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This e-book contains the text of _The Indian Princess_, extracted from
Representative Plays by American Dramatists: Vol 1, 1765-1819. Comments
and background to all the plays and the other plays are available at
Project Gutenberg.
Spelling as in the original has been preserved.
THE INDIAN PRINCESS
_By_ J. N. BARKER
JAMES NELSON BARKER
(1784-1858)
In a letter written to William Dunlap, from Philadelphia, on June 10,
1832, James Nelson Barker very naively and very fully outlined his career,
inasmuch as he had been informed by Manager Wood that Mr. Dunlap wished
such an account for his "History of the American Stage."
From this account, we learn that whatever dramatic ability Mr. Barker
possessed came from the enthusiasm created within him as a reader of wide
range. For example, in 1804, he became the author of a one-act piece,
entitled "Spanish Rover," furnished in plot by Cervantes. In 1805, he
wrote what he describes as a Masque, entitled "America," in which poetic
dialogue afforded America, Science and Liberty the opportunity of singing
in unison. He confesses that this Masque was "to close a drama I had
projected on the adventures of Smith in Virginia, in the olden time." Then
followed a tragedy suggested by Gibbon, entitled "Attila," but Mr. Barker
had advanced only two acts when news came to him that John Augustus Stone
was at work on a play of the same kind.
In his letter to Dunlap, Mr. Barker deplored this coincidence, which put a
stop to "Attila." "But have you never yourself been the victim of these
odd coincidences, and, just as you had fixed upon a subject or a title,
found yourself superseded--a thing next in atrocity to the ancients'
stealing all one's fine thoughts. My comedy of 'Tears and Smiles' was to
be called 'Name it Yourself,' when out comes a 'Name it Yourself,' in
England, and out comes too a 'Smiles and Tears,' with a widow, an
Irishman, and almost all my _dramat. pers._ I wrote the 'Indian Princess,'
and an 'Indian Princess' appears in England. Looking over the old English
dramatists, I am struck with the 'Damon and Pythias' of Edwards as a
subject, but am scarcely set down to it, when lo, the modern play in
London; and what is worse, with the fine part of Pythias absolutely
transformed into a snivelling fellow, who bellows like a calf at the
prospect of dying for his friend. 'Wallace' was purloined from me in like
manner, and several other heroes: at length I fix upon 'Epaminondas', as
a 'learned Theban' of so philosophical a cast of character, that even the
French had not thought of him for the boards. I form my plot, and begin
_con amore_, when I am told that Dr. Bird has written a 'Pelopidas' and an
'Epaminondas,' comprehending the whole life of the latter."
Then, having finished with his diatribe against coincidence--a diatribe
which excellently well shows the channels in which Barker's literary mind
ran, and likewise the closeness with which he followed the literary
activity of the period among his associates, he continued in his narrative
to Dunlap:
"'Tears and Smiles' was written between May 1 and June 12, of 1806, with
the character of a Yankee intended for Jefferson. By the way, such a
Yankee as I drew!" he writes. "I wonder what Hackett would say to it! The
truth is, I had never even seen a Yankee at the time."
Then, in view of Barker's political tastes which, in consideration of the
dramatists of those days, one must always take into account, he wrote a
piece called "The Embargo; or, What News?" borrowed from Murphy's
"Upholsterer," and produced on March 16, 1808.
Between this play and 1809, "The Indian Princess" was written, and what
Barker has to say about it will be quoted in its proper place.
Right now, we are letting him enumerate his own literary activities, which
were many and continuous.
In 1809, he Americanized Cherry's "Travellers," a dramatic method which
has long been in vogue between America and England, and has, in many
respects, spoiled many American comedies for English consumption.
In 1812, at the request of Manager Wood, Mr. Barker made a dramatization
of Scott's "Marmion," and, strange to say, it was announced as being
written by Thomas Morton, Esq.
"This was audacious enough in all conscience," says Mr. Barker, "but the
finesse was successful, and a play most probably otherwise destined to
neglect, ran like wild fire through all our theatres." On March 24, 1817,
there was acted in Philadelphia, Barker's "The Armourer's Escape; or,
Three Years at Nootka Sound," described by Mr. Barker as a melodramatic
sketch, founded on the adventures of John Jewett, the armourer of the ship
_Boston_, in which Jewett himself assumed the hero's role. This same year
he likewise wrote "How to Try a Lover," suggested by Le Brun's novel.
Finally, in 1824, on March 12, there was performed "Superstition," a
five-act drama. This closed the account that Barker sent to Dunlap.
