i J FAVOURITE CLASSICS: The Plays of Sheridan. THE RIVALS THE BRANDES SHAKESPEARE THE PLAYS OF SHAKESPEARE IN FORTY VOLUMES. With Introductions by GEORGE BRANDES. i6mo, Cloth, Gilt Bach, 20 cents net per volume. Leather, 40 cents per volume. LIST OF VOLUMES. HAMLET. MUCH ADO ABOUT NOTHING. KING RICHARD III. KING HENRY VI., Part I. TWELFTH NIGHT. ,, ., II. THE MERCHANT OF VENICE. ,, ,, III. MACBETH. ANTONY AND CLEOPATRA. CORIOLANUS. KING JOHN. CYMBELINB. KING HENRY IV., Part I. ROMEO AND JULIET. ,, II. As You LIKE IT. MERRY WIVES OF WINDSOR. TITUS ANDRONICUS. TIMON OF ATHENS. LOVE'S LABOUR'S LOST. THE WINTER'S TALE. TROILUS AND CRESSIDA. MEASURE FOR MEASURE. OTHELLO. KING RICHARD II. KING LEAR. KING HENRY VI II. THE TEMPEST. THE COMEDY OF ERRORS. ALL'S WELL THAT ENDS WELL. Two GENTLEMEN OF VERONA. PERICLES. MIDSUMMER-NIGHT'S DREAM. JULIUS C-ESAR. THE SONNETS. KING HBNRY v. VENUS AND ADONIS. TAMING OF THE SHREW. THE RAPE OF LUCRECE. Also uniform with the above. SELECTED POEMS OF ALFRED SELECTED ESSAYS OF CHARLES LORD TENNYSON: Early Poems, LAMB. With Introduction by The Princess, English Idyls, In Arthur Waugh. Two Vols. Memoriam, Maud, Idyls of the King (Two VoK). With Introduc- S BLF.CTED ESSAYS OF JOSEPH turns by Arthur Waugh. Seven ADDISON. With Introduction by Vols ' Austin Dobson. One Vol. THE PLAYS OF R. B. SHERIDAN ; The School for Scandal, The Rivals, SELECTED POEMS OF EDGAR The Critic. With Introductions ALLAN POE. With Introduction by Edmund Gosse. Three Vols. by Arthur Symons. One Vol. wt Arthur Waugh. Two Vo.s. ^0 POEMS OF SAMUEL TAYLOR COLERIDGE. Copyright Edition. OMAR KHAYYAM. Translated from With unpublished additions. With the Persian by Edward Fitz- Introduction by E. H. Coleridge. Gerald. With Introduction by One Vol. Clement Shorter. One Vol. To be followed by further volumes at short intervals. NEW YORK : E. P. BUTTON & COMPANY LONDON : WILLIAM HEINEMANN THE PLAYS OF SHERIDAN THE RIVALS WITH AN INTRODUCTION BY EDMUND GOSSE and a Plate representing DOWTON as ' Sir Anthony Absolute.' NEW YORK : E. P. BUTTON & COMPANY LONDON: WILLIAM HEINEMANN 1905 THE RIVALS. INTRODUCTION. THERE are few prominent plays in the literature of the world which contain so many traces of the condition and of the adventures of their author as does The Rivals. Without being directly autobiographical, it is coloured from prologue to epilogue by the personal history of the brilliant young fellow who wrote it, and without re- minding ourselves what were the events through which he had lately passed, we fail to appreciate half the touches in it. He had lately been a part of the sham chivalry and the sham romance of which he made such immortal fun, and the impressions of the absurdities of life were fresh upon his memory when he wrote The Rivals. He had been twenty years of age when he eloped with Elizabeth Linley, exactly as Lydia Languish hoped to fly with her Beverley. He had been twenty- one when he fought two ridiculous duels, which were evidently in his mind when he invented the inimitable scenes in the fifth act of the play. He had suffered "inexpressible torments," and had indulged in "sheets of unintelligible rhapsody." At the house of Mrs. Miller in Bath he had met with pretension and incon- gruity and fashionable flutter enough to rig out a dozen Mrs. Malaprops. He had poured verses into the celebrated vase, dressed with pink ribbons and myrtles, which crowned the fair of Parnassus at Bath Easton. Throughout his tumultuous, absurd, romantic youth, Sheridan had seemed to be rather acting than observing, but his keen eyes were open to the world of folly, and he was still but twenty-three when he sat down to write this immortal picture of it all. As early as 1771, and before the elopement, he had proposed to himself to write a comedy. He was full of literary ambition, but the path which he ought tc 2227621 THE RIVALS. take was slow to reveal itself. 