good deal of money to afford the
public and our friends amusement.
"The expense to which this establishment put M. de Voltaire, and the
disinterested offer that he had made me a few days before, proved to me,
in the strongest manner, that his conduct was as generous and noble as
his enemies were unjust, in attributing to him the vice of avarice.
"These are facts of which I have been the witness. I owe yet another
acknowledgment to truth. M. de Voltaire not only assisted me with his
advice, for more than six months that I lived with him, but he also
defrayed all my expenses during the same period; and since my admission
into the theatre, I can prove that I have received from his liberality
more than 2000 crowns. He calls me at this moment his _great actor_, his
_Garrick_, his _dear son_. These are titles that I owe entirely to his
kindness. I only presume to call myself his respectful pupil, who feels
every sentiment of gratitude for his disinterested acts of friendship.
"Ought I not so to feel, when it is to M. de Voltaire alone that I am
indebted for my first knowledge of the art I profess, and from respect
to him, that M. the Duc d'Aumont, granted the order for my debut in the
month of February, 1750?
"By constant perseverance upon every occasion I have now, in the month
of February, 1752, after a debut of seventeen months, surmounted all the
obstacles raised against me both by the city and the court, and procured
myself to be inserted on the list of King's comedians."
FOOTNOTES:
[E] This was M. de Voltaire's only nourishment, from five in the morning
till three in the afternoon.
LIFE OF WILLIAM GIFFORD, ESQ. AUTHOR OF THE BAEVIAD AND MAEVIAD, AND
TRANSLATOR OF JUVENAL.
(_Continued from page 367._)
The repetitions of which I speak were always attended with applause, and
sometimes with favours more substantial: little collections were now and
then made, and I have received sixpence in an evening. To one who had
long lived in the absolute want of money, such a resource seemed like a
Peruvian mine. I furnished myself by degrees with paper, &c. and what
was of more importance, with books of geometry, and of the higher
branches of algebra, which I cautiously concealed. Poetry, even at this
time, was no amusement of mine: it was subservient to other purposes;
and I only had recourse to it, when I wanted money for my mathematical
pursuits.
But the clouds were gathering fast. My master's anger was raised to a
terrible pitch by my indifference to his concerns, and still more by the
reports which were brought to him of my presumptuous attempts at
versification. I was required to give up my papers, and when I refused,
my garret was searched, my little hoard of books discovered, and
removed, and all future repetitions prohibited in the strictest manner.
This was a very severe stroke, and I felt it most sensibly; it was
followed by another severer still; a stroke which crushed the hopes I
had so long and so fondly cherished, and resigned me at once to despair.
Mr. Hugh Smerdon, on whose succession I had calculated, died, and was
succeeded by a person not much older than myself, and certainly not so
well qualified for the situation.
I look back to that part of my life, which immediately followed this
event, with little satisfaction; it was a period of gloom, and savage
unsociability: by degrees I sunk into a kind of corporeal torpor; or, if
roused into activity by the spirit of youth, wasted the exertion in
splenetic and vexatious tricks, which alienated the few acquaintances
compassion had yet left. So I crept on in silent discontent; unfriended
and unpitied; indignant at the present, careless of the future, an
object at once of apprehension and dislike.
From this state of abjectness I was raised by a young woman of my own
class. She was a neighbour; and whenever I took my solitary walk with my
Wolfius, in my pocket, she usually came to the door, and by a smile or a
short question put in the friendliest manner, endeavoured to solicit my
attention. My heart had been long shut to kindness, but the sentiment
was not dead in me: it revived at the first encouraging word: and the
gratitude I felt for it, was the first pleasing sensation I had ventured
to entertain for many dreary months.
Together with gratitude, hope, and other passions still more enlivening,
took place of that uncomfortable gloominess which so lately possessed
me: I returned to my companions, and by every winning art in my power,
strove to make them forget my former repulsive ways. In this I was not
unsuccessful; I recovered their good will, and by degrees grew to be
somewhat of a favourite.
My master still murmured; for the business of the shop went on no better
than before: I comforted myself, however, with the reflection, that my
apprenticeship was drawing to a conclusion, when I determined to
renounce the employment forever, and to open a private school.
In this humble and obscure state, poor beyond the common lot, yet
flattering my ambition with day-dreams which, perhaps, would never have
been realized, I was found in the twentieth year of my age by Mr.
William Cookesley, a name never to be pronounced by me without
veneration. The lamentable doggerel which I have already mentioned, and
which had passed from mouth to mouth among people of my own degree, had
by some accident or other reached his ear, and given him a curiosity to
inquire after the author.
It was my good fortune to interest his benevolence. My little history
was not untinctured with melancholy, and I laid it fairly before him:
his first care was to console: his second, which he cherished to the
last moment of his existence, was to relieve and support me.
Mr. Cookesley was not rich: his eminence in his profession which was
that of a surgeon, procured him, indeed, much employment; but in a
country town, men of science are not the most liberally rewarded; he
had, besides, a very numerous family, which left him little for the
purposes of general benevolence; that little, however, was cheerfully
bestowed, and his activity and zeal were always at hand to supply the
deficiencies of his fortune.
On examining into the nature of my literary attainments, he found them
absolutely nothing; he heard, however, with equal surprise and pleasure,
that amidst the grossest ignorance of books, I had made a very
considerable progress in the mathematics. He engaged me to enter into
the details of this affair; and when he learned that I had made it in
circumstances of discouragement and danger, he became more warmly
interested in my favour, as he now saw a possibility of serving me.
The plan that occurred to him was naturally that which had so often
suggested itself to me. There were, indeed, several obstacles to be
overcome. I had eighteen months yet to serve; my hand-writing was bad,
and my language very incorrect; but nothing could slacken the zeal of
this excellent man; he procured a few of my poor attempts at rhyme,
dispersed them amongst his friends and acquaintance, and when my name
was become somewhat familiar to them, set on foot a subscription for my
relief. I still preserve the original paper; its title was not very
magnificent, though it exceeded the most sanguine wishes of my heart: it
ran thus, "A subscription for purchasing the remainder of the time of
William Gifford, and for enabling him to improve himself in Writing and
English Grammar." Few contributed more than five shillings, and none
went beyond ten-and-six-pence: enough, however, was collected to free me
from my apprenticeship (the sum my master received was six pounds) and
to maintain me for a few months, during which I assiduously attended the
Rev. Thomas Smerdon.
At the expiration of this period, it was found that my progress (for I
will speak the truth in modesty) had been more considerable than my
patrons expected: I had also written in the interim several little
pieces of poetry, less rugged, I suppose, than my former ones, and
certainly with fewer anomalies of language. My preceptor, too, spoke
favourably of me; and my benefactor, who was now become my father and my
friend, had little difficulty in persuading my patrons to renew their
donations, and continue me at school for another year. Such liberality
was not lost upon me; I grew anxious to make the best return in my
power, and I redoubled my diligence. Now, that I am sunk into indolence,
I look back with some degree of scepticism to the exertions of that
period.
In two years and two months from the day of my emancipation, I was
pronounced by Mr. Smerdon, fit for the university. The plan of opening a
writing school had been abandoned almost from the first; and Mr.
Cookesley looked round for some one who had interest enough to procure
me some little office at Oxford. This person, who was soon found, was
Thomas Taylor, Esq. of Denbury, a gentleman to whom I had already been
indebted for much liberal and friendly support. He procured me the place
of Bib. Lect. at Exeter College: and this, with such occasional
assistance from the country as Mr. Cookesley undertook to provide, was
thought sufficient to enable me to live, at least, till I had taken a
degree.
During my attendance on Mr. Smerdon I had written, as I observed before,
several tuneful trifles, some as exercises, others voluntarily, (for
poetry was now become my delight) and not a few at the desire of my
friends. When I became capable, however, of reading Latin and Greek
with some degree of facility, that gentleman employed all my leisure
hours in translations from the Classics; and indeed I do not know a
single school book, of which I did not render some portion into English
verse. Among others JUVENAL engaged my attention, or rather my master's,
and I translated the tenth Satire for a holyday task. Mr. Smerdon was
much pleased with this (I was not undelighted with it myself) and as I
was now become fond of the author, he easily persuaded me to proceed
with him, and I translated in succession the third, the fourth, the
twelfth, and I think the eighth Satires. As I had no end in view but
that of giving a temporary satisfaction to my benefactors; I thought
little more of these, than of many other things of the same nature which
I wrote from time to time, and of which I never copied a single line.
On my removing to Exeter College, however, my friend, ever attentive to
my concerns, advised me to copy my translation of the tenth Satire, and
present it, on my arrival, to the Rev. Dr. Stinton (afterwards Rector)
to whom Mr. Taylor had given me an introductory letter: I did so and it
was kindly received. Thus encouraged, I took up the first and and second
Satires (I mention them in the order they were translated) when my
friend, who had sedulously watched my progress, first started the idea
of going through the whole, and publishing it by subscription, as a
means of increasing my means of subsistence. To this I readily acceded,
and finished the thirteenth, eleventh, and fifteenth Satires: the
remainder were the work of a much later period.
When I had got thus far, we thought it a fit time to mention our design;
it was very generally approved of by my friends; and on the first of
January, 1781, the subscription was opened by Mr. Cookesley at
Ashburton, and by myself at Exeter College.
So bold an undertaking so precipitately announced, will give the reader,
I fear, a higher opinion of my conceit than of my talents: neither the
one nor the other, however, had the smallest concern with the business,
which originated solely in ignorance. I wrote verses with great
facility, and I was simple enough to imagine that little more was
necessary for a translator of Juvenal! I was not, indeed, unconscious of
my inaccuracies: I knew that they were numerous, and that I had need of
some friendly eye to point them out, and some judicious hand to rectify
or remove them: but for these as well as every thing else, I looked to
Mr. Cookesley, and that worthy man, with his usual alacrity of kindness,
undertook the laborious task of revising the whole translation. My
friend was no great Latinist, perhaps I was the better of the two; but
he had taste and judgment, which I wanted. What advantage might have
been ultimately derived from them, there was unhappily no opportunity of
ascertaining, as it pleased the Almighty to call him to himself by a
sudden death, before he had quite finished the first Satire. He died
with a letter of mine unopened in his hands.
This event, which took place on the 15th of January, 1781, afflicted me
beyond measure.[F] I was not only deprived of a most faithful and
affectionate friend, but of a zealous and ever-active protector, on whom
I confidently relied for support: the sums that were still necessary for
me, he always collected; and it was feared that the assistance which was
not solicited with warmth, would insensibly cease to be afforded.
In many instances this was actually the case; the desertion, however,
was not general; and I was encouraged to hope, by the unexpected
friendship, of Servington Savery, a gentleman who voluntarily stood
forth as my patron, and watched over my interests with kindness and
attention.
Some time before Mr. Cookesley's death, we had agreed that it would be
proper to deliver out with the terms of subscription, a specimen of the
manner in which the translation was executed:[G] to obviate any idea of
selection, a sheet was accordingly taken from the beginning of the first
Satire. My friend died while it was in the press.
After a few melancholy weeks, I resumed the translation; but found
myself utterly incapable of proceeding. I had been accustomed to connect
Mr. Cookesley's name with every part of it, and I laboured with such
delight in the hope of giving him pleasure, that now, when he appeared
to have left me in the midst of my enterprise, and I was abandoned to my
own efforts, I seemed to be engaged in a hopeless struggle, without
motive or end: and his idea, which was perpetually recurring to me,
brought such bitter anguish with it, that I shut up the work with
feelings bordering on distraction.
To relieve my mind, I had recourse to other pursuits. I endeavoured to
become more intimately acquainted with the Classics, and to acquire some
of the modern languages: by permission too, or rather recommendation, of
the Rector and Fellows, I also undertook the care of a few pupils: this
removed much of my anxiety respecting my future means of support. I have
a heartfelt pleasure in mentioning this indulgence of my college: it
could arise from nothing but the liberal desire inherent, I think, in
the members of both our Universities, to encourage every thing that
bears the most distant resemblance to talents: for I had no claims on
them from any particular exertions.
The lapse of many months had now soothed, and tranquillized my mind, and
I once more returned to the translation to which a wish to serve a young
man surrounded with difficulties, had induced a number of respectable
characters to set their names: but alas, what a mortification! I now
discovered, for the first time, that my own inexperience, and the advice
of my too, too partial friend had engaged me in a work, for the due
execution of which, my literary attainments were by no means sufficient.
Errors and misconceptions appeared in every page. I had, indeed, caught
something of the spirit of Juvenal, but his meaning had frequently
escaped me, and I saw the necessity of a long and painful revision,
which would carry me far beyond the period fixed for the appearance of
the work. Alarmed at the prospect, I instantly resolved (if not wisely,
yet I trust honestly) to renounce the publication for the present.
In pursuance of this resolution, I wrote to my friend in the country
(the Rev. Servington Savery) requesting him to return the subscription
money in his hands, to the subscribers. He did not approve of my plan;
nevertheless he promised, in a letter which now lies before me, to
comply with it: and, in a subsequent one, added that he had already
begun to do so.
For myself, I also made several repayments; and trusted a sum of money
to make others with a fellow collegian, who, not long after, fell by his
own hands in the presence of his father. But there were still some whose
abode could not be discovered, and others, on whom to press the taking
back of eight shillings would neither be decent nor respectful: even
from these I ventured to flatter myself that I should find pardon, when
on some future day I presented them with the work (which I was still
secretly determined to complete) rendered more worthy of their
patronage, and increased, by notes, which I now perceived to be
absolutely necessary, to more than double its proposed size.
In the leisure of a country residence, I fancied this might be done in
two years; perhaps I was not too sanguine: the experiment, however, was
not made, for about this time a circumstance happened which changed my
views, and indeed my whole system of life.
I had contracted an acquaintance with a person of the name of ----,
recommended to my particular notice by a gentleman of Devonshire, whom I
was proud of an opportunity to oblige. This person's residence at Oxford
was not long, and when he returned to town, I maintained a
correspondence with him by letters. At his particular request, these
were enclosed in a cover, and sent to Lord GROSVENOR: one day I
inadvertently omitted the direction, and his Lordship necessarily
supposing it to be meant for himself, opened and read it. There was
something in it which attracted his notice; and when he gave the letter
to my friend, he had the curiosity to inquire about his correspondent at
Oxford; and, upon the answer he received, the kindness to desire he
might be brought to see him upon his coming to town; to this
circumstance, purely accidental on all sides, and to this alone, I owe
my introduction to that nobleman.
On my first visit, he asked me what friends I had, and what were my
prospects in life; and I told him that I had no friends, and no
prospects of any kind. He said no more; but when I called to take leave,
previous to returning to college, I found that this simple exposure of
my circumstances had sunk deep into his mind. At parting, he informed me
that he had charged himself with my present support, and future
establishment: and that till this last could be effected to my wish, I
should come and reside with him. These were not words of course: they
were more than fulfilled in every point. I did go and reside with him;
and I experienced a warm and cordial reception, a kind and affectionate
esteem, that has known neither diminution nor interruption, from that
hour to this: a period of twenty years!
In his Lordship's house I proceeded with Juvenal, till I was called upon
to accompany his son (one of the most amiable and accomplished young
noblemen that this country, fertile in such characters, could ever
boast) to the continent. With him, in two successive tours, I spent many
years: years of which the remembrance will always be dear to me, from
the recollection that a friendship was then contracted, which time, and
a more intimate knowledge of each other, have mellowed into a regard
that forms at once the pride and happiness of my life.
It is long since I have been returned and settled in the bosom of
competence and peace: my translation frequently engaged my thoughts, but
I had lost the ardour and the confidence of youth, and was seriously
doubtful of my abilities to do it justice. I have wished a thousand
times that I could decline it altogether; but the ever-recurring idea
that there were people of the description I have already mentioned, who
had just and forcible claims on me for the due performance of my
engagement, forbade the thought; and I slowly proceeded towards the
completion of a work in which I should never have engaged, had my
friend's inexperience, or my own, suffered us to suspect for a moment
the labour and the talents of more than one kind, absolutely necessary
to its success in any tolerable degree. Such as I could make it, it is
now before the public.
----majora canamus.
FOOTNOTES:
[F] I began this unadorned narrative on the 15th of January, 1801:
twenty years have therefore elapsed since I lost my benefactor and my
friend. In the interval I have wept a thousand times at the recollection
of his goodness: I yet cherish his memory with filial respect: and at
this distant period, my heart sinks within me at every repetition of his
name.
[G] Many of these papers were distributed; the terms, which I extract
from one of them, were these. "The work shall be printed in quarto
(without notes) and be delivered to the subscribers in the month of
December next."
"The price will be sixteen shillings in boards, half to be paid at the
time of subscribing, the remainder on delivery of the book."
FOR THE MIRROR.
SKETCH OF THE LIFE OF THE LATE MR. HODGKINSON.
(_Continued from page 380._)
We have now brought the extraordinary personage who makes the subject of
this memoir to that time of life when his character assumes a high rank,
and his conduct an importance, which entitle him to a much more serious
consideration from the reader. As a strict regard to truth forbids us to
deny that, in common with all his fellow creatures, he deserves censure
for some part of his conduct in life, so candour, and indeed common
integrity, enjoin it upon us to accompany that acknowledgment with all
such circumstances, and the reasonings upon them that occur to us, as
may serve to extenuate the criminality of those acts, and to show that
his misconduct was the natural, or rather the necessary and inevitable
result of the circumstances to which he was exposed, and nothing more
than the every-day issues of human infirmity. If in discharging the
office of a biographer, and canvassing the character of the dead, we are
compelled to utter truths that will be unwelcome to many a heart, and to
speak lightly of the bad members of a profession for the good ones of
which we have a high respect, let it be remembered that we do it perhaps
reluctantly, but certainly in obedience to the imperious commands of a
duty paramount to all form and ceremony, which dictates that truth must
be investigated, no matter what galled jade may feel its withers wrung
by it.