We see from it a number of things relative to placing Barker as a literary
personage. First, his interest in literature made him draw from all
sources, combining Scott with Holinshed, and turning, as was the wont of
the cultivated American of that day, to the romantic literatures of the
past. Secondly, Barker's interest in Colonial History was manifest by his
return, time and time again, to Colonial records for dramatic material.
Furthermore, as a participant in the political disputes of his day, it
would have been a surprise had Barker not directed his pen to some
reflection of the discussions of the period.
James Nelson Barker was the son of the Honourable John Barker, one-time
Mayor of Philadelphia, and ex-Revolutionary soldier. He was born in that
city on June 17, 1784.
His education was received in Philadelphia, and he must have entered the
literary and political arenas at an early age. After the fashion of the
day, he was trained in the old-time courtesy and in the old-time manner of
defending one's honour with the sword, for it is recorded that he was once
severely wounded in a duel.
At the outbreak of the War of 1812, he received a commission, fighting
mostly on the Canadian frontier, and winning distinction as a Captain of
Artillery. After the close of the War, he was supported by the Democratic
Party, and elected Mayor of the City of Philadelphia. Later, he upheld
"Old Hickory" for the Presidency, and, after filling the position of the
Collector of the Port of Philadelphia from 1829-1838, on the election of
Van Buren to the presidency, he was appointed First Controller of the
Treasury, and moved to Washington. From that time on, he was connected
with the highest offices in the department. His pen was continually
dedicated to the support of Democracy, and, during the years from
1832-1836, he figured as a contributor to many papers of the time on
political topics. He lived until March 9, 1858.
I have selected his play, "The Indian Princess,"[1] as an example of the
numberless dramas that grew up around the character of Pocahontas. The
reader will find it particularly of interest to contrast with this piece
G. W. P. Custis's "Pocahontas; or, The Settlers of Virginia" (1830), and
John Brougham's burlesque, "Po-ca-hon-tas; or, The Gentle Savage."
The Indian Drama, in America, is a subject well worth careful attention.
There are numberless plays mentioned by Laurence Hutton in his
"Curiosities of the American Stage" which, though interesting as titles,
have not been located as far as manuscripts are concerned.
Barker's "The Indian Princess" is one of the earliest that deal with the
character of Pocahontas. The subject has been interestingly treated in an
article by Mr. E. J. Streubel (_The Colonnade_, New York University,
September, 1915).
Barker had originally intended his play, "The Indian Princess," to be a
legitimate drama, instead of which, when it was first produced, it formed
the libretto for the music by a man named John Bray, of the New Theatre.
In his letter to Dunlap, he says:
"'The Indian Princess,' in three acts ... begun some time before, was
taken up in 1808, at the request of Bray, and worked up into an opera, the
music to which he composed. It was first performed for his benefit on the
6th of April, 1808, to a crowded house; but Webster, particularly
obnoxious, at that period, to a large party, having a part in it, a
tremendous tumult took place, and it was scarcely heard. I was on the
stage, and directed the curtain to be dropped. It has since been
frequently acted in, I believe, all the theatres of the United States. A
few years since, I observed, in an English magazine, a critique on a drama
called 'Pocahontas; or, the Indian Princess,' produced at Drury Lane. From
the sketch given, this piece differs essentially from mine in the plan and
arrangement; and yet, according to the critic, they were indebted for this
very stupid production 'to America, where it is a great favourite, and is
to be found in all the printed collections of stock plays.' The copyright
of the 'Indian Princess' was also given to Blake, and transferred to
Longworth. It was printed in 1808 or 1809. George Washington Custis, of
Arlington, has, I am told, written a drama on the same subject."
An account of the riot is to be found in Durang's "History of the
Philadelphia Stage," and the reader, in order to gain some knowledge of
the popularity of "The Indian Princess," may likewise obtain interesting
material in Manager Wood's "Diary," the manuscript of which is now in
possession of the University of Pennsylvania. When the play was given in
Philadelphia, the advertisement announced, "The principal materials
forming this dramatic trifle are extracted from the General History of
Virginia, written by Captain Smith, and printed London, folio, 1624; and
as close an adherence to historic truth has been preserved as dramatic
rules would allow of."
It was given its first New York production at the Park Theatre on June 14,
1808.
[Illustration:
THE
INDIAN PRINCESS
OR,
_LA BELLE SAUVAGE._
AN OPERATIC MELO-DRAME.
IN THREE ACTS.
PERFORMED AT THE THEATRES PHILADELPHIA AND BALTIMORE.
BY J. N. BARKER.
FIRST ACTED APRIL 6, 1808.
PHILADELPHIA.
PRINTED BY T. & G. PALMER,
FOR G. E. BLAKE, NO. 1, SOUTH THIRD-STREET.