'The elopement, the secret marriage, the scandals at Bath, the tremendous duels, interrupted the development of literature, for who has time or wish to write comedy if he is actively engaged in making it? At last, when quietly settled with his hardly-won St. Cecilia in the London house in Orchard Street, early in October 1774, he sat down to write a comedy for Covent Garden. He did this at the request of Harris, the manager, who had doubtless been struck by the theatrical genius of Sheridan's mind and by his wonderful aptitude for conversation. On the 17th of November, only six weeks after his setting to work on it, the new comedy was already in rehearsal. Harris and his friends, as Sheridan informs his father, " assure me in the most nattering terms that [there is not a doubt of its success," and that the dramatist may depend on 600 profit at the very least. It was very characteristic of Sheridan thus to count his chickens before the eggs were hatched, and his confidence was vthe more rash because several interesting and carefully- written plays had quite lately been damned by the capricious public. On the 17th of January 1775, his comedy was at length acted at Covent Garden Theatre, and met, we are told, "with very harsh treatment." The audience, however, seemed rather captious than hostile, and it must be confessed that their objections were fairly founded. The Rivals is still a long play ; on the first night it was double the length of any acting drama, and the public made no concealment of their extreme fatigue. Moreover, the part of Sir Lucius O'Trigger, which requires great vigour, was so feebly and ineffectively acted by John Lee, as to call dowr upon him "shouts of disapprobation." The result was somewhat extraordinary in the history of the theatre. The Rivals was immediately withdrawn, after the first representation, but not, as might be supposed, to be consigned to oblivion or to the provinces. With his admirable good sense, and rapidity of action, Sheridan set himself to correct whatever the public had disliked. First and foremost he removed a blemish which Harris, INTRODUCTION. Vll if not he, should have perceived in rehearsal ; the excessive length of the piece. He cut it down ruthlessly and adroitly to the quite sufficient proportions with which we are now familiar. Then there were certain passages which seemed generally disliked by the first- night audience. Nine authors out of ten would have said that these were the particular beauties of the play. Sheridan was above all things a man of the world, and he gratified the public by an instant admission that " if I felt any emotion of surprise at the disapprobation [of these passages], it was not that they were disapproved of, but that I had not before perceived that they deserved it." Out they all went. The audience had disapproved of John Lee, who was perhaps too old for the part of Sir Lucius O'Trigger ; it was taken from him and given to Clinch, a less-known but younger actor, who played it with magnificent Irish verve. The revival of the comedy took place eleven days later, and this time the whole strength of Covent Garden was concentrated on it. Edward Shuter was tempestuous in Sir Anthony Absolute ; old Henry Woodward, a veteran favourite with the public, made up as a surprisingly gallant Captain Absolute ; John Quick, who had been the original Tony Lumpkin, was now the original Bob Acres; while "Gentleman" Lewis acted the melancholy, whimsical Faulkland to the life. The women were no less ably chosen. Miss Barsanti played Lydia Languish ; delightful Mrs. Green, Mrs. Malaprop ; whilst perhaps the greatest success of all was achieved by Mrs. Bulkley as Julia. On the second representation the success of the play was assured, and since that night it has never ceased to be a prime favourite with English audiences. It ran at Covent Garden for sixteen nights. Early in February, Sheridan took the play to Bath, then considered a "theatrical tribunal, though not in quantity, in quality as good as that of London." Miss Linley (quoted by Mr. Fraser Rae) says of the actors on the first Bath night, " I suppose the poor creatures never acted with such shouts of applause in their life ... I never saw or THE RIVALS. heard anything like it : before the actors spoke they began their clapping." It was the same at Southampton, the same at Bristol. The Rivals enjoyed, not the success of the year, but the success of the century. Perhaps the most pathetic incident connected with the early triumph of the play was that Sheridan's father and sisters, who were now entirely estranged from him by a family quarrel, could not resist the temptation of coming to witness his splendour. From an unseen spot behind the stage, Sheridan gazed at their faces, and the tears gathered in his eyes to think "that he alone was not permitted to go near them or speak to them." A French philosopher has warned us that we must not look for psychology from a writer of twenty-three. That was the age of the sparkling author of The Rivals, and he was not a prodigy in this respect, although he was one in so many others. His play presents