The indiscriminating, unjust, and illiberal spirit of persecution, with
which actors have been followed up for ages, has not a greater enemy in
any bosom upon earth than in ours; and we should not only libel the
opinions we have uniformly avowed, but violate our conscientious
persuasion, and suppress truth if we neglected to state that a multitude
of the ladies and gentlemen of that profession, justly stand as high in
moral character, as any of those who, in the other departments of life,
are most conspicuous for virtue and nice honour. The time was, indeed,
when instances of the kind were so very rare, that they were scarcely
credited, and when the general maxim was, that the public had nothing to
do with the private lives of performers. But now, when the spotless
purity of successive actresses in England has so far diminished the
prejudice entertained against the body, that actresses of irreproachable
character are received into good company, and many of them even married
into high families, a correspondent ambition on their part fills most
ladies of the stage with an honourable spirit of emulation in the race
of fame; while, on the other hand, the people exercise a very rigid
scrutiny upon the stage, hold the actresses amenable for their private
conduct, and declare that they will not suffer one who is notoriously
vitious to come forward on the stage and make a mockery of discretion by
uttering the precepts of virtue.
Still, however, there hang about the stage in every country too many
actresses of abandoned character. As may well be supposed, the private
attachments of those are as perfectly feigned, as any of the passions or
characters they represent in public, and their allurements are employed
chiefly, if not solely, for the gratification of their vanity, or the
furtherance of their pecuniary interest. Here and there, may perhaps be
found an example of the influence of personal love: but in general they
make their charms tributary to their purses, and to their standing in
the theatre. To prove this it need only be stated as a general rule, to
which there are but very few exceptions, that in England the greatest
favourites with that class of females, and those for whose preference
they most artfully vie with each other, is some ordinary, or perhaps
hoary manager, who, if he be so disposed, is sure to carry away those
precious prizes from the finest youths or prime men of the theatre,
unless to youth and personal elegance the latter should add great
professional merit and the power and influence consequent to it.
A moment's consideration will show that, for the purposes of women of
this description, there could not possibly be found a more hopeful
object than such a young person as Hodgkinson must necessarily have been
at this period of his life. Unassisted by early instruction
----No parent's care
Shielded his infant innocence with prayer;
No father's guardian hand his youth maintained;
Called forth his virtues or from vice restrained.
Raised by his own talents and industry to great celebrity, and at a time
of life, when others have not ventured to cross the threshold of the
profession, honoured with the patronage of the first dramatic personage
living, it would be a miracle if he had not been rendered giddy by his
unexpected height. He had as yet had no experience to make him wise, no
sufferings to make him cautious. From his boyish days he was compelled,
by the necessity of his situation, to associate with persons of all
others the most likely to corrupt his morals, and continually exposed to
dangers which he was incapable of suspecting, and therefore could not
defeat. On the other hand every circumstance attending his condition had
a tendency to intoxicate his brain: the first dawn of manhood broke upon
him with the dazzling glare of a full and fervid prosperity, which no
modesty could prevent him from knowing to be the fruits of his own
extraordinary merit. Along with this, his personal endowments, which
were of themselves sufficient in private life to have filled the best
regulated young mind with vanity, were the continual subject of public
approbation--his face was remarkably handsome, he was tall, well
proportioned, and graceful. He had one of the finest voices in England,
and played well on several musical instruments. These not only
disqualified him for resisting, but increased the amount of the
temptations that surrounded him. Thus, while his personal
accomplishments fitted him for gaining the affections of the sex,
fortune made him a desirable prey for their cupidity. The breath of
flattery blew upon him in every direction, and inflamed his vanity and
self-love, while all the wiles and allurements which artful wantonness
could practise upon unsuspicious youth, were played off against his
heart; and thus his passions, which in all probability were
complexionally strong, became ungovernable. Coarse undisguised flattery
too often makes its way to the hearts of the wisest and the best--How
then could a poor youth like Hodgkinson be expected to refuse it, when
administered by beauty, and disguised by elegance and refinement.
Co-ordinate with the rise of his fame and fortune therefore was the
growth of the evils which were fated to endanger the one, and to make
shipwreck of the other; and his professional success and his
gallantries, running parallel to each other like the two wheels of a
gig, left their marks on every road he travelled in the north of
England, to the great delight of the major part of his profession, who
sickened at his superiority, and exulted in every thing that threatened
to injure his reputation and degrade him in the eyes of the public. Nor
did their malice want subjects to work upon: The _Statiras_ and the
_Roxanas_ by turns got possession of our young _Alexander_, and the
demon of licentiousness seems to have exercised more than his customary
dominion over the ladies, for the ruin of the young man. In whatever
company Hodgkinson played, he became the object, too often the victim of
their arts, and some unfortunate husband or lover had to deplore the
unconcealed infidelity of his _cara sposa_. Nay, in one instance,
theatrical sovereignty itself found its rights invaded, and had to
lament a treason which it could not punish. In plain English, the wife
of one of his managers played "All for love, or the world well lost,"
and ran away with him. It was on this occasion he left the northern line
of theatres, and joined the company of Bath and Bristol, whither his
great professional fame had preceded him.
Persons are every day to be found, who having enjoyed the advantages of
early instruction, imbibed in childhood the principles of religion, and
grown up in the practice of virtue under the control of a well regulated
restraint, have not only deviated lamentably from the paths of
rectitude, but been willing to call in sophistry to disarm conscience,
or as doctor Johnson says, to lull their imaginations with ideal
opiates. Can it appear surprising then that a hot-brained giddy youth
like Hodgkinson should find it easy to compound that affair, immoral as
it was, with his conscience, and to let it pass by, without making any
beneficial impression upon his morals. That there was something
belonging to it, which, aided with his sophistry, served to diminish the
guilt of it in his eyes, is pretty certain. Hodgkinson was naturally
benevolent and just, and filled with those sentiments and sympathies
which engender pity for the injured and regret for doing wrong; yet of
the man whom he had thus injured, he many times spoke with bitterness
and reproach. One day this writer questioned him upon the subject in the
warmth of friendship: "How comes it to pass, Hodgkinson, that you never
hear the name of ---- mentioned without treating it with an asperity
foreign to your usual way of speaking, and indeed contrary to your
natural disposition?" "He wronged me, most wickedly wronged me," was the
answer--"He endeavoured to crush me in my youth."--"You were even with
him, then, with a vengeance," replied this writer. "You have heard that
unfortunate affair then," said he. "Yes, I have."--"It was greatly his
own fault, sir--very little mine. I was young, hot-headed, foolish, very
foolish; but never meditated the affair you allude to. The woman was a
wanton--I never suspected that the kindnesses she showed me were to lead
to guilt. His jealousy stimulated her, and his injustice and malice
fired me to revenge, and supplied me with specious arguments of
justification. I am sorry it so happened on many accounts. I forgive
him, but I cannot hear him mentioned without giving vent to my opinion
of him, which is, that he is a very bad fellow, with a very rancorous
heart."
On his arrival at Bath, Hodgkinson became acquainted with some of the
most respectable people, and was elected a member of the Noblemen's
Catch-Club, which was composed of some of the first men in that part of
England for rank and opulence. This was of itself, a very honourable
mark of distinction, and a signal testimony of the respect in which his
talents were held by those gentlemen. He continued to be a member of it,
and conducted himself in a manner which every day increased their
respect for him, till he left England.
While he belonged to the Bath and Bristol theatres he received an
invitation to play at Brighton during the summer residence of the Prince
of Wales there, with which invitation he complied. He had been
advantageously mentioned to the prince, and his royal highness was
desirous to see him perform. Upon this visit an incident occurred which
we should think it unpardonable to omit mentioning, not only on account
of its importance as it relates to our subject, but as it serves to
throw a ray of light on the character of one of the most illustrious
personages lining.
The day after his arrival at Brighton, Hodgkinson took a walk, by
himself, down the Stein side, and was studiously employed in conning
over the part of Belcour in the West Indian, in which character he was
that night to make his debut, when his attention was called off by loud
words of men high in quarrel. He cast his eyes towards the place from
which the noise issued, and perceived at a little distance a crowd
apparently engaged in a tumultuous scuffle, he ran up, under the impulse
of curiosity to see what the matter might be. Upon reaching the place,
he found a well-dressed young man surrounded by a number of persons who
looked like gentlemen and who struck at him together, while he, having
got his back to a tree, gallantly defended himself, and returned their
blows with much energy and good will. Foul play of that kind is rarely
attempted in England, and when attempted, seldom fails to bring down
just chastisement from the standers by. In fact it is a thing never
permitted by the people, who make it a universal rule to show fair play
in all cases of quarrel, be the parties who they may; so that if a
battle takes place between an Englishman, and even a Frenchman, the
latter is as secure of justice, and of his second, and of his
bottleholder too, if necessary, as if he were a true-born Englishman.
"Fair play, fair play! a ring, a ring! d--n my eyes why should not poor
frog-eater have as fair play as any other?" The writer has heard this
_John Bullish_ effusion before now, and what was better, seen it
generously and justly acted upon.
Hodgkinson was too much a man of that kidney to stand by, a tame
spectator of such scandalous foul play, he therefore rushed through the
croud, and joining the young man, made the assailants feel the force of
his arm, which nature, aided by some skill in the pugilistic art, had in
no ordinary degree qualified for that useful purpose. On the present
occasion he acted under the impulse of a two-fold duty, first as a
generous man bound to sustain the weak and oppressed against injustice
and outrage, and secondly, as the person so injuriously attacked, was
one who had, on his own private account, a claim to his friendship and
assistance. The name of this young man was Fox; he had been a writer for
some of the London prints, and having taken to the stage, was stationed
with the Brighton company, when Hodgkinson being engaged there for a few
nights, was particularly requested by a gentleman who had once been
friendly to him, to do any service he could, and to take care of him, as
he was very young, wild, and giddy.
The cause of the ungenerous assault upon the young man was this: he had
written a very severe philippic on the well known lord Barrymore, and
Mr. Barry, the brother of his lordship, having found means to discover
it, they both vowed to take personal vengeance for the affront, the
first time they could lay hands upon the writer. This day they were in
company with a set of gentlemen, some of whom were well suited to their
_respectable_ designs. Seeing young Fox in the walk on the Stein, Mr.
Barry pointed to him and exclaimed, there, my lord, there is the rascal
who libelled you! "Knock him down!" said one, "flog the scoundrel," said
another, "break the villain's bones," said a third; and (very
magnanimously, no doubt) they endeavoured to do it. But Fox, though
young, was not so easy a conquest: To a frame, active, hardy, and
muscular, nature had blessed him by bestowing on him a bold, intrepid,
independent spirit; and his dauntless heart was no more to be
intimidated by the blows and menaces of the MOB about him, than his mind
was to be bent to respect for their rank and titles, when their conduct
was a disgrace to both. He was, therefore, busily employed returning
their favours in kind, when he was joined by Hodgkinson, who did not at
the time know the person or name of one single being in the crowd, Fox
alone excepted.
As soon as Hodgkinson appeared assisting his young friend "Here is
another of the rascally players," exclaimed one of those gentlemen,
"knock him down!"--"If you be really gentlemen, as you would be
thought," said Hodgkinson, "give us fair play; turn out man to man, or
even three of you to us two, and we'll fight you." Then finding that
several of them continued to strike while the others urged them on, he
exclaimed: "So, you cowardly gang of villains you want to murder
us--then by Heavens we'll sell our lives dearer than you think of," and,
still supported by Fox, laid about him with desperation. Just at that
moment he heard a person on the outside of the mob cry out aloud, "D--n
the rascal, knock his brains out--knock his brains out with your stick!"
Hodgkinson, blind with rage, exclaimed in reply, "_D--n you, you
cowardly rascal, and all your d--n'd breed._" At this time a crowd of
people ran up, and fair play becoming necessary, lord Barrymore and his
friends thought proper to decline the battle. Among those who came up
and dispersed the combatants, was his royal highness the prince of
Wales.
Fox and his friend were severely beaten, and bore the marks of it; but
what were the reflections of poor Hodgkinson when he learned that the
very person to whom he had said "D--n you, you cowardly rascal, and all
your d----d breed," was no other than that very duke who has since cut
so conspicuous a figure in the annals of gallantry with Mrs. CLARK, of
meretricious notoriety, or in other words the duke of York himself. By
means which shall hereafter be related, the interest of the royal family
had been engaged for Hodgkinson, and even the first personage of it had
agreed to do him a signal favour, on his first appearance in London.
What then must have been his mortification and regret to think that by
one rash expression he had not only lost those bright prospects, but
incurred the censure and abhorrence of every thinking man in the
kingdom; since, however censurable the duke of York might be, it
afforded no pretence for a general expression of disrespect to the whole
of his family.
In the desperate state of mind which succeeded these reflections,
Hodgkinson saw but one measure that was becoming him, or indeed safe for
him to take; and he resolved to adopt it without delay--that was, to
leave Brighton and live in retirement till the whole of the affair, with
his total ignorance of the identity of the person he had insulted,
should be universally understood, and his innocence be made apparent. To
this end he directly went to the manager of the playhouse, laid the
whole affair before him, and pointed out the absolute necessity there
was for changing the play and giving him up his bond of engagement. "The
prince of Wales," added he, "is omnipotent in Brighton; he is so beloved
and admired here, that his will is the law of every one's conduct, the
town will of course enter with violence into the resentment which his
highness will justly feel, and therefore for me to appear before them
after what has happened, will inevitably produce a riot which will
probably end in the destruction of the house. It would be considered by
the people, and very properly too, as an insult to them, for me to come
forward in such circumstances."
Hodgkinson's remonstrances had no effect upon the manager, who
peremptorily insisted upon his appearance in the character of Belcour,
be the consequences what they might. This, Hodgkinson always considered
as the most trying moment of his existence; and it was not until the
manager swore that he would have him arrested before he could leave the
county if he did not perform his engagement, that he could be prevailed
upon to stand his ground, and face the storm that threatened him. The
affair had got abroad, and when evening came, the house was uncommonly
full, partly owing to the attractive circumstance of a celebrated
actor's appearing among them, for the first time, and partly to the
curiosity of individuals to see what would be done to the new performer
for the part he had played that morning on the Stein.
(_To be continued._)
MISCELLANY.
QUIZZICAL CRITIQUE ON THE SONG OF
"BILLY TAYLOR."
"Et tragicus dolet plerumque sermone pedestri:
Telephus ac Peleus, quum pauper et exul uterque
Projicit ampullas ac sesquipedalia verba
Si curat cor spectantis, tetigisse querela."
_Hor. Art Poet._
I hope that I shall not appear to degrade the office of criticism by
making a ballad the subject of it, especially since that now before me
is of so excellent a nature. If it is objected to, I must shelter myself
under the authority of Addison, who has written a critique on
Chevy-Chace, to which, I venture to affirm, this ballad is infinitely
superior. That I may not appear too presumptuous in my assertion, let us
proceed to the examination of this justly celebrated poem. I call it a
poem--I had almost called it an epic, seeing it has a beginning, middle,
and end: the action one, namely the death of the hero Taylor: it is
replete with character, but suggested by incidents the most interesting
and touching. Let us first examine it verse by verse. The author has no
tedious prelude, not even an invocation; but, like Homer, immediately
enters into the middle of his subject, and in a few words gives us the
name, character, and amour of his hero. Observe the gayety of the
opening:--
"Billy Taylor was a brisk young feller,
Full on mirth and full on glee."
How admirably, how judiciously is this jocund beginning contrasted with
the melancholy sequel! how affecting to the reader's feelings when he
reflects how soon Billy's joy will be damped! Unhappy Taylor!--Let us
proceed to the next lines:--
"And his mind he did diskiver
To a lady fair and free."
Taylor was a bold youth: he feared not to tell his mind to the lady; he
did not stand shilly-shally, like a whimpering lover. But we are here
presented with a new character, a lady fair and free. Some commentators
have thought that she was a lady of easy virtue, from the epithet free;
and indeed the violence of her love and jealousy seems to favour the
suspicion: but let us not be too severe; free may signify no more than
that she was of a cheerful disposition, and thus of the same temper with
her lover: _concordes animae!_ Thus far all is pleasant and delightful:
but the scene is now changed--and sorrow succeeds to joy.
"Four and twenty brisk young fellers,
Drest they vas in rich array,
They kim and they seized Billy Taylor,
Press'd he vas and sent to sea."
Taylor, the brisk, the mirthful Taylor is pressed and sent to sea. I
cannot help observing here the art of the poet in letting us into the
condition of Taylor: we may guess from his being pressed that he was not
free of the city, and was most likely a journeyman cobler, coblers being
famous for their glee. I will not positively say he was a cobler:
Scaliger thinks he was a lamp-lighter; "_adhuc sub judice lis est_." But
to proceed--Taylor is on board ship: what does his true-love?