1808.
FAC-SIMILE TITLE-PAGE TO THE 1808 EDITION]
PREFACE
While I am proud to acknowledge my grateful sense of those flattering
marks of liberal kindness with which my dramatic entree has been greeted
by an indulgent audience, I feel so fully conscious of the very humble
merit of this little piece, that perhaps nothing but the peculiar
circumstances under which it was acted should have induced me to publish
it. In sending it to the press I am perfectly apprized of the probability
that it goes only to add one more to the list of those unfortunate
children of the American drama, who, in the brief space that lies between
their birth and death, are doomed to wander, without house or home,
unknown and unregarded, or who, if heeded at all, are only picked up by
some critic beadle to receive the usual treatment of vagrants. Indeed,
were I disposed to draw comfort from the misfortunes of others, I might
make myself happy with the reflection, that however my vagabond might
deserve the lash, it would receive no more punishment than those who
deserved none at all; for the gentlemen castigators seldom take the pains
to distinguish Innocence from Guilt, but most liberally bestow their
stripes on all poor wanderers who are unhappily of American parentage.
Far, however, from rejoicing at this circumstance, I sincerely deplore it.
In all ages, and in every country, even the sturdiest offspring of genius
have felt the necessity and received the aid of a protecting hand of
favour to support and guide their first trembling and devious footsteps;
it is not, therefore, wonderful, that here, where every art is yet but in
its infancy, the youthful exertions of dramatic poetry, unaided and
unsupported, should fail, and that its imbecile efforts should for ever
cease with the failure; that chilled by total neglect, or chid with
undeserved severity; depressed by ridicule, starved by envy, and stricken
to the earth by malevolence, the poor orphan, heartless and spirit-broken,
should pine away a short and sickly life. I am not, I believe, quite
coxcomb enough to advance the most distant hint that the child of my brain
deserves a better fate; that it may meet with it I might, however, be
indulged in hoping, under the profession that the hope proceeds from
considerations distinct from either it or myself. Dramatic genius, with
genius of every other kind, is assuredly native of our soil, and there
wants but the wholesome and kindly breath of favour to invigourate its
delicate frame, and bid it rapidly arise from its cradle to blooming
maturity. But alas! poor weak ones! what a climate are ye doomed to draw
your first breath in! the teeming press has scarcely ceased groaning at
your delivery, ere you are suffocated with the stagnant atmosphere of
entire apathy, or swept out of existence by the hurricane of unsparing,
indiscriminating censure!
Good reader, I begin to suspect that I have held you long enough by the
button. Yet, maugre my terror of being tiresome, and in despite of my
clear anticipation of the severe puns which will be made in this punning
city, on my _childish_ preface, I must push my allusion a little further,
to deprecate the wrath of the critics, and arouse the sympathies of the
ladies. Then, O ye sage censors! ye goody gossips at poetic births! I
vehemently importune ye to be convinced, that for my bantling I desire
neither rattle nor bells; neither the lullaby of praise, nor the pap of
patronage, nor the hobby-horse of honour. 'Tis a plain-palated, home-bred,
and I may add independent urchin, who laughs at sugar plums, and from its
little heart disdains gilded gingerbread. If you like it--so; if not--why
so; yet, without being mischievous, it would fain be amusing; therefore,
if its gambols be pleasant, and your gravities permit, laugh; if not, e'en
turn aside your heads, and let the wanton youngling laugh by itself. If it
speak like a sensible child, prithee, pat its cheek, and say so; but if it
be ridiculous when it would be serious, smile, and permit the foolish
attempt to pass. But do not, O goody critic, apply the birch, because its
unpractised tongue cannot lisp the language of Shakspeare, nor be very
much enraged, if you find it has to creep before it can possibly walk.
To your bosoms, ladies, sweet ladies! the little stranger flies with
confidence for protection; shield it, I pray you, from the iron rod of
rigour, and scold it yourselves, as much as you will, for on _your_ smooth
and polished brows it can never read wrinkled cruelty; the mild anger of
_your_ eyes will not blast it like the fierce scowl of the critic; the
chidings of _your_ voice will be soothing music to it, and it will
discover the dimple of kindness in your very frowns. Caresses it does not
ask; its modesty would shrink from that it thought it deserved not; but if
its faults be infantile, its punishment should be gentle, and from you,
dear ladies, correction would be as thrillingly sweet as that the little
_Jean Jacques_ received from the fair hand of Mademoiselle Lambercier.
THE AUTHOR.