us with the results of no close anatomy of human character, and is illuminated by no subtle flashes of analysis or intuition. Its object, frankly, is to entertain, and the unbroken merriment of more than a century proves that it attained what it aimed at. The high spirits of The Rivals, from the first speech to the last, are what any dramatist who ever lived might envy. Every scene is instinct with the effervescence of youthful genius, and laughter is always at the wings, holding both his sides. In 1775 the condition of English comedy was critical. A few months earlier, Goldsmith, who alone had pre- served the tradition of pure English fun, defending it against the sentimentalities of French drama, had died untimely. That comedy which was expected to con- tinue and to surpass She Stoops to Conquer would never be written by the one great playwright whom England had produced since Farquhar. The authors of lachry- mose plays, the Cumberlands, the Murphys, the Hugh Kellys, regained something of the position they had lost, but Goldsmith's genius had exposed them, and the little sentimental comedies out of Marmontel, which they offered to their admirers, fell flatter and flatter on the stage. Sheridan, while almost a boy, had mocked INTRODUCTION. at the authors and Hugh Kelly, with his lugubrious False Delicacy (1768), was the leader of them who said that you should ' ' form comedy so that it is no laughing, giggling piece of work." He had seen Major O'Flaherty in Cumberland's West Indian at Drury Lane in 1771, and had said to himself that he could do something better than that with the point of honour. Now the scene was suddenly empty, for even Kelly was declining towards his premature death. Now, or never, was the moment to recall comedy to her mirthful humour, and pack all the snivelling farces to the Devil. It was in The Rivals that Sheridan did it, and it is in the element of robust laughter that the play subsists. The serious conversations, between Julia and Lydia, between Julia and Faulkland, are stilted and poor. The accomplished Cumberland could do this kind of thing at least as well as young Mr. Sheridan. These scenes bore us to-day, but let Mrs. Malaprop or Acres enter, and all is magnificent again. Such a scene 'as that in which Mrs. Malaprop is forced to admit that Captain Absolute Jis " the pine-apple of -'politeness," or that between Acres and David at the beginning of Act IV. have never been surpassed in the comic literature of the world. It is impossible for a dramatist to be more sprightly, more robustly facetious, than this, and beside such fireworks of humour the boasted wit of Congreve seems hard and motionless, like a set piece in gold wire. In after years, when Sheridan had grown critical by experience, he was accustomed to say that The Rival* "was one of the worst plays in the language." He would have given anything, he declared, not to have written it. He destroyed from among his papers all references to it. This is merely an instance of an old man grown too fastidious to appreciate the full-blooded and jovial impulses of youth. Essentially The Rivals is a young play ; we miss all its fire and force if we judge it by solemn and Terentian standards. But if we are inclined to be critical of its psychology and its construction, it treats us as Sam Foote treated Dr. Johnson, who being resolved not to be pleased with the comedian's conversation at dinner, found, never- THE RIVALS. theless, that "the dog was so comical that I was obliged to lay down my knife and fork, throw myself back upon my chair, and fairly laugh it out." In the Eresence of Mrs. Malaprop, criticism has to lay down is knife and fork, and fairly laugh it out EDMUND GOSSE. THE RIVALS. PREFACE. A PREFACE to a play seems generally to be considered as a kind of closet-prologue, in which, if his piece has been successful, the author solicits that indulgence from the reader which he had before experienced from the audience. But as the scope and immediate object of a play is to please a mixed assembly in representation (whose judgment, in the theatre at least, is decisive), its degree of reputation is usually as determined as public, before it can be prepared for the cooler tribunal of the study. Thus any further solicitude on the part of the writer becomes unneces- sary at least, if not an intrusion ; and if the piece has been condemned in the performance, I fear an address to the closet, like an appeal to posterity, is constantly regarded as the procrastination of a