"His true-love she followed arter,
Under the name of Richard Car;
And her hands were all bedaubed
With the nasty pitch and tar."
Many ladies would have comforted themselves with other lovers; not so
Billy's mistress, she follows him; she enters the ship under the name of
Richard Car. She condescends to daub her lilly-white hands with the
pitch and tar. What excessive love, and how ill rewarded! I have two
things to remark here. 1. Her disregard for herself in daubing her
hands. When I consider a lady in Juvenal who did the same, I am led to
think she was Billy's mistress. But then Billy disregards her; this
makes me think again she was his wife. Yet perhaps not; Billy had got
another mistress. 2. The second observation is upon the name she
assumes, Richard Carr. Commentators are much divided upon this head; why
she chose that name in preference to any other. I must confess they talk
rather silly on this topic; I conjecture the name was given here because
it was a good rhyme to tar; this is no mean or inconsiderable reason, as
the poets will all testify. But let the reader decide this at his
leisure; let us now proceed:--
"An engagement came on the very next morning:
Bold she fit among the rest;
The wind aside did blow her Jacket,
And diskivered her lily-white breast."
Here was a trial for the lady: but she sustained it; she fought boldly,
fought like a man. But mark the sequel; the wind blows aside her jacket;
her lily-white breast is exposed to the lawless gaze of the sailors!
Here was a sight! no doubt it inspired them with double valour and
gained them a victory: for they certainly were victorious, though the
poet judiciously passes over the inferior topic, and hastens to his main
subject.
The captain gains intelligence of her heroism, or in the musical
simplicity of the original, "kims for to know it:" with honest bluntness
he exclaims "Vat vind has blown you to me?" The character of the sea
captain is well supported: he does not say, "how came you here?" but in
the characteristic language of profession, "vat vind has blown you to
me?" The classical reader will be pleased also with the similarity this
expression bears to a passage in the AEneid; it is in the speech of
Andromache to AEneas on a like occasion of surprise:
"Sed tibi qui cursum venti, quae fata dedere?
Aut quisquam ignarum nostris Deus appulit oris?"
It must be confessed, that the Latin is more pompous, perhaps more
elegant; but what it gains in refinement, it loses in simplicity. The
chief thing however to be remarked is, that the same language always
suggests itself on the same occasion. But let us attend to the lady's
answer:
"Kind sir: I be kim for to seek my true-love,
Vhom you press'd and sent to sea."
The pathos of this speech is inimitable. Observe with what art, or
rather with what nature, it is worked up, so as to interest the feelings
of the captain. First let us take a view of the speaker; a woman, and
her breast diskivered: she begins with, "Kind sir," which shows the
gentleness of her disposition, and that she forgave the captain though
he had pressed her true-love: she proceeds, "I be kim for to seek my
true-love," who could resist this affecting narration? A lady braving
the dangers of the sea, and an engagement, to seek her true-love! The
last line has suggested to the commentators that the captain headed the
press-gang himself. This is a matter of too much consequence for me to
decide. But what effect has the speech on the rugged nerves of the
captain? All that could be expected or desired. He breaks out--observe
the art of the poet!--no frigid preface of "he said," "he exclaimed,"
but, like Homer, he gives us the speech at once--
"If you be kim for to seek your true-love,
He from the ship is gone away:
And you'll find him in London streets, ma'am,
Valking vith his lady gay."
The captain's feelings are taken by storm: he makes a full discovery of
the retreat of the youth, and the company in which he is to be found.
Some have thought it very odd that the captain should be so well
informed of Billy's retreat and company; and are of opinion that he
connived at it; but the captain might from the knowledge of human
nature, and especially of sailors' nature, guess where and in what
company Billy would be. Let not then the honest tar be condemned. As
the poet has put down none, we may suppose the lady to be too much
oppressed to make any answer to a speech so cutting and afflicting.
Overwhelmed with anger, jealousy, and desire of revenge, she could not
speak. Admirable poet, who so well knew nature! "parvae curae loquuntur,
ingentes silent," and is not this silence more eloquent, more
expressive, nay more awful, than all the angry words that could have
been uttered? it is the silence before the tempest: the awful stillness
of revenge and death.
"She rose up early in the morning,
Long before 'twas break of day."
Mark the impatience of revenge! she will not even wait till day-break;
she gets (as we may suppose, though it is not declared) leave of
absence, and goes on shore,
"And she found false Billy Taylor,
Valking with his lady gay."
Infamous Billy Taylor! while your mistress was braving for you the
dangers of the ocean, you were reveling in the arms of another! But your
hour is come! The character of Billy is inimitably well supported
throughout, or, as Horace says--
"Qualis ab incepto processerit, et sibi constat."
'Tis true, he deserts his mistress; but 'tis for a lady of similar
disposition; it is a lady _gay_ with whom he walks: thus, though he is
false, he shows himself _full of mirth_: he is still Billy Taylor. Mark
the artifice of the poet! Like Virgil who drops the epithet "pious" on a
similar occasion, the poet here calls Billy by the appropriate epithet
"false." There is an elegance and simplicity perfectly Homeric in the
repetition of the line, "Valking with his lady gay."
"Straight she call'd for swords and pistols,
Brought they vas at her command."
Let not the sceptical reader sneer, and ask where she got, or who
brought the swords and pistols. Some kind deity, willing to assist the
purposes of her just revenge, interposed and brought her arms. Surely
Horace would allow that this was "dignus vindice nodus." But to
proceed:--
"She fell on shooting Billy Taylor
Vith his lady in his hand."
Here is an interesting incident! here a melancholy subject! what a scene
for a picture! On one side, a lady impelled by jealousy with a
discharged pistol in her hand, and a face expressive of the triumph of
revenge; on the other Billy Taylor, stretched on the cold ground, with
his hand in that of his lady, now we may suppose no longer gay, and
perhaps weeping! Observe, Billy died in the situation in which Tibullus
wished to die: he held his mistress, "_deficiente manu_."[H] O! come
here all ye young men! ye Billy Taylors for the world is full of you! ye
deserters of true-lovers, ye walkers with ladies gay, come here and
contemplate! Taylor, who a few days before was gay like you, is now alas
"stone dead," or, to use the pathetic and expressive language of
Falstaff--who by the by, was, like Billy, a gay deceiver--is now no
better than a "shotten herring!
"When the captain kim for to know it;
He very much applauded her for what she had done."
From this passage, some have taken occasion to accuse the captain of a
connivance with Billy's escape and connexion with a lady gay, that he
might enjoy Billy's first mistress. But surely this is unfounded: the
captain saw this mistress of Billy's by chance alone: and could not
therefore be supposed to have a longing for a lady whom he had never
seen till Billy had left the ship. Some have also accused the captain of
cruelty, for applauding the lady for killing her lover. But these are
unfounded and calumnious charges: it was a love of justice which induced
the captain to applaud her: not that I positively say, that he might not
also be swayed by the lady's beauty. The vehemence of the captain's
applause is admirably displayed by the quantity of dactyls in the second
line of this stanza. Let us proceed:
"And he made her first lieutenant of the valiant Thunder-bomb."
Many are shocked at the apparent indifference of the lady; and foolishly
condemn the poet for inconsistency. Such ignorant critics know nothing
of the matter. Our poet, who is the poet of nature, did not mean to draw
a perfect character, a "sine labe monstrum," but, like Homer, and
Euripides, which latter he greatly resembles in his tenderness of
expression, draws men and women such as they are. Still there is another
objection started: how could a woman be made a lieutenant? It must be
confessed that though such things are not entirely unprecedented, that
they are very singular: some have therefore thought this a decent
allegory of the poet to express that she was the captain's chief
mistress, his sultana; and we must remember that she was a free lady,
and, after the murder she had committed, glad of the _protection_ of a
captain. I hope the ladies will not be offended at this interpretation,
and, since a recent inquiry, will pardon me the expression that conveys
it.
It remains now to say something concerning the sentiments, characters,
incidents, moral, and diction of the poem, and [Greek: oroton apo
proton], let us speak of the sentiments. These, as I observed before,
are not, like Lucan's, obtruded upon the reader, but suggested by
incidents. For instance, does not the circumstance of the lady's going
to sea after her true-love suggest more than the most laboured
declamation on the force of love? When the captain is melted by the
pathetic address, and lily-white breast of the lady, is it not clearly
and expressively intimated how great is the power of weeping beauty
pleading in a good cause, over even the boisterous nature of a sailor?
Again, when the lady shoots Billy Taylor, what a fine sentiment is to be
discovered here of the power of jealousy? and in the death of Billy
contrasted with his former gayety, who is there whose soul is of so iron
a mould as not to be touched by the implied sentiment of the
shortlivedness of human pleasure and enjoyment, when even the gay Taylor
is overtaken by fate? This is a most masterly piece of nature; and I
venture to pronounce that the man who is uninterested by it must have
been born on Caucasus and nursed by she-wolves. I come now to the
characters; and here it is that the chief art of the poet is displayed.
It is wonderful to observe how many and how different characters are to
be found in this short poem. To say nothing of the four and twenty
"fellers" who are admirably characterized by the epithet "brisk;" we
have the mirthful Taylor and the rugged sea-captain, the lady fair and
free, and the lady gay. It may be objected that there is too great a
sameness in the female characters: but no; the lady fair and free is
brave and revengeful; the lady gay is simply gay, a mere insipid
character, and introduced by the poet, no doubt, as a contrast to the
turbulent and busy character of the other lady. The boisterous captain
is a well-drawn and a well-supported character. He is rugged, honest,
blunt, illiterate, and gallant. But it is the character of the hero
Taylor which is drawn and sustained with the most art and nature. In the
first place he is brave, although some have contradicted this, by saying
that he did not go to sea voluntarily but was pressed, and then ran away
the night before the engagement. But I will not believe he was a coward:
no; let the critics remember that Ulysses did not go voluntarily to the
Trojan war, and was always willing to escape when he could; and yet
surely he was a hero. Thus have I proved the bravery of Taylor. He had
also other requisites for a hero: he was amorous, like Achilles and
AEneas, and he deserted his love like the latter. Then he was brisk and
gay. I do not remember any hero exactly of this character. To be sure,
Achilles laughs once in the Iliad, and AEneas in the AEneid; but it does
not appear to have been the general character of either of them, and
especially of the latter, who was a whimpering sort of hero. It does not
appear that Taylor resembled AEneas in piety; but that is a silly kind of
antiquated virtue, of which heroes of modern days would be ashamed, and
which our poet has most judiciously omitted in the catalogue of Billy's
qualities. Again, he resembles the heroes of antiquity in his untimely
end, and in the cause of it--a woman. Thus Achilles was shot in the
heel; Ulysses was killed, though not very prematurely, by his son; AEneas
was drowned like a dog in a ditch; and Alexander was poisoned. Then as
to the cause: Sampson (though to be sure the polite reader will call
that fabulous, and think me a fool for quoting such an old wife's tale)
owed his death to a woman; Agamemnon was even killed by a woman;
Hippolitus lost his life by a woman; so did Bellerophon; and Antony lost
the world and his life too by a woman. Upon the whole Billy's is a mixed
sort of character, composed of good and bad qualities, in which,
according to the established character of heroes, the bad predominate.
Thus, in the character of Achilles, it would be difficult to find a
single good quality; he is "impiger, iracundus, inexorabilis, acer," and
a great deal more of the same sort. AEneas is indeed pious: but then he
is a perfidious deserter of an injured lady; he invades a country where
he has no right, and kills the man who has the audacity to oppose the
usurper of his own throne, and the ravisher of his own wife. And as to
Alexander, he was a mere brute: he overthrew cities, as children
overthrow houses made of cards, for his mere amusement; and, like the
same children, wept when he had no more to knock down; he killed some
millions of men, for the same reason that country 'squires shoot
swallows, for exercise, and because they have nothing else to do: and,
in the time of peace and conviviality, he slew two of his best friends,
merely to keep his hand in practice. Compared to these heroes, Billy is
a perfect saint: and indeed I have often thought that he is too good for
a hero; and that a few rapes, and thefts, and murders, would have made
a very proper and interesting addition to his character. As to the
incidents, I shall merely observe that they are numerous, well chosen,
interesting and natural. Let me next speak of the moral to be drawn from
the poem. Whether the poet, according to Bossu's rule, and Homer's and
AEsop's practice, chose the moral first, I cannot pretend to say, though
some, who resolve the whole poem into an allegory, favour that opinion.
Certain it is, the moral is excellent: the ill effects of inconstancy;
and I am sure the fair sex will be obliged to the poet's gallantry.
There are also some of what I may call collateral truths to be derived
from the poem; such as not to trust too much to prosperity, exemplified
in the mirth and downfall of Taylor; and the reward of virtue, in the
lady's being made a first lieutenant. I shall conclude with a few
remarks on the diction, or, to speak metaphorically, the dress in which
the story is clothed. It has all the requisites of a good style; it is
concise, perspicuous, simple and occasionally sublime. The poetry is not
of that tumid nature which Pindar uses, but of the graceful simplicity
of Homer's verse. The poet has diversified the language by the
intermixture of the Doric dialect, in imitation of the Greek tragedians;
of this kind are the expressions, _vat vind_, _diskivered_, _I be kim_,
and _for to know_. But what strikes me most is, the solemn, mournful,
and pathetic beauty of the chorus, _Tol lol de rol de riddle iddle ido_.
The [Greek: Ai, an,] and [Greek: pheu, pheu], of Euripides and
Sophocles, the [Greek: e e e e] and [Greek: oto to toi] [Greek: totoi]
of AEschylus, are comparatively frigid and tasteless. Yes; this _Tol lol
de rol de riddle iddle ido_ is so exquisitely tender, and so musically
melancholy, that I dare affirm, that the mind and ear that are not
sensibly affected with it, are barbarous, tasteless, and incapable of
relishing beauty or harmony.
* * * * *
ON THE CHOICE OF A WIFE.
The variety of men's tastes is nowhere more remarkable than in the
choice of their wives. With many, beauty is the first consideration; to
others, fortune is more attractive; by some, excellence in the culinary
art is esteemed the most engaging accomplishment; while others deem
submission the fittest disposition in a partner for life. Indeed, from a
man's character and habits we may make a pretty good guess what sort of
wife he will choose. The avaricious man will gratify his passion with
his wife's fortune; the vain man with his his wife's beauty; and the
epicure with his wife's ragouts.
Gloriosus is sensible and accomplished, but egregiously fond of
admiration. To gratify this passion, he paid his addresses to Sempronia,
whose beauty and fortune attracted a crowd of suitors, and made her the
belle of the town in which she lived. The lady was not insensible of his
attentions, and he succeeded in gaining the prize, for which so many had
sighed in vain. His vanity was highly gratified with the preference he
had obtained, and nothing could exceed his satisfaction during his
courtship and the first weeks of his marriage. The men called him a
lucky fellow, the women praised Sempronia's discernment, and the
handsome couple was the theme of general conversation. But, in a short
time after the visits, which are usual on such occasions, had been duly
paid and as duly returned, admiration, always fickle, lavished its
regards on new objects, and Gloriosus and his wife were forgotten. He
now found, that she, whom he had chosen for the companion of his life,
was deficient in every qualification that could render such a companion
useful or agreeable. She had been told from her earliest youth, that her
charms of person were such as always to ensure her admirers, without
being at the pains of cultivating the graces of her mind. Her mother
thought she could not too early introduce into the world such a
beautiful creature; and, from the age of fifteen to the day when she
married Gloriosus, her time was almost wholly taken up in visiting and
receiving visits, and her mind was entirely employed in devising some
new mode of decorating her person. Such a one was little calculated to
sustain with dignity, "the mild majesty of private life." Her ideas were
few and trivial; and her conversation was consequently trifling and
insipid. Her former habits made her ill qualified for a nurse; and her
love of pleasure made home a restraint to her, and the duties of a
mother insupportable. The disappointed Gloriosus, disgusted with his
home, sought for relief in the circles of pleasure and dissipation. His
wife was too much engrossed with her person and her parties to concern
herself about him; so that finding themselves mutually disagreeable,
they agreed to a final separation.
Apicius married for the sake of having a good housekeeper and cook. He
is a Mahometan in his opinion of women, and deems submission to her
husband the cardinal virtue in a wife. He has no idea of making a friend
and adviser of one whom he looks upon merely as his head-servant. He has
the same objection to any sort of learning in women which many people
have to the education of the poor: he thinks it must render them averse
from the performance of those menial duties of life, for which, he
imagines, they were exclusively created. It was his good fortune to meet
with a woman exactly suited to his disposition. She understood "the
whole art of cookery," the four rules of arithmetic, and could read the
New Testament without much difficulty. She had never been taught to
think for herself; the duty of obedience, which had been early
inculcated upon her by a severe father, had grown easy by habit; and she
was glad to save herself the trouble of relying upon her own resources.
She is, therefore, the mere echo of her husband's sentiments; she
believes him to be "the greatest wight on ground," and would as soon
think of contradicting the scriptures, as any thing that he says. This
acquiescence gratifies the vanity of her husband; he thinks her an
admirable wife, but to every one else, she appears a very insignificant
woman.