ADVERTISEMENT
The principal materials that form this dramatic trifle are extracted from
the General History of Virginia, written by Captain Smith, and printed
London, folio, 1624; and as close an adherence to historic truth has been
preserved as dramatic rules would allow of. The music[2] was furnished by
Mr. John Bray, of the New Theatre.
DRAMATIS PERSONAE
EUROPEANS.
DELAWAR, Mr. Warren.
CAPTAIN SMITH, Mr. Rutherford.
LIEUTENANT ROLFE, Mr. Wood.
PERCY, Mr. Charnock.
WALTER, Mr. Bray.
LARRY, Mr. Webster.
ROBIN, Mr. Jefferson.
TALMAN, Mr. Durang.
GERALDINE, Mrs. Francis.
KATE, Miss Hunt.
ALICE, Mrs. Mills.
_SOLDIERS and ADVENTURERS._
VIRGINIANS.
POWHATAN, _king_, Mr. Serson.
NANTAQUAS, _his son_, Mr. Cone.
MIAMI, _a prince_, Mr. Mills.
GRIMOSCO, _a priest_, Mr. Cross.
POCAHONTAS, _the princess_, Mrs. Wilmot.
NIMA, _her attendant_, Miss Mullen.
_WARRIORS and INDIAN GIRLS._
SCENE, Virginia.
FOOTNOTES:
[1] The/Indian Princess;/or,/La Belle Sauvage./An Operatic Melo-Drame./In
Three Acts./Performed at the Theatres Philadelphia and/Baltimore./By J. N.
Barker./ First Acted April 6, 1808./Philadelphia,/Printed by T. & G.
Palmer,/For G. E. Blake, No. 1, South Third-Street./1808./
[2] The music is now published and sold by Mr. G. E. Blake, No. 1, South
Third-street, Philadelphia.
THE INDIAN PRINCESS
ACT I.
SCENE I. _Powhatan River; wild and picturesque. Ships appear. Barges
approach the shore, from which land SMITH, ROLFE, PERCY, WALTER,
LARRY, ROBIN, ALICE, &c._
_Chorus._
Jolly comrades, raise the glee,
Chorus it right cheerily;
For the tempest's roar is heard no more,
And gaily we tread the wish'd-for shore:
Then raise the glee merrily,
Chorus it cheerily,
_For past are the perils of the blust'ring sea._
SMITH. Once more, my bold associates, welcome. Mark
What cheery aspects look upon our landing:
The face of Nature dimples o'er with smiles,
The heav'ns are cloudless, whiles the princely sun,
As glad to greet us in his fair domain,
Gives us gay salutation--
LARRY. [_To WALTER._] By St. Patrick
His fiery majesty does give warm welcome.
Arrah! his gracious smiles are melting--
WALTER. Plague!
He burthens us with favours till we sweat.
SMITH. What think ye, Percy, Rolfe, have we not found
Sir Walter Raleigh faithful in his tale?
Is 't not a goodly land? Along the bay,
How gay and lovely lie its skirting shores,
Fring'd with the summer's rich embroidery!
PERCY. Believe me, sir, I ne'er beheld that spot
Where Nature holds more sweet varieties.
SMITH. The gale was kind that blew us hitherward.
This noble bay were undiscover'd still,
Had not that storm arose propitious,
And, like the ever kindly breath of heav'n,
Which sometimes rides upon the tempest's wing,
Driv'n us to happiest destinies, e'en then
When most we fear'd destruction from the blast.
ROLFE. Let our dull, sluggish countrymen at home
Still creep around their little isle of fogs,
Drink its dank vapours, and then hang themselves.
In this free atmosphere and ample range
The bosom can dilate, the pulses play,
And man, erect, can walk a manly round.
ROBIN. [_Aside._] Aye, and be scalp'd and roasted by the Indians.
SMITH. Now, gallant cavalier adventurers,
On this our landing spot we'll rear a town
Shall bear our good king's name to after-time,
And yours along with it; for ye are men
Well worth the handing down; whose paged names
Will not disgrace posterity to read:
Men born for acts of hardihood and valour,
Whose stirring spirits scorn'd to lie inert,
Base atoms in the mass of population
That rots in stagnant Europe. Ye are men
Who a high wealth and fame will bravely win,
And wear full worthily. I still shall be
The foremost in all troubles, toil, and danger,
Your leader and your captain, nought exacting
Save strict obedience to the watchful care
Which points to your own good: be wary then,
And let not any mutinous hand unravel
Our close knit compact. Union is its strength:
Be that remember'd ever. Gallant gentlemen,
We have a noble stage, on which to act
A noble drama; let us then sustain
Our sev'ral parts with credit and with honour.
Now, sturdy comrades, cheerly to our tasks!
[_Exeunt SMITH, ROLFE, &c._