suit, from a con- sciousness of the weakness of the cause. From these considerations the following comedy would certainly have been submitted to the reader without any further introduction than what it had in the representation, but that its success has probably been founded on a circumstance which the author is informed has not before attended a theatrical trial, and which conse- quently ought not to pass unnoticed. I need scarcely add that the circumstance alluded to was the withdrawing of the piece to remove those imperfections in the first representation which were too obvious to escape reprehension, and too numerous to admit of a hasty correction. There are few writers, I believe, who, even in the fullest consciousness of error, do not wish to palliate the faults which they acknowledge ; and, however trifling the performance, to second their confession of its deficiencies by what- ever plea seems least disgraceful to their ability. In the present instance it cannot be said to amount either Xii THE RIVALS. to candour or modesty in me to acknowledge an extreme inexperience and want of judgment on matters in which, without guidance from practice or spur from success, a young man should scarcely boast of being an adept. If it be said that under such disadvantages no one should attempt to write a play, I must beg leave to dissent from the position, while the first point of experience that I have gained on the subject is a know- ledge of the candour and judgment with which an impartial public distinguishes between the errors of inexperience and incapacity, and the indulgence which it shows even to a disposition to remedy the defects of either. It were unnecessary to enter into any further extenu- ation of what was thought exceptionable in this play, but that it has been said that the managers should have prevented some of the defects before its appearance to the public, and in particular the uncommon length of the piece as represented the first night. It were an ill return for the most liberal and gentlemanly conduct on their side to suffer any censure to rest where none was deserved. Hurry in writing has long been exploded as an excuse for an author. However, in the dramatic line it may happen that both an author and a manager may wish to fill a chasm in the entertainment of the public with a hastiness not altogether culpable. The season was advanced when I first put the play into Mr. Harris's hands. It was at that time at least double the length of any acting comedy. I profited by his judg- ment and experience in the curtailing of it, till I believe his feeling for the vanity of a young author got the better of his desire for correctness, and he left many excrescences remaining, because he had assisted in pruning so many more. Hence, though I was not uninformed that the acts were still too long, I nattered myself that, after the first trial, I might with safer judgment proceed to remove what should appear to have been most dissatisfactory. Many other errors there were which might in part have arisen from my being by no means conversant with plays in general, either in reading or at the theatre. Yet I own that, in one PREFACE. X1H respect, I did not regret my ignorance ; for as my first wish in attempting a play was to avoid every appear- ance of plagiary, I thought I should stand a better chance of effecting this from being in a walk which I had uot frequented, and where, consequently, the progress of invention was less likely to be interrupted by starts of recollection : for on subjects on which the mind has been much informed, invention is slow of exerting itself. Faded ideas float in the fancy like half- forgotten dreams, and the imagination in its fullest enjoyments becomes suspicious of its offspring, and doubts whether it has created or adopted. With regard to some particular passages which on the first night's representation seemed generally dis- liked, I confess that if I felt any emotion of surprise at the disapprobation, it was not that they were dis- approved of, but that I had not before perceived that they deserved it. As some part of the attack on the piece was begun too early to pass for the sentence of judgment, which is ever tardy in condemning, it has been suggested to me that much of the disapprobation must have arisen from virulence of malice rather than severity of criticism ; but as I was more apprehensive of their being just grounds to excite the latter than conscious of having deserved the former, I continue not to believe