Imperitus was early a worshipper of the showy attractions of Clelia. She
was always a forward girl, and took the command of all the little
parties of her own age. This forwardness her parents mistook for mental
superiority, and thought they could not bestow too much pains in the
cultivation of her extraordinary talents. They accordingly provided her
numerous masters, and Clelia attained a smattering in many things. She
could draw tolerably, play tolerably, speak French tolerably, and write
tolerably pretty verses. Her parents thought her a prodigy of genius;
and her brothers and sisters were early taught to pay a proper deference
to her superior endowments. Her will was law, and her opinions
infallible. Imperitus contemplated her with amazement, and thought he
should be completely happy if he could obtain such an accomplished
character for his wife. But several long years did he languish in vain
for that blessing; and when at last she consented to become his wife,
she yielded with that air of condescension, which a high-bred dame
assumes when she suffers herself to be handed across the way by a person
of inferior condition. From that time, Imperitus became a cypher in his
own house; for the poor man was not only obliged to submit to all his
wife's proceedings, but she expected him to acquiesce in all her
opinions. Nothing under absolute authority could satisfy her high
opinion of her own abilities. Imperitus is almost afraid to speak in her
company; for, instead of assisting and palliating his natural
deficiencies, she is the first to ridicule and expose them. Her
passions, having never been checked, have become exceedingly violent.
She converses on politics and divinity with all the fury of a partizan
and a polemic; she seems impatient of the trammels of her sex; and her
conversation frequently goes beyond the bounds of decency and good
manners. One cannot help pitying the lot of Imperitus, who has a large
share of good-nature, and who (whatever may be his deficiencies) cannot
certainly be reproached with a want of constancy and tenderness towards
his wife.
Benignus's notions of the married state were of the noblest kind. In his
estimation, it was the institution the best calculated for the permanent
happiness of a rational being. Fully sensible how much the colour of his
future life must depend upon the person whom he should call his wife, he
determined to make his choice with circumspection. Surely, said he, if
we are solicitous respecting the character and temper of a person who is
to make a short excursion with us, it behoves us to be extremely careful
respecting one who is to be our companion in the journey of life. He was
first introduced to Charlotte at a ball. The dancing had just begun, and
she was entering into it with all that gayety which youth and health
inspire (for it was a diversion of which she was very fond) when she was
informed that her father was suddenly taken ill and would be glad to see
her, if she could consent to give up the evening's pleasure. She waited
not for consideration; but regardless of place or person, she flew out
of the room, and totally forgot, in the desire to relieve her parent,
that she should thereby lose a diversion, to which she had looked
forward with the greatest delight. Benignus, who had been charmed with
her person and conversation, was delighted with this proof of the
goodness of her heart, and determined to offer her his hand, if he
should find her as amiable at home as she was captivating abroad. He was
introduced the next day into her father's house by a friend of his, who
was a relation of the old gentleman's. They were shown into the
invalid's room. Charlotte, with her arms round her father's waist, was
gently helping him to rise in the bed; and her expressive countenance
showed how tenderly she sympathized in the pain he felt. As soon as she
was gone out of the room, her father, whose heart was warm with
gratitude, could not help breaking out into an exclamation of his
happiness in possessing such a daughter, whose dutiful and affectionate
attention, he said, disarmed sickness of its sting. Benignus went home,
in love with Charlotte, and from that time he became a constant visiter
at her father's house. He found her mind as accomplished as her heart
was benevolent. He doubted not but that so amiable a daughter would make
as amiable a wife. He married her, and has not been disappointed.
Blessed in each other's affections, they enjoy as much happiness as this
life is capable of affording: theirs is
----"the mild majesty of private life,
Where peace with ever-blooming olive crowns
The gate, where Honour's liberal hands effuse
Unenvied treasures, and the snowy wings
Of innocence and love protect the scene."
I am, Mr. Editor, your humble servant,
DOMESTICUS.
* * * * *
FRENCH DRAMATIC ANECDOTES.
A French actor, accustomed to perform the part of Achilles, wished to
have his portrait taken, and desired it might be in that character,
stipulating to give the painter forty crowns for his work. This son of
Melpomene had been a journeyman carpenter, and the painter, who was
informed that he was a bad paymaster, thought proper to devise a mode of
being revenged should Achilles play him any trick; he therefore painted
the figure in oil, the shield excepted, which was in distemper. The
likeness was acknowledged to be great; but the actor, that he might pay
as little as possible, pretended to find many faults, and declared 'he
would only pay half the sum agreed upon. "Well," replied the painter, "I
must be content; however, I will give you a secret for making the
colours more brilliant. Take a sponge, dip it in vinegar, and pass it
over the picture several times." The actor thanked him for this advice,
applied the sponge, washed away the shield of Achilles, and, instead of
that hero, beheld a carpenter holding a saw.
The famous Baron was both an author and an actor: he wrote a comedy in
five acts called _Les Adelphes_, taken from the Adelphi of Terence; and
a few days before it was performed the duke _de Roquelaure_, addressing
him, said, "Will you show me your piece, Baron? You know I am a
connoisseur. I have promised three women of wit, who are to dine with
me, the feast of hearing it; come and dine with us: bring it in your
pocket, and read it yourself. I am desirous to know whether you are less
dull than Terence." Baron accepted the invitation, and found two
countesses and a marchioness at table, who testified the most impatient
desire to hear the piece. They were, however, in no haste to rise from
table, and, when their long repast was ended, instead of thinking of
Baron, they called for cards. "Cards?" cried the duke. "Surely, ladies,
you have no such intention? You forget that Baron is here to read you
his new comedy?" 'Oh, no; we have not forgotten that,' replied one of
them, 'he may read while we are at play, and we shall have two pleasures
instead of one.' Baron immediately rose, walked to the door, and, with
great indignation, replied, his comedy should not be read to
card-players. This incident was brought on the stage by _Poincinet_, in
his comedy of the _Cercle_.
* * * * *
Boyer, a French dramatic author, had been fifty years writing and never
successfully. That he might prove whether his condemnation might not be
imputed to the prejudice of the pit, he gave it to be understood that
the new tragedy of Agamemnon was the production of _Pader D'Assezan_, a
young man newly arrived at Paris. The piece was received with general
applause, and Racine himself, the great scourge of _Boyer_, declared in
favour of the new author. "And yet it is by _Boyer, Mons. de Racine_"
exclaimed _Boyer_ himself, from the pit. Imprudent man! The next day the
tragedy was hissed.
When _Dancourt_ gave a new piece, if it were unsuccessful, to console
himself he was accustomed to go and sup with two or three of his
friends, at the sign of the Bagpipes kept by _Cheret_. One morning,
after the rehearsal of his comedy called the _Agioteurs_, or
Stock-brokers, which was to be performed, for the first time, that
evening, he asked one of his daughters, not ten years of age, how she
liked the piece? "Ah, papa," said the girl, "you'll go tonight and sup
at the sign of the Bagpipes."
* * * * *
It is a common practice in Paris, to read new theatrical pieces in
private assemblies, where they are supposed to undergo a kind of primary
ordeal, and over each of which a lady always presides. A tragedy called
_Alzaide_ by _Linant_, had been read at one of those societies, and
obtained great praise; however, it had no success on the stage, which
greatly afflicted this previous tribunal. Being assembled the day after
its performance, there was a general silence; but the lady, who had
first given her favourable suffrage, spoke at length and said--"The
piece, however, was not hissed." "How the deuce could it?" replied a
stranger, who happened to be present; "people cannot gape and hiss both
at once."
* * * * *
A bad French actor, having taken disgust at the reception he had met
with and quitted the stage, being soon afterward at Versailles, was met
by some young noblemen, who knew him, and who asked him what good news
he brought from Paris? "None," replied he, "for my part, I have taken
leave of the public. I am now no longer an actor." "Oh," said they,
"that is very good news indeed."
* * * * *
_Dufresny_, a French author, having written _L'Amant masque_ in three
acts, had it reduced to one act by the performers; and his comedies of
five acts were also generally reduced to three. "What," said he,
excessively piqued, "shall I never get a five act piece on the stage?"
'Oh, yes,' answered the _Abbe Pellegrin_, "you have only to write a
comedy in eleven acts; six of which will be retrenched by the
comedians."
In France the comedians are their own managers; except so far as
government interferes.
* * * * *
The _lively device_ upon Mrs. Clarke's seal, which tickled the fancy of
the _gallant_ Colonel Mac Mahon, was a _worn out Jack Ass_, mounted by a
Cupid, prodding the sides of the animal with an arrow, and the following
motto, _Tels sont mes sujets_--"Such are my subjects."
* * * * *
_Gluttony._--A few days since, a flint-digger, on the new Brighton road,
undertook, for a trifling wager, to devour four pounds of beef and a
sixpenny loaf, and wash all down with two quarts of beer, within half an
hour; and this task he actually completed in ten minutes and three
seconds, little more than a third of the time allowed!
* * * * *
During the inquiry into the conduct of the commander in chief, Mr.
Wilberforce said, that the courtly rebuke of the duke of York, by the
chancellor of the exchequer, reminded him of an anecdote of the reign of
Charles the second. When that monarch had been guilty of some gross
breach of decorum and decency with a loose woman, which attracted the
notice of the clergy, it was resolved to reprove him for his
incontinence and public transgression. The body of the clergy came to
the bottom of the audience room; one of them, of the name of Douglass,
persuaded the others to let him go up singly to his majesty, in order
that he might rebuke him with greater asperity. He accordingly walked up
to the king, but instead of the expected admonition, gravely, and in a
low tone of voice, advised his majesty, when he did such a bad thing
again, to be sure and close the shutters!
As the public frequently enjoys a laugh at the expense of an Irish jury,
it is but fair to allow a little _retaliation_ in the case of a
_Yorkshire_ jury, who at the last assizes brought in a verdict of
_manslaughter_, although the person so _slaughtered_ was alive; and when
recommended to reconsider their verdict, they _mended_ it by pronouncing
the prisoner _not guilty_.
* * * * *
_The influence of Bacon and Cabbage._
During the administration of Cardinal Richlieu, a set of strolling
players at Paris had such success in low farce, that the other companies
became jealous, and wished to have them suppressed. They complained to
the cardinal. He, fond of every thing dramatic, sent for them to perform
before him in the Palais Royal; and the piece they selected shows that
the Cardinal could sometimes be amused with one of the coarsest
descriptions of life and manners.
Gros Guillaume, or Fat Will, was a principal droll in the exhibition
before the Cardinal. Fat Will is represented as thick as he was long,
and often by means of a dress with hoops stretched across, formed
himself into the figure of a hogshead. In this farce, he was supposed to
be the wife of Turlupin, who, jealous of Garguilla, is going to cut off
her head; infuriated with this idea, he seizes her by the hair, with a
drawn sabre in his hand, while she, upon her knees, conjures him by
every thing that is tender to abate his anger.
She first reminds him of their past loves and courtships--how she rubbed
his back when he had the rheumatism, and his stomach when he had the
cholic, and how particularly charmed she was with him when he wore his
dear little flannel night cap--but all in vain. "Will nothing move
thee?" cries this amiable fair one, in a fit of the last despair--"Then
O! thou barbarian, think of the _bacon_ and _cabbage_ I fried for thy
supper yesterday evening." "Oh, the sorceress!" cried Turlupin--"I can't
resist her--she knows how to take me by my foible; the _bacon_, the
_bacon_, quite _unmans_ me, and the very fat is now rising in my
stomach. Live on then thou charmer--fry cabbage, and be dutiful."
* * * * *
A circumstance has occurred in the neighbourhood of a large town in
Hampshire, which has occasioned much amusing conversation. A young lady,
23 years of age, who will inherit a great property at her father's
death, was recently discovered by him to be in the family way; and on
the enraged parent's demanding who had been her seducer, she, to his
utter astonishment, replied it was her maid Harriet. On Harriet's being
called before him, an explanation took place, when it appeared the young
lady, during a visit last June at a friend's house near town, became
acquainted with a handsome youth, who was shop-lad at a circulating
library, of whom she became enamoured, and a secret marriage was the
consequence; but fearing her father's anger at such an unequal match
(the youth being poor) and the idea of being obliged to part with him,
gave birth to the following stratagem. The youth assumed the female
habit, and accompanied the fair bride to her father's house, where he
has until this fortnight figured away as her maid. The old gentleman,
however, is now reconciled to the loving couple, and Harry (alias
Harriet) is as happy as beauty and money can make him.
* * * * *
An Irish officer of the name of Foster, (now lieut. col. of the 6th West
India regiment) of the uncommon stature of six foot eight, made his
appearance at the rooms at Bath, when the late haughty princess Amelia
was present, she was led from his extraordinary appearance, to inquire
his name, family, and pursuits: she received information amongst the
answers to her inquiries, that he had been originally intended for the
church. "Rather for the steeple," replied the royal humourist.
* * * * *
THE LUCK OF EDENHALL.
_The ancient seat of Sir William Musgrave, in Cumberland._
In an excursion to the North of England, I was easily prevailed upon, to
see the _Luck_ of _Edenhall_, celebrated in an ancient ballad, now
exceedingly scarce--the only description I can give you of it is, a very
thin bell-mouthed beaker glass, very deep and narrow, ornamented on the
outside with fancy work of coloured glass, and may hold something more
than a pint. Tradition says that a party of fairies were drinking and
making merry round a well near the hall, called St. Cuthbert's Well, but
being interrupted by the intrusion of some curious people, they were
frightened, and made a hasty retreat, and left the cup in question, one
of the last of the fairies screaming out,
"If this cup should break or fall,
Farewell the _Luck_ of _Edenhall_."
The ballad above alluded to, is here inserted. It was written by the
duke of Wharton, and is called "The Earl's Defeat," to the tune of Chevy
Chace.
"On both sides slaughter and gigantic deeds."
GOD prosper long from being broke,
The _Luck of Edenhall;_
A doleful drinking bout I sing,
There lately did befall.
To chase the spleen with cup and can,
Duke Philip took his way;
Babes yet unborn shall never see
The like of such a day.
The stout and ever thirsty duke
A vow to God did make,
His pleasure within Cumberland,
Three live long nights to take.
Sir Musgrave, too, of Martindale,
A true and worthy knight,
Eftsoons with him a bargain made,
In drinking to delight.
The bumpers swiftly pass'd about,
Six in a hand went round,
And, with their calling for more wine
They made the hall resound.
Now when these merry tidings reach'd
The Earl of Harold's ears,
"And am I (quoth he, with an oath)
Thus slighted by my peers.
"Saddle my steed, bring forth my boots,
I'll be with them and quick;
And, master Sheriff, come you too;
We'll know this scurvy trick,"
"Lo, yonder doth Earl Harold come!"
Did one at table say.
"'Tis well," replied the mettled duke;
"How will he get away?"
When thus the Earl began, "Great duke,
I'll know how this did chance,
Without inviting me! sure this
You did not learn in France.
"One of us two for this offence
Under the board shall lie;
I know thee well, a duke thou art,
So, some years hence shall I.
"But trust me, Wharton, pity 'twere
So much good wine to spill,
As these companions here may drink,
Ere they have had their fill.
"Let thou and I, in bumpers full,
This grand affair decide"--
"Accursed be he," duke Wharton said,
"By whom it is denied."
To Andrews, and to Hotham fair,
Many a pint went round,
And many a gallant gentleman
Lay sick upon the ground.
When, at the last, the duke espied
He had the earl secure,
He plied him with a full pint glass,
Which laid him on the floor.
Who never spoke more words than these
After he downward sunk,
"My worthy friends, revenge my fall,
Duke Wharton sees me drunk."
Then, with a groan, duke Philip took
The sick man by the joint,
And said, "Earl Harold, 'stead of thee,
Would I had drank the pint!
"Alack! my very heart doth bleed,
And doth within me sink
For surely a more sober earl
Did never swallow drink."
With that the Sheriff, in a rage,
To see the earl so smit,
Vowed to revenge the dead-drunk peer
Upon renown'd Sir Kit.
Then stepp'd a gallant 'squire forth,
Of visage thin and pale;
Lloyd was his name, and of Gang-hall,
Fast by the river Swale.
Who said he would not have it told,
Where Eden river ran,
That unconcern'd he should sit by--
"So, Sheriff, I'm your man."
Now when these tidings reach'd the room
Where the duke lay in bed,
How that the squire suddenly
Upon the floor was laid--
"O, heavy tidings!" quoth the duke,
"Cumberland witness be,
I have not any toper more,
Of such account as he."
Like tidings to Earl Thanet came,
Within as short a space,
How that the under sheriff too,
Was fallen from his place.
"Now God be with him," said the earl,
"Sith 'twill no better be;
I trust I have within my town,
As drunken knights as he."
Of all the number that was there,
Sir Bains he scorn'd to yield,
But, with a bumper in his hand,
He staggered o'er the field.
Thus did this dire contention end,
And each man of the slain
Was quickly carried off to bed,
His senses to regain.
God bless the king, the duchess fat,
And keep the land in peace!
And grant that drunkenness henceforth,
'Mong noblemen may cease.
And likewise bless our royal prince,
The nation's other hope,
And give us grace for to defy
The devil and the pope.
* * * * *
"_Cooke's unparalled Excellence!_"
"In characters new, and in characters old,
Cooke must be allow'd a matchless fine fellow;
For, act what he will, we are constantly told,
That in every part he is perfectly mellow!"
* * * * *
_Ambrose and his Dog._
BY W. HOLLOWAY.
The clock had struck the midnight hour,
And all the village slept,
Save Julia, listening to the shower
She, lonely, watch'd and wept.
For, ere the sun peep'd o'er the hill,
To town her Ambrose went;
And sure some unexpected ill
Must his return prevent!
What, though the wood he pass'd beside,
He needed nothing fear,
For honest Dobbin was his guide
And faithful Tray was there.
The heath was wild! the roads were bad;
'Twas dark and dreary too;
'Twas cold, but he was doubly clad,
And well the way he knew.
Thus while she ponder'd clamorous came
Poor Tray, with scratch and whine,
The mistress rose, and much to blame
His rudeness did incline.
As gladly she the door unbarr'd,
Her weary man to greet,
The generous dog, with kind regard,
Rush'd fondling round her feet.
He moaned, he howl'd, he seized her gown,
And drew her gently forth;
She follow'd him across the down,
For she had prov'd his worth.
Beside the road the quarries lay,
Capacious, dark, and deep;
The steed had swerv'd one step astray,
And tumbled down the steep.
There lay poor Ambrose, stunn'd and pale,
Unhurt, his beast stands by;
And thither Tray, with frisking tail,
Attracts his mistress' eye.
Nor would he quit his master's side,
Such sympathy he found----
He lick'd his pallid cheek, and tried
To raise him from the ground.
Heaven, and her friends, their aid afford
To Julia's tears and vows,
And soon to life and love restor'd
Her much lamented spouse.
On wintry nights, when beats the storm,
And howling winds prevail,
The children round the brick hearth warm,
Repeat th' affecting tale.
While Tray, outstretch'd, the fire enjoys,
And rests his long white chin
On their soft laps who speak his praise,
And pat his downy skin.
O happy dog! no faithless man,
With prouder gifts endu'd,
Shall ever, share with thee, or scan
The joys of gratitude.
* * * * *
The following fragment of an elegant little ode to music will interest
the reader of taste, not only on account of the sweetness of its
numbers, diction, and sentiment, but also for that melancholy but
sublime anticipation of an affecting truth, that he was not made for a
long continuance in this world, which caused him to contemplate the
future with heightened satisfaction.
_By Henry Kirk White._
TO MUSIC.
O give me music; for my soul doth faint.
I'm sick of noise and care: and now mine ear
Longs for some air of peace, some dying plaint
That may the spirit from it's cell unsphere.
Hark, how it falls?--And now it steals along,
Like distant bells upon the lake at eve
When all is still--and now it grows more strong,
As when the choral train their dirges weave,
Mellow and many voic'd--where every close
O'er the old minister-roof in wavy echoes flows,
O, I am rapt aloft!--My spirit soars
Beyond the skies, and leaves the stars behind!
Lo, angels lead me to the happy shores,
And floating paeans fill the buoyant wind.
Farewell, base earth farewell.--My soul is freed:
Far from its clayey cell it springs--where music dwells indeed.
* * * * *
_Little things are Best._
A JEU D'ESPRIT.
Addressed to Miss C---- a _little, short_ lady.
_Satis parva res est._ Amphitrion, Act 2, Sce. 2.
When any thing abounds, we find
That nobody will have it,
But when there's _little_ of the kind,
Don't all the people crave it?
If wives are evils, as 'tis known
And woefully confess'd
The man who's wise will surely own
A little one is best.[I]
The god of love's a _little_ wight,
But beautiful as thought;
Thou too art _little_, fair as light,
And every thing--in _short!_[J]
O, happy girl! I think thee so,
For mark the poets'[K] song--
"_Man_ wants but _little_ here below,
Nor wants that little _long!_"
* * * * *
_From Poetical Tales, founded on facts._
On yon tall rock's projecting side,
See where the stripling bends his way,
To hang with rapture o'er the tide,
And tune a sweetly rustic lay.
Say what in sportive youth can move
To dwell on nature's varied hue?
What bids his bosom glow with love
And bathes his azure eye in dew?
What bids him hail the matin strain,
As morn's first blush illumes the vale;
And wake at midnight hour again,
To listen to the nightingale?
O Genius! 'twas thy strong control,
As o'er his cradle, from on high,
Thou way'd thy magnet o'er his soul,
And on his lips breath'd harmony.
Thy magic touch bade fancy rove,
As mind its early charms display'd;
Bade Shakspeare every passion move,
And Homer on his pillow laid.
Thou gav'st that fine perceptive sense,
Which throws o'er ev'ry scene its charm;
To joy will brighter joy dispense,
To grief more exquisite alarm.
Ah! dangerous gift, where bliss appears
But as the morn's first vivid ray,
And grief her mournful aspect rears
Through the long, lingering, weary day!
Yet siren Genius! still to thee
Thy captive pours the grateful strain,
To thee he bends the willing knee,
With all thy joys, with all thy pain.
Would Alwin that pure sense forego,
In tranquil apathy to rove?
'Ah! no,' he cries, 'with all thy woe
O stay and charm me with thy love!'
* * * * *
THE PARSON AND THE NOSE.
'Twas on a shining Summer's day,
As stories quite old fashion'd say,
A sleepy set of sinners--
To church agreed that they would go,
Their zealous piety to show,
When they had ate their dinners.
Scarce had the parson ta'en his text,
When he felt most confounded vext
To see his neighbours nod;
Proceeding with religious lore,
He quickly heard the sleepers snore,
Forgetting him and God.
When lo! descending from his seat,
The parson, full of holy heat,
At losing thus his labour,
Tweak'd one's stout nose, then graceful bow'd,
And said, "good sir, _you snore so loud,_
_I fear you'll wake your neighbour_."
J. M. L.
* * * * *
_The advantages of solitude for Study._
My garden neat,
Has got a seat
Hid from ev'ry eye sir;
There day and night,
I read and write,
And _nobody's_ the wiser.
* * * * *
_Favourite divertissements in Spain._
The theatres of this country, since the landing of the English, have,
among other dramas, called mysteries, frequently represented one
entitled _Las profecias des Daniel_ (prophecies of Daniel). No subject
can be better adapted than this, for combining a splendid variety of
pageantry in one oratorio, or sacred opera. The jubilee of adoration to
the golden colossus of Bel, the flaming _auto-de-fe_ for the refractory
holy children; the voluptuous dance exhibited during the meal of
Belshazzar; the sacrilegious use of the chalices of Jerusalem; the
sudden wrath of Heaven; the gloom of the thunder; the shadowy hand
writing on the wall, in characters of lurid fire; and the armed
irruption of the besiegers to renew a scene of purer triumph; all these
form a series of picturesque magnificence, which, says our
correspondent, you would enjoy to see some Sunday evening, at
Drury-lane. The popularity of this play may be ascribed to the continual
allusions of the Spanish patriotic writers to the seizure and supposed
profanation of sacramental vessels by the French.
Another new and very singular drama opens with Bonaparte, who
soliloquizes about Spain. Allegorical demons stand watching around, and
when he has confessed the whole atrocity of his purposes, they seize and
carry him off in a fiery car to the place of torment. Next appears
Ferdinand VII. a ballet of angels listen to his promises of virtuous
sway, and crown him during the dance with wreaths of victory. Finally
appears king George the third, who declares his horror for the tyrant,
his affection to the virtuous and native monarch; and who is entertained
by St. Iago and the virgin Mary, or by figures representing the genius
of Spain, and that of Christianity, with a performance in full chorus of
"God save the king."
* * * * *
_Longevity._
An extraordinary instance of longevity lately occurred in the island of
Jamaica in the person of Joseph Ram, a black man, belonging to Maurice
Hall estate, and who died at the advanced age of 140 years. He perfectly
remembered the earl of Albemarle who succeeded to the government of the
island in 1687. His daughter Grace Martin, an inhabitant of Spanish-town
and upwards of 85 years of age, says he had a complete set of new teeth
about twenty years ago, which remained sound to the day of his death.
His hair had turned quite gray. He retained his sight and memory well,
and had all his senses perfect, except that of smelling. He was stout
and inclined to corpulence, was never sick but once, and all the physic
he ever took in his life was one dose of nut oil. He had twenty-six
children by different women. His appetite was always good, and a few
days previous to his death, he walked a distance of four miles. His
dissolution was gradual, and unattended by pain or sickness: It seemed
indeed, to be the mere decay of nature.
* * * * *
"The first step is the only difficulty," is an old proverb. Ce n'est que
le premier pas qui coute, said the old facetious duchesse de
Rambouillet, when touching on certain extravagancies of a young female.
It was oddly enough applied lately by a lady, who hearing a clergyman
declare, "That St. Piat, after his head was cut off, walked two entire
miles with it under his arm _en chapeau bras_, yes madam, two miles
positively." "I do not doubt it" the lady quietly replied: "On such
occasions, the first step is the only difficulty."
* * * * *
_A specimen of the antiquity of Irish Bulls!!!_
A wealthy lord of Ireland, had a goodly faire house new-built but the
broken bricks, tiles, sand, lime, &c. &c. lay confused in heapes about
the building; the lord demanded of his surveyor, wherefore the rubbish
was not carried away; the surveyor said he proposed to hyre an hundred
carts for the purpose. The lord replied, that the charge of carts might
be saved; for a pit might be dug in the ground and bury it. My lord,
said the surveyor, I pray you what will wee doe with the earth, which we
digge out of the pit? Why you whore-son coxcombe, said the lord, canst
thou not dig the pit deepe enough and bury all together?
* * * * *
_Theatre, Ambleside, Winandermere._
Such an incident as the comedy of "The Poor Gentleman" having been
represented by _four_ persons, we should imagine not to be paralleled,
had we not before our eyes the advertisement of a farce in no better a
situation. What such exhibitions are, they only who have witnessed them
are able to inform us. The bill is certainly a curiosity, and as you pay
particular attention to the theatricals, I am induced to present you
with it, for the entertainment of your readers.
T. A. S.
THEATRE.
_White Lion, Ambleside._
On Wednesday evening, September 18.
_Will be presented the much admired new comedy of_
THE POOR GENTLEMAN,
_Or the Love of Argument._
Lieut Worthington, } _Mr. Weile._
Humphrey Dobbins, }
Sir Robert Bramble, }
Corporal Ross, } _Mr. Deans._
Ollapod the Apothecary, }
Stephen Harroby, }
Sir Charles Cropland, } _Mr. Johnston._
Frederick Bramble, }
Miss Lucretia Mac Tab, }
Miss Emily Worthington, } _Mrs. Deans._
_After the play the following Songs, &c._
My Mary's true by Mrs. Deans.
Knowing Joe among the show folks, by Mr. Johnston.
Comic Songs, by Mr. Weile.
Hipsley's drunken man, by Mr. Johnston.
To conclude with the laughable farce of
BARNABY BRITTLE,
_Or, a Wife at her wits' End._
Barnaby Brittle, _Mr. Deans._
Sir Peter Pride, } _Mr. Weile._
Clodpole, }
Lovemore, } _Mr. Johnston._
Jeremy, }
Mrs. Brittle, }
Damaras, } _Mrs. Deans._
Tickets of admission to be had at the principals inns. Front
seat, 1_s_, back, 6_d_, to begin at 8 o'clock.
FOOTNOTES:
[H] Te teneam moriens, deficiente manu.
[I] See _Josephus_ de Uxoribus--a very ancient and a very _serious_
jest.
[J] Nulla Voluptas _longa_ est. Seneca.
[K] Drs. Goldsmith and Young.
SPORTING INTELLIGENCE.
THE SOLDIER TO HIS HORSE.
_Allusive to a military order for the destruction of the British cavalry
horses, during the late retreat in Spain._
The word is giv'n--my officers command,
Fond partner of my danger and my toil,
That thou should'st die by this now trembling hand,
And prostrate lie upon a foreign soil.
Thy ample back in confidence I've strode,
Depended on thee in the hour of flight,
And oft thy wanton tricks of fondness show'd,
Thy master's prowess was thy chief delight.
Urg'd by my will, amidst the hostile ranks,
Hast thou sustained me, in each desperate fray,
And is it thus, my gratitude and thanks,
Thy nobly daring service shall repay.
Brute as thou art, 'tis not for thee to trace,
The cause whence flows the rugged soldier's tear;
And yet thou know's it flows not from disgrace,
For, thou hast borne me thro' the war's career.
When my bright scabbard bounded by thy side,
And shouts of victory our toils repaid,
The stately curvet, and the pacing stride,
None of our troops so gracefully displayed.
When charg'd by treble numbers we have fled,
Oppress'd, and spent, the glance of thy quick eye
Has cheer'd my drooping soul, as if it said,
We'll live together, or together die.
And once (the time to memory is dear)
Plung'd from thy back in the contentious strife,
No brother comrade to assist me near
Thy friendship, brutal friendship, saved my life.
Keen was the frost, the drifting snow fell thick
Upon the plain, where late the battle rag'd.
Benumb'd with cold, my heart was deathly sick,
When my pale looks thy fostering care engag'd,
Thy body thou didst gently bend to earth,
And pressing to my breast its glowing heat.
I felt the vital current gain new birth--
I felt the chilly hand of death retreat.
The memory of that unnerves my hand;
'Tis that enforces the unmanly tear!
To singly charge the foe be their command,
I know a soldier's duty to revere.
If on the "hope forlorn" I am doom'd to go,
Still 'tis my duty, and I'll not repine!
But I must perish, ere forget to know,
Thy body fed the vital spark in mine.
* * * * *
_Colonel O'Kelly's famous horse Dungannon._
This celebrated racer is the sire of many famous horses; he is the son
of the famous Eclipse, was foaled in 1780, and bred by colonel O'Kelly
himself.
The exploits of this famous racer are still fresh in the memory of all
frequenters of the turf; and that his figure may survive with his fame,
a most spirited print of him is published in England, in which he is
drawn accompanied by a sheep. A story attaches to this curious
coalescence, which we think worth relating to our readers.
As a drover was passing by colonel O'Kelly's on his way with a flock of
sheep for Smithfield market, one of them became so lame and sore-footed,
that it could travel no further. The man wishing to get rid of the
impediment, took up the distressed animal, and dropped it over the pales
of a paddock belonging to Mr. O'Kelly, where the race-horse was then
grazing, and pursued his journey, intending to call for the sheep, upon
his return back to the farmer who had employed him, believing the
creature after a little rest, would quickly recover. This was the case,
and an attachment between the two rangers of the little paddock
presently took place, almost to surpass probability. It is related by
evidence indisputable, that such was the affection of DUNGANNON for the
sheep, that besides sporting with it in various ways, he would sometimes
take it in his mouth by the neck with great tenderness, and lift it
into the crib where the groom deposited his fodder, as much as to say,
though you are not able to reach it, I will help you to the banquet.
Besides this, the horse would on all occasions defend his new friend,
and suffered no one to offer him the least molestation.
Mr. O'Kelly being made acquainted with these circumstances, resolved to
make the sheep his own, bought him of the farmer, and marked the wool
with his own initials, D. O'K. and left the two friends in peaceable
possession of the paddock and its adjoining shelter.
Mr. Stubbs the painter, being acquainted with these facts when he
requested leave to paint Dungannon, also introduced the portrait of the
sheep, as a lasting memento of the unusual affection that subsisted
between two creatures, so dissimilar in appearances, and so opposite in
their pursuits.
* * * * *
On Friday the 10th of April a very extraordinary wager was decided upon
the road between Cambridge and Huntingdon. A gentleman of the former
place, had betted a considerable sum of money, that he would go a yard
from the ground, upon stilts, the distance of twelve miles within the
space of four hours and a half: no stoppage was to be allowed, except
merely the time taken up in exchanging one pair of stilts for another;
and even then his feet were not to touch the ground. He started at the
second mile-stone from Cambridge on the Huntingford road, to go 6 miles
out and 6 miles in: the first he performed in one hour and fifty
minutes, and did the distance back in two hours and three minutes, so
that he went the whole in three hours and fifty three minutes, having
thirty-seven minutes to spare beyond the time allowed him; he appeared a
good deal fatigued, and his hands, we understand, were much blistered
from the continual pressure upon one part. This, we believe, is the
first performance of the kind ever attempted; but as novelty appears to
attract, as well as direct, the manners of the age, _stilting_ may
possibly become as fashionable in these, as _tilting_ formerly was in
better times.
DRAMATICUS.
No. II.
_Edward and Eleonora._
This excellent and interesting tragedy, the production of the admired
author of the Seasons, was, for some reason not easily discoverable,
prohibited from representation by the Lord Chamberlain,[L] with whose
dictatorial power over dramatic performances the world is well
acquainted. Many of the scenes are most exquisitely tender and pathetic,
and for the effects they produce on hearts of sensibility, are equal
(with due deference be it said) to any in the English or perhaps any
other language.
* * * * *
SOUTHERN.
Previous to the era of Southern's writing for the stage, the authors of
dramatic pieces had only the emoluments of the third night of
representation[M]. He deserves the gratitude of all succeeding
dramatists, for successfully contending with the managers, for the
proceeds of every third night of the run of a new play. The vast
increase of advantage from a very successful drama, produced by this
arrangement, holds out a great additional inducement to the exertions of
the talents of dramatists. Southern cleared, according to Baker, seven
hundred pounds sterling by one play--which, I presume, must have been
Oronoko.
* * * * *
OTWAY.
The manner of this unfortunate writer's death is variously stated by
various writers. I wish some of the correspondents of the Dramatic
Censor would elucidate this point. I hope the general opinion is not
true, that, being almost famished, he began so ravenously to devour a
loaf which was given him for charity, that the first mouthful choaked
him, and put a period to his existence.
Few dramatic performances require the pruning knife so much, and would
so amply repay the trouble, as some of those of Otway. In the Orphan
there are some passages as gross and offensive as are to be found,
probably in any tragedy whatever. There is moreover too much of horror
in it. The stage, it has been justly remarked, is made a mere
slaughter-house. These objections, both of which are very strong, might
be easily removed--and if they were, the tragedy would be excellent.
After writing these lines I have doubted whether I should not erase
them. The incestuous connexion of Polydore and Monimia, on which the
chief interest of the performance turns, is revolting, and incapable of
being eradicated without destroying the piece.
The error of judgment in Venice Preserved is equally conspicuous. Less
alteration would be necessary to render this tragedy, which is now to
the last degree exceptionable, a _chef d'oeuvre_. Had the tyranny and
oppression of the senators been made prominent and conspicuous--had the
conspirators been animated with the glorious spirit that fired a Bruce,
a Wallace, a Gustavus Vasa, a Hampden, a Sydney, a William Tell, or a
Washington--then angels might have bowed down to hear the language of a
Pierre deploring the miseries of his oppressed countrymen. But when,
instead of glorying in the risk they ran, and the sacrifice they made
for their country, their whole object clearly appears to be rapine and
murder, the liberal mind turns with horror from such a prostitution of
the writer's talents, which, had they been under the government of a
sound judgment and correct principles, would have reflected high honour
on the age and country in which they flourished.
* * * * *
_Candour and Modesty._
Henry Metayer, author of a tragedy called the Perfidious Brother,
committed it to Theobald, of Dunciad memory, for examination and
correction. The latter had the monstrous effrontery, after having made
a few verbal alterations in it, to have it acted and printed as his
own.[N] Metayer, incensed at this piratical proceeding, appealed to the
public, and had his own work printed. The literary thief excited the
contempt and detestation such a base procedure merited.
* * * * *
_Charles Macklin._
This actor has the credit of having checked a nefarious practice, which
has prevailed to a certain degree in almost every theatre, and of which
Philadelphia and New-York have exhibited some striking instances. I mean
the practice of certain meanspirited wretches, who bear malice towards
particular performers, and make parties to hiss them off the stage. It
is not easy to conceive of a greater degree of baseness, turpitude, and
cowardice, than is manifested by this conduct. The object of their
malice is unable to defend himself from their attacks. This, to a
generous mind, would be an aegis, and protect the person who could make
such a plea, as completely as her sex protects a woman. But with the
persons here contemplated, the impunity they expect is the very
incitement to their inglorious warfare.
Some of these ruffians having in this mode assailed Macklin, he singled
out as many of them as he could identify by the deposition of competent
witnesses. Against these offenders he commenced a prosecution[O] in
which they were found guilty, and exemplarily punished. The salutary
effects of this spirited procedure, I am informed, are still perceptible
in the London theatres.
* * * * *
_Richard Fullerton._
While I am writing on this topic, I may be allowed to drop a tear to the
memory of this unfortunate victim to the brutal system I have referred
to in the preceding paragraphs. That he was hunted to suicide, I could,
if necessary, establish by indisputable testimony. A very worthy man, of
the most strict veracity, now residing in Baltimore, informed me that he
was in a corner of the green-room, in the theatre of this city one night
when Fullerton was actually hissed off the stage. When the poor
persecuted actor came into the green-room, he did not perceive the
gentleman, and clenching his fists, struck his forehead, and swore with
a most desperate oath, that the ruffians would be the death of him. His
sensibility to outrage and insult overpowered and unmanned him. A few
days afterwards he consigned himself to the waves of the Delaware, to
escape from the fury of his remorseless persecutors.
What is here stated, was asserted in a cotemporaneous pamphlet,
published in this city on the occasion. The New-York reviewers, grossly
violating every principle of decency, propriety and justice, assailed
the writer, as if he had been guilty of a base fabrication, and had
invented this hideous charge, to dishonour the Philadelphia audience.
Without any fair opportunity of investigating the facts, they had the
decency and modesty to pronounce sentence with an assumption of oracular
infallibility. Probably the annals of literature can hardly produce a
more unfair attack upon any writer than the review to which I here
allude.
* * * * *
_A Dramatic Bull._
In a sorry tragedy, called the Fall of Tarquin, written by one Hunt,
there is a description of a forest, in which the author has this
ludicrous line--
And the tall trees stood _circling_ in a _row._[P]
* * * * *
_She would and she would not_--_or the kind Impostor._
The humour of this comedy, in many of the scenes, has hardly ever been
exceeded by any writer in any language. The dialogue between Don Manuel
and Don Philip, in which the former undertakes to "bamboozle" the son of
his friend, whom he conceives to be an arrant impostor, is absolutely a
masterpiece of humour. There are several other scenes of nearly equal
merit. It is difficult even at this day, to form a correct judgement of
Cibber--as the disgrace attached to him by Pope in the Dunciad excited
against him a prejudice which at this distance of time continues to
operate on the mind of the reader.
* * * * *
_High life below Stairs._
It is generally known, I believe, that the livery servants, a very
numerous and formidable body, formed a combination to suppress this
elegant and humorous satire on their vices and follies, the first night
it was performed. But fortunately for good taste and good sense, these
heroes of the epaulette were suppressed, and the piece had much more
success than it probably would have had, but for this ill-judged
attempt.
It is not, however, so generally known that this after piece owes its
origin to one of the papers in the Spectator, in which a number of
servants of the nobility are introduced, aping the manners, the airs,
and graces of their masters. The perusal of this essay suggested the
idea which has been so felicitously expanded in High life below Stairs.
* * * * *
_A hard fought theatrical battle._
No person in the smallest degree acquainted with theatrical affairs, can
be ignorant of the strong spirit of rivalship that exists between Drury
Lane and Covent Garden, and that has prevailed since the first
establishment of those theatres. The anecdote I am going to relate,
affords probably the strongest instance of this spirit that is on
record.
When Garrick's celebrity was at its highest pinnacle of glory, Rich, the
manager of Covent Garden, engaged Barry and Mrs. Cibber, performers of
very great talents, and high reputation, and entered the lists with
Garrick in the tragedy of Romeo and Juliet. Barry performed the young
Montague, and Mrs. Cibber the delicate and elegant Juliet. Garrick
produced the celebrated, but frail and unfortunate Mrs. Bellamy in
Juliet, while he played Romeo. Every exertion within the compass of
human powers was made by both parties, and the public opinion was held
for a time divided between the rivals. The warfare was continued for
twenty nights successively. At length Rich, growing tired of the
contest, abandoned Romeo and Juliet; and Garrick in triumph had it
represented one night more. The constant repetition of the same play
disgusted the public, and gave rise to the following epigram, which was
published in the papers of the day--
"What play tonight?" says angry Ned,
As from his bed he rouses.
"Romeo again!" he shakes his head--
"A pox on both your houses."[Q]
* * * * *
_What is it about?_
However incredible the following story may appear, it stands on the very
respectable authority of Arthur Murphy[R] and David Erskine Baker[S]. A
tragedy, called Zingis, written by Alexander Dow, was so totally
unintelligible that the audience were continually asking each
other--What is it about? What is it about?--That such nonsense should be
written is not so very marvellous, as that the miserable farrago should
have had a run of nine nights, which has been frequently denied to works
of first rate merit.
FOOTNOTES:
[L] Baker's Play-house Companion, vol. 1.
[M] Idem, 426.
[N] Baker's Play-house Companion, vol. 1. 312.
[O] Idem, 292.
[P] Baker's Play-house Companion, vol 1. p. 250.
[Q] Murphy's life of Garrick, Dublin Edition, p 125.
[R] Idem, page 294.
[S] Play-house Companion, Vol. 2. p. 417.
LITERARY INTELLIGENCE.
SHAW'S POEMS.
"... Not unknown to me the glow,
The warmth divine that poets know."
Shaw's M.S.
We find that proposals have been issued for publishing by subscription
the Poems of the late Doctor John Shaw of Baltimore. This is one of the
few occasions on which every man who pretends to revere virtue and
personal excellence, to admire talents, and to respect erudition, will,
feel himself imperiously urged to step forward with something more than
empty professions, and by practically interesting himself in the
advancement of this subscription, to pay a posthumous tribute to the
memory, and as the editor of the proposed work elegantly expresses it,
"_the living remains_" of a gentleman in whom those qualities were
conspicuously united. The pleasure we have often received from the
writings of Doctor Shaw--the high and ample space he filled in the
opinion of the country, particularly of those who best knew him, and the
honourable testimony which one of the most enlightened personages who in
this age have done honour to the peerage of Great Britain (lord Selkirk)
has borne to his talents and virtues, would prompt us to enlarge upon
this theme, if we did not feel that it would be injuring the matter to
take it out of the hands of the editor, J. E. Hall, Esq. whose words, as
being much preferable to any thing we could offer, we take the liberty
of transcribing.
"The Poems which are now offered to the patronage of the public, were
composed by a gentleman whose extensive endowments and excellent
qualities commanded the respect, and won the esteem of all who knew him.
Those who remember the communications of ITHACUS, in the earlier volumes
of the _Port Folio_, will not condemn the taste which deems them worthy
of republication in the form that is now proposed: and the many who
lament the untimely blow which deprived them of a friend, and society of
a useful and brilliant ornament, will liberally aid an attempt to give
"a local habitation" to the memorials of his genius.
"Some months previous to his demise, Dr. Shaw communicated to a friend
his intention of publishing a volume of poetry, and they devoted several
evenings to the task of preparing them for the press. But the idea of
establishing a Medical College, in this city, which he conceived about
that time, and the cares of an increasing family, so much engrossed his
attention, that his literary project was abandoned for more important
pursuits.
"For most of the pieces therefore, which shall appear in the proposed
collection, the editor may plead the sanction of their author: and, in
the choice of others, he will not neglect the duty that is due to the
fame of his deceased friend.
"It is the intention of the Editor to prefix some account of the life of
Mr. Shaw. From his letters and memoranda written during his residence on
the coast of Barbary, his probationary studies at Edinburgh, and his
wanderings with Lord Selkirk in Upper Canada, it is probable that
something may be gleaned to interest a reader. It is proper, however,
not to excite any extravagant expectations, as the Editor may not be
successful in the collection of sufficient materials for the execution
of so pleasing a duty.
"It is deemed not improper to intimate, that this publication is
undertaken as well to preserve the memory of the deceased, as to promote
the comfort of his "living remains." Thus, while an opportunity is
offered for the gratification of the taste of some, the virtue of all
may be rewarded by those sensations which arise from the performance of
a benevolent action."
From every circumstance that now appears, we augur the success of the
work, and a brimming subscription for it. The promised sketch of Dr.
Shaw's life ought of itself to ensure the publisher abundant support. Of
the execution of that part it may be sufficient to state that it comes
from the author of "The Life of Anacreon," and other compositions which
have enriched the pages of the Port Folio: and who is he so dull, for
whom biography has not charms?--On this last topic we beg leave to
borrow, for this once, the expressions of a writer, whose delicacy we
should offend, by speaking of him as we think, and to whom the taste and
literature of this country are more indebted than any but the wise and
learned are competent to understand, or any but the honest and generous
are willing to confess.
"In the harmonious family of literature," says Dennie, "History and
Biography are sisters. They are twins: and both are beautiful. The port
of the one is stately and martial, but the air of the other, if less
dignified, is more alluring. One generally _commands_ us to repair to
the cabinet or the camp, while the other _beckons_ us to the bower.
History has respectful and stanch friends, but Biography has passionate
lovers. There are some who are indifferent to the charms of the first,
but there are none who do not admire the winning grace and sensible
conversation of the latter."[T]
DR. SHAW'S POEMS are to be published by Coale and Thomas of Baltimore,
who receive subscriptions for the work.
FOOTNOTES:
[T] See Preface to the American edition of the Life of Pitt.
THE
FREE KNIGHTS,
OR
THE EDICT OF CHARLEMAGNE:
A DRAMA IN THREE ACTS,
INTERSPERSED WITH SONGS.
BY FREDERICK REYNOLDS.
PHILADELPHIA:
PUBLISHED BY BRADFORD AND INSKEEP; INSKEEP AND BRADFORD,
NEW-YORK; AND WILLIAM M'ILHENNY, BOSTON.
_Smith & M'Kenzie, printers._
1810.
THE FREE KNIGHTS.
DRAMATIS PERSONAE.
Prince Palatine,
The Abbot of Corbey,
Baron Ravensburg,
Count Roland,
Ravensburg,
Prisoner,
Bernardo,
St. Clair,
Everard,
Zastrow,
Walbourg,
Christopher,
Oliver,
First Falconer,
Second Falconer,
Free knights, Crusaders, Soldiers, Falconers.
Countess Roland,
Ulrica,
Agnes.
Dancers, Attendants.
_Scene--Westphalia._
ACT I.
SCENE I.--_A spacious cavern, veined with ore, marking the remains of a
sulphur mine. In the back a sheet of water, with a lamp hanging over it;
and cells with iron grating before them. At the right wing a large
brazen door, at the left wing another with steps leading up to it._
Everard _discovered--knocking and trumpets._
_Ever._ Hark! another victim. [_Unbars the door. Enter_ Zastrow,
_leading in a prisoner, whose eyes are bandaged._
_Pri._ Whither, Oh, whither would ye lead me? To pass apparently o'er
rugged rocks, ascend high mountains, and descend to vaults; hear the
close baying of the forest wolf, and the loud cataract's terrific roar;
and now, e'en now, perhaps, to stand upon the verge of some stupendous
precipice----
_Zastrow_ (_removing the prisoner's veil_) Behold! behold the precincts
of that famed tribunal that renders justice to the Christian cause, and
strikes dismay throughout the Christian world.
_Pris._ Merciful Heaven! if justice be the boast of your tribunal, why
all this dark, mysterious--
_Zas._ How! dare but to whisper one invidious word against an
institution that's upheld by----
_Pris._ (_crossing to Everard_) To you, who seem to wear a human form,
to you I make appeal. Some three months past my interest called me from
my native land here to Westphalia; and but last night, when all around
was calm and still as my own thoughts, a loud terrific knocking at the
portal convulsed my habitation. I rushed to know the cause, and, by the
moon's pale beam, read, on a banner fixed into the earth, this awful
summons: "Appear, Augustus Montfort, before the free knights! traitor
appear." How, how was I to act? A stranger to their hidden mystic forms,
I sought my neighbours for inquiry, when, sad reverse! I, who before was
welcomed with their smiles, met now such fearful and contemptuous looks,
that but for conscious and inherent pride, I had been then your victim.
_Zas._ Ay, none, none dare notice the accused.
_Pris._ None, save a monk, who, far less worldly than the rest, stopt,
and warned me to obey this their first summons, or soon a second and a
third would follow; and, on my then not answering, not only would my
sentence be proclaimed, but my best friend, ay, my own son, were he a
member of this dread tribunal, would, by a solemn oath, be bound to
plunge his dagger into his father's heart. Such are free knights! Such
the famed members of this lauded court! And having further learnt, that
on the tolling of the midnight bell at my own gate, or at the citadel, a
chosen minister of vengeance passed to pilot the accused, I went, and
you, through paths most dangerous and inscrutable, have brought me to
the spot where justice reigns; if so, give the first proof of justice,
trial. By that I am prepared to stand or fall.
_Ever._ Trial! alas! it may be years----
_Pri._ Years! I'll not believe it. Where are my judges?
_Zas._ There (_pointing to the door_) in full council, electing a free
knight. And till that awful ceremony's past, they must not be disturbed,
nor then but by their chief, Prince Palatine, who, on returning from the
holy wars, comes to consult them on affairs of state. [_Music._] Hark!
he approaches. This way to your dungeon. [_Prisoner appeals._] Nay, no
parleying. You have to cope with those who'll teach you patience and
submission.
_Music. Prisoner is led into his cell, and_ Zastrow _bars the gate_,
Everard _showing compassion._ Zastrow _opens the door, and the prince
and_ Walbourg _enter._
_Prin._ So, after an interval of ten long years, again I view and
welcome the tribunal. Ay, Walbourg, welcome it. For though dark
traitors, plotting against a state, may oft elude the common vigilance
which broad and open justice takes, yet can they escape the penetrating
eye of this deep-searching and all-powerful court? No. Unseen it sees,
and unknown pries into such hidden guilt, that the detected villain,
awe-struck, cries, "this is not man's but Heaven's unerring vengeance."
_Zas._ And, once detected, shall free knights forgive! Be death the doom
of all the prince's foes.
_Prin._ (_after a short pause_) Ay, death: for long inured to daring and
to desperate deeds, still deeper must I plunge. But Oh, my friend! in
the bright morn of life--(_aside to_ Walbourg.)
_Trumpets within. The prince shows surprise._
_Zas._ The council are electing a free knight: the gallant Ravensburg.
_Prin._ Ravensburg! the brave heroic youth, who on the plains of
Palestine first stamped the glory of the Christian arms! I guess his
honest, loyal motive. He has heard rumours of conspiracy, and here, as
in the field, would die to serve his prince.
_Ever._ So he avowed, my liege; and also that his father, the baron
Ravensburg, had urged him, and though he started when he entered, and
wondered much why all our actions should be thus involved in dark
obscurity, yet loyal and parental love prevailed, and he rushed into add
one more to the ennobled list that graces the tribunal.
_Prin._ Exalted Ravensburg! Let all who would uphold their prince's
cause like thee, uphold this hallowed institution.
_Enter_ Ravensburg, _hastily._
_Rav._ In storm, in battle, in the hour of malady, I can brave danger
with heroic firmness; but here I own and feel myself so much a coward,
that not for worlds would I return and face that scene of unexampled
horror. Back with me as I came; and, do I live to utter it? your arm. I
sicken, faint with apprehension.
_Prin._ Why, Ravensburg! The motive, loyal and parental love, and yet
dare hesitate! Return--perform the solemn rites--
_Rav._ What! swear I will pursue all doomed by this despotic court, and,
swifter than the lightning, strike a deadly weapon e'en in a parent's
breast! Never!
_Prin._ Never!
_Ravens._ My liege, error, perhaps, misleads me; but, trained in camps
and the rough school of war, though I ne'er felt that superstitious zeal
which founded and supports these unknown judges, yet an enthusiast in
the Christian cause, I would maintain it as the cause deserves, by open
vindication of its rights, and not by such mysterious arts as truth and
justice must disdain to practise.
_Prin._ Mysterious arts!
_Ravens._ Ay. Why else at dead of night, with shrouded sight, was I
conducted to this drear abyss, through ways apparently unknown to man?
And next immured in a long vaulted cell, where, as I gazed upon devices
framed to heighten my alarm, two ghastly figures, wrapt in mortuary
veils, rushed forth, and laying bare my breast, with a new-slaughtered
captive's blood, there marked a crucifix, and then descending to a
deeper cell, where, in full council, round an altar formed of human
skeletons, the secret knights appeared; and, whilst the cavern rung with
the loud shrieks of burning and of tortured victims, they proffered me
their oath--that oath which bound me to destroy friend, father,
mistress! Mighty Heaven! let bigots reconcile and court these scenes. I
have the common feelings Nature prompts, and fly from such barbarity.
[_Going._
_Prin._ Hold! By this desperate, this outrageous act, you have incurred
and well deserved our vengeance. And who is Ravensburg, that thus
condemns what laws, what monarchs, and what pontiffs sanction; and which
to loyal and obedient minds is now the rallying beacon of their hopes;
for who, but this all-seeing court, can save your sovereign and
_friend_, _father_, _mistress_, from a conspiracy, perhaps as fatal as
that by which the princess, young Theresa fell?
_Rav._ How!
_Prin._ Hear me. Some fourteen tedious years are past since on my loved,
lamented brother's death, this infant, only child, became the victim of
that curst Italian fiend, the count Manfredi's treachery, and I, against
my will, was hailed prince palatine. Manfredi perished not as he
merited. He died a natural death, and with him treason seemingly
extinct, I, like the rest of Europe's zealous champions, joined the
crusaders in the Holy Land. You followed, and you fought so nobly, I
confess I little thought that Ravensburg would join with new Manfredis
to overthrow his prince.
_Rav._ That I! lives there the slanderous and calumnious wretch who
dare----
[_Drawing his sabre._
_Prin._ (_holding his arm_) The man who will not court the certain means
by which foul treason may be traced and crushed, so far encourages and
aids the crime, that he is himself a traitor. And now, when journeying
from my capital, I hither come for counsel and redress--Shame! Oh,
shame! if feeling for your prince have no effect, think of an absent
father's claims, who, to the loss of a son's valued life, may add his
own and others of his race. (_Ravensburg shows alarm: takes him aside._)
Ay, the tribunal once offended, will mark and watch with such suspicious
eyes, e'en your most distant kindred, that danger, great as your
offence, hangs o'er them.
_Rav._ They cannot--will not----
_Prin._ They will. And picture the reverse: by linking with this
formidable chain, which, though invisible encircles all, you may watch
o'er your house's safety. (_Noise without of unbarring gates._) They
come--from every quarter come--to execute your sentence! You've no
alternative--escape you cannot. In church, in palace shall the free
knight strike; therefore instantly complete the forms, and aid your
country's and your prince's cause; or, like a base detested parricide,
involve an aged parent's life--
_Rav._ Hold! hold! A parent's claims are ever paramount; and Heaven,
that witnesses my motive, will pardon my consenting.
_Two free knights appear at each door, and are advancing with uplifted
daggers._
_Prin._ Forbear! He is a convert. He will unite with us in tracing and
o'erthrowing new conspiracy. Come, you're my friend again (_taking
Rosenburg's hand_.) And whilst Westphalia's my abode, I will sojourn me
in your father's house, and witness, as I'm told, another ceremony; the
happy celebration of your nuptials.
_Rav._ My nuptials happy! Well! well! lead on. Be this my first, my
lesser sacrifice.
_Music._--_A party of free knights enter at one door, carrying a banner,
on which is painted the cross, an olive branch, and a poniard. A party
likewise enter at the other door, carrying a banner on which is painted
an eye, surrounded by clouds, and radiated like the sun._ Prince,
Ravensburg, _and train exeunt, free knights following._
SCENE II.--_An open country, Corbey Abbey in the distance. At the right
wing the gates of the town of Corbey; at the left wing the chateau of
baron_ Ravensburg.
_Enter countess_ Roland _and_ Ulrica, _from the chateau._
_Countess._ So, this is grateful; this is graceful. Answer me. Who has
maintained you? who has educated you? and from whom did you get these
fine clothes and fine manners? From me! you took your manners from me!
_Ulrica._ Took your manners! Lord, aunt! and yet you call me ungrateful!
_Coun._ And last summer, who took a fine house for you at
Aix-la-Chapelle? and, starting you on a matrimonial speculation, so
dazzled and decoyed old baron Ravensburg, that he not only invited us to
his chateau here, but selected you to be his son's wife, the wife to the
hero of Palestine. And yet, though I told you, modern friends followed
new houses as naturally as rats run from old ones, you were for my
laying out my last florin on a cottage, a cheap paltry cottage.
_Ul._ And why, aunt? Because I thought we should both most like what we
were most used to.
_Coun._ Most used to!
_Ul._ To be sure. Till a few years ago, when you went to live at Roland
castle, did'nt you keep such a snug little cot in Franconia, that you
might have packed it up and taken it with you?
_Coun._ My Franconia cottage! mercy on me!
_Ul._ Yes. Don't I still wish myself in that cot? I do, I do: for it's
all very well if a person have the misfortune to be born a fine
lady--but to be made one; to be taught to talk without thinking, stare
without looking, and be red without blushing! Lord, who'd go and waste
money at fairs and carnivals, when they might see curiosities in every
great house for nothing!
_Coun._ If you dare hint to baron Ravensburg--
_Ul._ Not I! I dare no more tell baron Ravensburg what you once were,
than I dare tell your rural relations what you now are: for if he knew
you were once Winifred Winbuttle, and they knew--Lord! Lord! if those I
so long lived with, if aunt Alice, and her son Christopher--dear
darling cousin Christopher!
_Countess_ (_who has been walking about in a rage_). Jade! Jezabel! how
often must I remind you, that I no longer acknowledge this Franconia
relationship? That I am, and have been, since last winter, of pure,
noble, Norman extraction, and widow of the great count Roland, madam,
who, struck with my charms, soon married me, madam, and being married,
soon died, madam.
_Ulrica._ Very, very soon. And you may well take it to heart; for, alas!
his estate went with his title--went to his nephew, young count Roland,
who, after an absence of many years, returned from his travels on that
most melancholy day. (_half crying._)
_Countess_ (_weeping._) He did; and grief, grief prevented my seeing
him; but you saw him Ulrica, and by what I heard of the tender
interview, if the count hadn't been suddenly called away again----Oh!
'tis a sweet estate? one third of it would be consolation for any loss.
_Ulrica._ There! You think I'm to exterminate the whole German nobility,
whilst I think there are even doubts about the young baron Ravensburg.
Again, from my window this morning, again I saw him in close
conversation with the sweet interesting Agnes--and if he love an humble
orphan, and I love the humble Christopher--Now, do, aunt, do let me tell
him, and every body, you're become a fine lady: if I don't, they'll
never find it out, aunt.
_Countess._ Talks of your cousin, Christopher! whom I hav'n't seen for
years, and never mean to see again! Peace, I insist! And for
Ravensburg--your betroth'd's--loving Agnes, the Baron's dread of that
marriage will hasten yours; or if it don't, and this string snaps, in
young count Roland we've perhaps a better. But see--our host--hush! for
your life not one word of Franconia.
_Baron_ (_speaks without._) Now, prepare yourselves to receive our
illustrious visiter with the honour due to his rank.
_Enters._
Why countess, I've been looking for you every where. What do you think?
The prince Palatine means to copy your example; like you, he means to be
a visiter at my chateau, and be present at the celebration of my son's
nuptials. His train has already pass'd the aqueduct. (_A strain of
music._) Hark! he approaches. (_Calls on the servants._) Come along all
of you, and make your best bows and curtsies.
_The procession enters._
(_After procession._) Now, Ulrica, as I am not one of your silver-toned
orators, do you give to the warriors from the holy land a most
harmonious greeting.
RECITATIVE--_Ulrica._
With well-earn'd laurels in the Christian cause,
Receive, great chief, your native land's applause.
AIR.
Fam'd crusaders! just as brave,
Form'd a nation's right to save!
Now repose on tranquil plains,
Listen to our dulcet strains.
Peace inviting,
Joy exciting,
'Till the foe again assail,
Then the glorious contest hail.
_Prince._ Delightful! exquisite! (_To Ravensburg who looks dejected._)
Nay, Ravensburg, the die is cast, the solemn oath is sworn, and should
your altered looks create the least suspicion of what's past, beware!
beware! for 'tis a secret that was ne'er divulged--not e'en your chosen
partner must suspect that you're invested with a free knight's rank.
_Rav._ 'Tis sworn--'tis secret.
_Baron_ (_advancing with all respect towards the prince_). My liege,
this honour to a poor old simple baron----
_Prince._ Sir, you've a title that surpasses pedigree. You are the
father of the gallant Ravensburg; and since he comes to claim the
soldier's brightest, best reward, fair woman's love, I trust to find you
have selected one who richly merits such an envied prize.
_Baron_ (_introducing Ulrica._) This is the lady, your highness; and she
not only boasts great rank, and, as you see great beauty; but she has
nothing of what destroyed my matrimonial happiness--no distant
relations, no poor cousins, nephews, nieces, and grandchildren, who, on
a rich man marrying into a family, actually treat him as private
property, and go on getting more cousins.
_Prince_ (_to Ravensburg._) She seems as artless as if trained in humble
unsophisticated life; and I prognosticate, will yield that calm content
which I, alas! can never hope to taste--never!--Come let us in, and on
tomorrow be the nuptials solemnized. (_Ravensburg appeals._)
_Enter_ Agnes.
_Agnes._ Madam--the----(_countess stops her_.)
_Prince._ Ay, Ravensburg, tomorrow; for, harassed as we are by foul
conspiracy, our stay's precarious; and 'till we're summon'd to the scene
of danger, let loud festivity and outward show dismiss our inward grief.
_Ravens._ My liege, may I suggest----
_Baron._ Suggest nothing--'tis all settled--the prince has said it. I've
said it; and tomorrow the priest, shall say it. Lead on--away--and yet,
bless me, how rude I am. I have introduced your highness only to Ulrica.
That, entering the chateau, is her aunt, the countess Roland. (_Countess
curtsies to the prince, and exit_). That next to her is Agnes, the poor
orphan Agnes.
_Ravens._ The poor! My liege, though rank nor fortune smil'd upon her
birth, she is so rich in more substantial charms, that you, her
sovereign, might be proud to boast a daughter of such peerless worth.
_Prince_ (_starting, and gazing on Agnes with great emotion._) That
form, those eyes! that mark'd, majestic, ne'er to be forgotten mien!
(_Agnes curtsies, and exit._) Merciful powers! Whence came she,
Ravensburg? Fly, swift recall her! yet hold! for if it
prove----Impossible, it cannot be!--and the dread vision past, we are
ourselves, and hail the festive scene.
[_Music. Exeunt into the chateau; the baron and Oliver remaining to
usher the party in. The baron is following; Oliver stops him._
_Oliver._ One word, only one word from your faithful old Oliver, who
can't help reminding you, that he became your servant this day thirty
years.
_Baron._ I know you can't. You are always reminding me; and if you go on
presuming upon long service, and making honesty so very
troublesome--give me a civil downright rascal! And so follow, and assist
in preparing for the glorious union of the Rolands and the
Ravensburgs--of two families who boast pedigrees.
_Oliver._ Granted: but I've seen what you might, have seen. Your son
don't love Ulrica: he loves my poor dear Agnes!
_Baron._ Granted. Thanks to the countess, I've seen it ever since he
came from the wars; and if Agnes had seen it, she had never seen my
house again; but as she chose to be discreet, she shall now see an union
that will blazon our family hall with Norman, Saxon, Spanish, Danish--in
short, with heraldry never yet seen or heard of.
_Oliver._ Stop--one word. (_Baron breaks from him, and exit._) So this
is love of pedigree: this is because he reckons by titles, not by
character. And if a certain lady, whose name I won't mention, were not
countess Roland, he'd see she was no more than a deep, decoying,
match-making----Plague on't! I hope she won't next hook him into the
noose; for if she had a husband every morning, my life on't, she'd be a
widow before night. Oh lord! poor Agnes, poor young master, and poor old
Oliver. (_Remains in a thoughtful posture._)
_Enter_ Christopher _through the gates._
_Chris._ (_looking round._) Dear, dear, what a nice, sweet, pretty
place! Well, I declare when travellers used to talk of their fine
sights, I used to wink and nod, as much as to say, I believe it's all
bounce. But when I go back, and describe that object (_pointing to the
abbey in the distance_) and this object (_turning round, and running
against Oliver_)--Sir, I beg pardon for calling you an object. But you
see I am just come from the woods, Sir--from the woods about six leagues
off, Sir, where I was hawking with my lord, when he--he--he--od'rabbit
it!--Hit or miss, it will be rare sport.
_Oliver._ What sport? And who are you? (_angrily._)
_Chris._ Why, that's it. I want to know who I am; and perhaps you can
tell me. (_Gets close to him._) Little Solomon, you see, one of our
under falconers, and who has seen all my relations, come t'other day to
this town for a basket of provisions for my lord and his hawking-party;
and as he was staring about, who shou'd he see ushered into a fine
house, and hear being call'd by a fine name, but my aunt Winifred--old
Winifred Winbuttle, the housekeeper! Very well--I cou'dn't say or unsay
this, you know; so I directly gets leave of my lord to come myself, and
stare about; for thinks I, if I _am_ made a fool of, I'm only where I
was, you know. (_With affected simplicity._)
_Oliver._ Certainly, or worse; for to suppose I'll stay chattering here
about Solomon and Winifred, proves, if not quite, that you are very near
an idiot! (_going._)
_Chris._ (_taking his arm._) Very--I'm very near an idiot! And yet, do
you know, upon my honour, Solomon described every thing!--from aunt
Winifred, and her great title, down to the Gothic latch'd gate, and the
little twaddling old butler who open'd it: he did--and if I could but
once--(_looking about_)--only just once--(_seeing the chateau_)--Why
that's it! by Solomon's description, that must be the very house, that
the gate, and you--he! he! he!--Come, I'm no fool now! Icod, I see who
you are.
_Oliver_ (_standing before the door._) Dolt, booby! I leave you to your
folly! But I would have you know, there are none in this house, none but
the marchioness Alberti, the countess of Roland--
_Chris._ Who?
_Oliver._ The countess of Roland, and her niece Ulrica; so that's your
final answer from the little twaddling old butler. [_Exit into
the chateau._
_Chris._ (_strutting, &c._) 'Tis she!--Aunt Winifred, by law, takes a
countess's title; and I--pshaw! I'm like other great people, I'll take
any thing!--Not so--some three score hungry, ragged relations, they'll
take possession of that beautiful tenement (_pointing to the chateau_)
and Ulrica--sweet Ulrica--will take possession of this beautiful
tenement (_himself._) And then--Oh, my dear Christopher! how you do long
for the wedding day!
SONG--_Christopher._
I.
I'll tap at her door when the morning shall break,
And with the first lark I'll be singing;
I'll whisper quite soft, "Now, my dear love, awake,
For the church bells are merrily ringing.
The bridegroom, impatient, no longer can rest:
The bridemen and bridemaids quite smartly are drest;
The drums and the fifes so cheerily play,
The shepherds all chant a gay roundelay;
With garlands of roses fair damsels advance,
The young and the old partake in the dance;
Such mirth and such rapture never were known;
I'm surpris'd that so long you will tarry:
I prithee, Ulrica--prithee, come down;
For the sport of all sports is--to marry."
II
When home we return, we'll sit down to feast,
Our friends shall behold us with pleasure;
She'll sip with my lord--I'll drink with the priest,
We'll laugh and we'll quaff without measure.
The toast and the joke shall go joyfully round,
With love and good humour the room shall resound.
The slipper be hid--the stocking let fall,
And rare blindman's-buff shall keep up the ball;
Whilst the merry spinette, and the sweet tambourine,
Shall heighten and perfect the gay festive scene.
Such mirth and such rapture never were known,
I'm surprised that so long you will tarry;
I prithee, Ulrica--prithee, come down;
For the sport of all sports is--to marry.
[_Exit into the chateau._
SCENE III.--_A splendid gothic hall in the_ baron's _chateau. Large
folding doors in the centre. Two state chairs are brought on by two of
the_ baron's _servants._
_Enter_ Ravensburg.
_Ravens._ Today, to swear the dire terrific oath, "and on tomorrow be
the nuptials solemnized." In all--in all--must Ravensburg be
sacrificed?--He must--his father has committed him! pledged by his
promise to accept the fair Ulrica s hand, shall I, perchance, destroy
her prospects and her hopes, by basely now retracting! No--though love
for Agnes occupies my breast, still is there room for honourable
feeling! and be the conflict great as was the last, that feeling shall
prevail! This hand shall be Ulrica's--unless--there, there's my hope!
Now, at the banquet, she besought a private interview; and whilst the
festive scene engages all, I've stolen forth to give her here the
meeting. What, what would she impart?--And why delay? Oh, were her
tidings welcome, she would not thus withhold them.
_Enter_ Agnes, _hastily, not seeing_ Ravensburg.
_Agnes._ I cannot comprehend! the prince to gaze on me with such
emotion! wildly exclaim, "the sight of her is hateful!" and, with the
baron, leave the banquet, to be told the whole of my sad history--'Tis
well! I shall not suffer by the truth; for, as I guess, mine, is a story
to excite more of compassion than resentment.
_Ravens._ Agnes! speak--what of the Prince?
_Agnes._ Nothing, my lord; he would know my story, would be told that I,
an infant, friendless, fatherless, was nursed and cherished by the baron
Ravensburg, who, like the rest, of late has met me with such altered
looks!--but 'tis of late!--for years he called me his adopted child; and
you, my benefactor's son, bear witness, I banish from my mind the
present change, and dwell with gratitude on past affection.
_Rav._ 'Tis his new friend, this artful, envious countess! 'Till she
became your foe--
_Ag._ I know: and how have I offended? Still I've endeavour'd to obey
and please her, and her niece, the fair, the happy--Sir, I forget--I
came by her desire--the countess having heard of her intention, will not
allow of any private interviews, and therefore 'tis Ulrica's wish, that,
as tomorrow is the nuptial day, the day which blesses her, but
which--(_bursts into tears_)--I can no more--Spare! spare! and pity me!
_Rav._ Proceed! for, if I know Ulrica's heart, you are not messenger of
any tidings ungracious to yourself.
_Ag._ Indeed, I know not--She was, as she has ever been, most kind and
most compassionate; but to her wish--she begs you will comply with what
is here requested--Take it--(_giving him a letter_)--and the hard office
o'er, farewell until tomorrow! And then, no sister's prayers did e'er
more pure and fervent flow than mine shall then for yours and your
Ulrica's happiness.
_Rav._ (_having opened the letter._) Stay! (_reading._) "Shall I accept
his hand, whose heart I perceive to be another's? And can I wish him to
accept mine, who, from early education, am better suited to a far more
humble sphere! No, generous Ravensburg! Remonstrate with your father,
and increase the esteem of Ulrica, by wiping away tears, which flow from
silent, genuine passion! Hearts such as yours and Agnes's can best
reward each other," Exalted woman! I _will_ remonstrate with my
father--now, instantly, and come what will, no nuptials shall be
solemnized, but those which love shall crown--(_taking her hand_)--if
you refute not what Ulrica writes.
_Ag._ My lord, 'twere affectation to deny what this our mutual and
unequall'd friend has now revealed; but for the rest! if I am worthy of
the son's affection, remember, that I owe it to the father; and great,
however great the sacrifice, still would I rather meet that son's
displeasure, than plant a sting in the protecting breast that warm'd and
nourished a forsaken orphan.
_Rav._ My father will relent! Hark! he comes! the banquet o'er, new
revelry succeeds, and now I can partake its joys. Come, the hope that
dawns shall lead to lasting sunshine.
_Enter the_ baron's _train, and the_ prince's _train._
_The_ prince _and_ baron _last, and together._
_Prin._ (_aside to the baron._) That is her history? You have imparted
all?
_Bar._ That--that is Agnes Lindorf's story.
_Prin._ And none--none know it!
_Bar._ None--I've kept it secret, even from herself; because, at first
the circumstance exciting interest, I fear'd to lose what might supply a
daughter's loss; and, since not wishing to increase an orphan's
suffering--
_Prin._ (_starting, on seeing Agnes._) Behold again! again it flashes on
my mind full confirmation. Take, take her from my sight! Yet, no--that
may create suspicion, and Walbourg! Walbourg will, ere long, return. Oh!
were he come! for every moment is an age, till I'm secure! [_half
aside._
_Bar._ Walbourg! gone! where my liege?
_Prin._ (_angrily._) No matter, Sir--let the dread interval be filled
with these your care-destroying sports. Come, strike!
[Prince _and_ baron _seat themselves, and the other characters are
ranged on each side the stage._
_Dance._
_In the midst of which a loud knocking is heard, accompanied by trumpets
without. All show alarm, except the_ prince, _who expresses secret
satisfaction._ [_Music changes._
_Folding doors are thrown open by_ Walbourg, _who enters, and points to
a black banner, fixed into the ground, on which is written, in golden
letters,_
"AGNES LINDORF! APPEAR BEFORE THE FREE KNIGHTS!"
[Agnes _stands motionless with terror, then runs wildly about, appealing
to the different characters. The_ prince _menaces--all point to the
banner, turn away, and exeunt, except_ Ravensburg, _who is following,
when_ Agnes _clings to him, and detains him._]
_Ag._ You! you will not forsake me! Grant, grant me but a look!
_Rav._ Avoid me! shun me!
_Ag._ I swear by Him, to whom all crimes are known. I know no more of
what I am accused, than does the new born babe! But think, oh think! I
am accused by those, whose names strike terror through the world, and
who, by solemn and terrific oaths, are bound to execute such dreadful
deeds, (_Ravensburg trembles violently_) that you, whose nature must
revolt at such barbarity! you, my kind, only friend! [_falling
on his shoulder._
_Rav._ Fly! swift--escape? (_passing her across him._) Where? (_stopping
her._) Whither! who can elude the penetrating eye of their
deep-searching vengeance? And if you answer not that awful mandate? All
gracious powers! (_turning from her_)--I am forbidden to advise, nay,
even converse with the accus'd! And yet, Agnes! (_turning towards her_)
though my whole heart be with thee--Farewell! farewell! [_embracing
her._
_Enter, immediately_, prince Palatine.
_Prin._ False, perjur'd Ravensburg! (_parting them._) Away! and, but
that consciousness of guilt prevails, why, traitress? why this coward
fear? Tried and aquitted by this high tribunal, your friends shall
welcome you with added honour! But if you shall rashly disobey the
summons, your death is certain, and you doom those friends--mark
that--you doom, perhaps, your dearest friends, to turn assassins, and
destroy that life, which, but for selfish and for dastard terror, had
been preserved to bless them.
[Agnes _eagerly regarding_ Ravensburg, _who shows extreme agitation._]
_Ag._ I see! it breaks! it bursts upon my mind! and though none know
where the free knights meet, all are acquainted with their dreaded
forms; and soon, and soon will a minister of vengeance come--(_crosses
to Ravensburg_)--to summon the accused. (_Trumpets._) My lord--take
courage! I'm no more a coward. (_She takes Ravensburg's hand._) Feel--do
I tremble? Am I by selfish terror influenced? No, mighty Sir, (_to the
prince_) behold what conscious innocence effects! And see, where
sympathy and pity prompts, a woman's spirit emulates your own,
(_embracing Ravensburg._) Farewell, kind, generous friend! Now, Heaven
protect, and guard me!
[_Music._--Ravensburg _would detain_ Agnes. _The_ prince _prevents him.
A_ free knight _appears on the terrace._ Agnes, _all animation, points
to the_ free knight--_also blesses_ Ravensburg. Ravensburg _implores
heaven in her favour._ Agnes _exit rapidly, and_ Ravensburg _is partly
persuaded, and partly forced off, by the_ prince Palatine.
_End of Act I._
ACT II.
SCENE I.--_An apartment in the_ baron's _chateau. A door in the back
scene, leading to a chamber._
_Enter_ Christopher, _hastily, through the stage door._
_Chris._ Not here either!--no where to be met with! Bless my soul? now I
am in the house, I might as well be out of it; for I can't find aunt or
cousin; and the fine company here seem all out of their senses. One
pushes me, and t'other pushes me, and till I'm sure I'm fine company
myself, it wont do for me to push again. Countess?--where are you, aunt
countess? Do come, and make me fine company! Oh lord! I'll try this door
(_door in the back scene_) and I should be half afraid she kept out of
the way because she was asham'd of me, only I know aunt has no
pride--not a bit of the gentlewoman about her.
[_Exit affectedly into the chamber._
_Enter countess_ Roland, _leading in_ Ulrica _through the stage door._
_Coun._ There! and now, whilst I return, and consult with the baron,
I'll take care nobody consults with you. [_Taking the key
out of the stage door._
_Ul._ Heavens! what have I done, aunt?
_Coun._ What have you not done? And till you're wife to Ravensburg this
and the adjoining chamber shall be your prison--it shall! for even if
the great young count Roland were to offer marriage, who knows but you
might write to him about "humble sphere," and "early education." Write!
nonsense! Why here I am who never wrote a letter in my life.
_Ul._ This my prison! Aunt, my dear aunt, if I have long sickened at
this scene of splendid misery, and sighed for your sister's calm cottage
in Franconia, what must I now, when poor Agnes, and this frightful
tribunal----
_Coun._ My sister's cottage!
_Ul._ And my cousin Christopher----
_Coun._ How's again! again insult me with this low relationship! I'm
gone, madam (_Christopher re-enters behind, smiles, rubs his hands, and
stops at the door, and listens_)--gone to prepare for your marriage with
a man of my own rank, madam. And once more take notice, I disclaim, I
disown the whole Franconia family; and if any poor cousin, niece, or
nephew attempt to hang on me, depend on't they shall hang on something
more substantial. Oh! by way of example, only let me catch one of
them--just that this frightful tribunal may catch, rack, and torture him
into confession of his own and your presumption. [_Exit at the
stage door, banging and locking it after her._
_Chris._ (_groaning loudly_) Oh! h! h!
_Ul._ (_half turning round._) A man! a strange--help!
_Chris._ (_advancing and trying to stop her mouth_) Don't!
_Ul._ (_breaking from him without seeing his face_) Aunt! come back,
aunt!
_Coun._ (_without_) Not I, I promise you.
_Chris._ Thank ye, thank ye kindly, aunt! (_fanning himself with his
hat_)--and if this be your style of providing for your family, thank you
also for disowning the relationship; but you, cousin, though you are
going to be married to a man of rank, won't you take pity on your old
play-fellow, Christopher, who having heard of aunt's promotion, came, in
hopes of getting into high life; and who certainly will get into high
life (_pulling up his collar_) if you don't keep him from being caught,
racked, and tortured by----Oh! Lord!
_Ul._ Christopher! cousin, Christopher! and come to see his aunt, the
countess! Very well, sir; you didn't come to see Ulrica, then!
_Chris._ Eh!
_Ul._ You didn't come to see her who is already caught, locked up,
because she don't choose an unequal marriage; and who, notwithstanding
her dress and appearance, is the same simple-hearted creature you left
her, sir; but since you're altered, sir, since you forgot your former
humble----
_Chris._ (_half crying_) I don't--I'm as simple as ever. And if I
thought you were not joking--but you are--(_looking close in her
face_)--yes--no--(_Ulrica smiles_)--she's the same kind-hearted--
_Ul._ I am; and were we but in our native village, Christopher----
_Chris._ We'd send for a priest, buy a little land, make money, make
love, and have such a happy fire-side!
DUET--_Christopher_, _Ulrica._
_Chris._ When a little farm we keep,
And have little girls and boys,
With little pigs and sheep,
To make a little noise----
Oh! what happy, merry days we'll see!
_Ul._ Then we'll keep a little maid,
And a little man beside;
And a little horse and pad,
To take a little ride,
With the children sitting on our knee.
_Chris._ The boys I'll conduct,
_Ul._ The girls I'll instruct;
_Chris._ In reading I'll engage,
Each son is not deficient;
_Ul._ In music I presage,
Each girl is a proficient.
_Chris._ Now, boy, your A, B, C!
_Ul._ Now, girl, your solfa!
[_Ulrica is supposed to teach a girl to sing, and Christopher to teach a
boy to read._]
_Both._ When a little farm we keep, &c.
_Chris._ Charming! delightful!
_Ul._ Very! only you forget one thing: you forget we are both locked up;
and if aunt finds us together, it will make bad so much worse. Mercy on
me! how could you get in here?
_Chris._ Mercy on me! how am I to get out here? and my time's up with
the count!
_Ul._ What count?
_Chris._ Why, mother, who formerly got this ungrateful aunt made
housekeeper to old count Roland, you know, has lately got me into the
young count's retinue; and he is killing game in the neighbouring woods,
and I'm (_noise of unlocking the door_) killed myself! Oh, Lord! there's
only one chance: aunt cant know me--she has'nt seen me since I became a
man; but then, _you_, cousin! if I _am_ a man! shall I, like a base
selfish--No--it mounts!--the Roland blood mounts high within me.
[_Noise._
_Ul._ Hush! I rely on him they select to be my husband. His heart's
elsewhere; and by securing your own escape now, you may hereafter effect
mine. [_Stage door opens._] The baron! our enraged host! Now! what's to
be done now? [_Christopher retires up the stage._
_Enter_ Baron Ravensburg _and_ Oliver.
_Oliver._ I tell you, my lord, I'm sure Agnes will be found
innocent--but I'm silent.
_Baron._ Be silent, then. And for you, madam, I came to tell you that
the priest is sent for, and my son is sent for; and I shan't stir out of
this room till I witness the glorious union of the Rolands and the
Ravensburgs.
_Ul._ (_archly._) Your son! your son is absent, then!
_Bar._ He is: but the countess has undertaken to see him brought home;
and I don't know who she alludes to, but it seems she talks of catching
more troublesome people. [_Here Ulrica makes signs to Christopher to be
gone, and he steals towards the stage door, behind the baron and
Oliver_] And so, Oliver, bring me a chair, old Oliver; [Oliver _gives
him one_] for here I'll sit.--[_Christopher opens the door, and is
going, when the baron hears him._]--Why, what's that? [_In his agitation
Christopher turns sharply round, and faces the baron, holding the door
wide open in his hand._] Zounds! where do you come from?
_Chris._ Come! I come from---- [_Amazed._
_Bar._ Ay, what brings you, sir? And don't--don't stand staring there
with the door open. Either (_beating his cane violently against the
floor_) either come in or go out.
_Chris._ Out, if you please, sir. [_Exit._
_Bar._ (_pulling him back_) Stop; this won't do. How came you in my
house?
_Chris._ (_confused_) Came! why I came from young count Roland, sir.
_Bar._ Oh! you want to see the countess, then.
_Chris._ Thank ye, I have seen her; and as her answer isn't at all
satisfactory, I hope shortly to return, and take something much more
satisfactory. _Looking significantly at_ Ulrica, _and going_, Ulrica
_nods in return._
_Ol._ (_coming between him and the door._) I dare say you do; but--he!
he! he! the little old butler will prevent you. My lord, just now,
instead of a message from count Roland, this fellow talk'd of your
keeping low company.--(_Christopher shakes his head to stop him._) You
did! you actually hinted, that one of our fine ladies was no better than
old Winifred Winbuttle, a housekeeper--
_Bar._ Dolt! blockhead! (_to Christopher_) when, except this untitled
girl, there is not one plain lady, no, nor one real gentlewoman in the
whole party; and she, as heiress and sole relation of the high-born
countess Roland----
_Chris._ The sole relation of who?
_Bar._ The high-born countess Roland!
_Chris._ (_eagerly._) What! you havn't heard--the heiress dare not even
hint--Oh ho! (_looking at Ulrica, who beckons him to go._) But I won't
stay, else I could tell you, that if you and your son had purses as long
as the dead pedigree of the Ravensburgs, they wouldn't be half long
enough for the live pedigree of the _high-born_ countess Roland! and as
her relations will shortly be yours, I'll send express for some few
dozens from Franconia who'll now have two strings to their bow; for if
cousin Winifred Winbuttle don't keep open house for them, ecod! cousin
baron Ravensburg must. And so, yours my lord, yours madam: and
there--(_whispering Oliver_)--there's a Roland for your Oliver, my
little twaddling old butler. [_Exit._
_Bar._ Send express for a few dozens! Without there! Stop that
scoundrel! Ulrica, what is all this? Speak, I insist on an explanation.
_Ul._ So do I, Sir--I insist upon an explanation, and I will have one,
if I follow that impudent fellow to the world's end.
_Bar._ Stay where you are. In, in, if you please.
_Ul._ (_trying to pass him._) Out, out, if you please. (_mimicking
Christopher._)
_Bar._ Oliver, be you her guard, whilst I pursue this false, this
infamous----
_Ul._ (_getting between him and the door._) Stay.
SONG--_Ulrica._
I.
Sure woman's to be pitied
Whenever she's committed,
For being fond and gay;
And those who cry out "shame!"
Are very much to blame--
That's all I say.
II.
I never could discover
Why list'ning to a lover
Throughout the live-long day,
Should be miscall'd offence.
It is not common sense--
That's all I say.
III.
But though the old and haughty
Pretend 'tis very naughty,
They think a different way;
For this, I know, is true,
They do as others do--
That's all I say.
[_Exeunt._