that probable which I am sure must have been unprovoked. However, if it was so, and I could even mark the quarter from whence it came, it would be ungenerous to retort, for no passion suffers more than malice from disappointment. For my own part, I see no reason why the author of a play should not regard a first night's audience as a candid and judicious friend attending on behalf of the public at his last rehearal. If he can dispense with flattery, he is sure at least of sincerity, and even though the annotation be rude, he may rely upon the justness of the comment. Considered in this light, that audience whose fiat is essential to the poet's claim, whether his object be fame or profit, has surely a right to expect some deference to its opinion, from principles of politeness at least, if not from gratitude. THE RIVALS. As for the little puny critics who scatter their peevish strictures in private circles, and scribble at every author who has the eminence of being 1 uncon- nected with them, as they are usually spleen-swoln from a vain idea of increasing 1 their consequence, there will always be found a petulance and illiberality in their remarks which should place them as far beneath the notice of a gentleman as their original dulness had sunk them from the level of the most unsuccessful author. It is not without pleasure that I catch at an oppor- tunity of justifying myself from the charge of intend- ing any national reflection in the character of Sir Lucius O'Trigger. If any gentlemen opposed the piece from that idea, I thank them sincerely for their opposition ; and if the condemnation of this comedy (however mis- conceived the provocation) could have added one spark to the decaying flame of national attachment to the country supposed to be reflected on, I should have been happy in its fate, and might with truth have boasted that it had done more real service in its failure than the successful morality of a thousand stage-novels will ever effect. It is usual, I believe, to thank the performers in a new play for the exertion of their several abilities. But where (as in this instance) their merit has been so striking and uncontroverted as to call for the warmest and truest applause from a number of judicious audiences, the poet's after-praise comes like the feeble acclamation of a child to close the shouts of a multitude. The con- duct, however, of the principals in a theatre cannot be so apparent to the public. I think it therefore but justice to declare that from this theatre (the only one I can speak of from experience) those writers who wish to try the dramatic line will meet with that candour and liberal attention, which are generally allowed to be better calculated to lead genius into excellence, than either the precepts of judgment, or the guidance of experience. THE AUTHOR, DRAMATIS PERSONS. (At originally acted at Covent Garden Theatre in 1776.) SIR ANTHONY ABSOLUTE . . . Mr. Shuter. CAPTAIN ABSOLUTE .... Mr. Woodward. FAULKLAND Mr. Lewis. ACRES Mr. Quick. SIR Lucius O'TRIGGER . . . Mr. Lee. FAG Mr. Lee Lewes. DAVID Mr. Dunstal. THOMAS Mr. Fearon. MRS. MALAPROP .... Mrs. Green. LYDIA LANGUISH .... Miss Barsanti. JULIA Mrs. Bulkier. LUCY Mrs. Lessingham. Maid, Boy, Servantt, &$c. Scene Bath. Time of Action Five Hour*. THE RIVALS. PROLOGUE BY THE AUTHOR. SPOKEN BY MR. WOODWARD AND MR. QUICK. Enter SERJEANT-AT-LAW, and ATTORNEY following, and giving a paper. SERJ. What's here ! a vile cramp hand ! I cannot see Without my spectacles. ATT. He means his fee. Nay, Mr. Serjeant, good sir, try again. [Gives money. SERJ. The scrawl improves ! [more] O come, 'tis pretty plain. Hey ! how's this ? Dibble ! sure it cannot be ! A poet's brief ! a poet arid a fee ! ATT. Yes, sir ! though you without reward, I know, Would gladly plead the Muse's cause. SERJ. So ! so ! ATT. And if the fee offends, your wrath should fall On me. SERJ. Dear Dibble, no offence at all. ATT. Some sons of Phoebus in the courts we meet, SERJ. And fifty sons of Phoebus in the Fleet ! ATT. Nor pleads he worse, who with a decent sprig Of bays adorns his legal waste of wig. SEHJ. Full-bottom'd heroes thus, on signs, unfurl A leaf of laurel in a grove of curl ! A 2 THE RIVALS. Yet tell jour client, that, in adverse days, This wig is warmer than a bush of bays. ATT. Do you, then, sir, my client's place supply, Profuse of robe, and prodigal of tie Do you, with all those blushing powers of face, And wonted bashful hesitating grace, Rise in the court, and flourish on the case. [Exit. SERJ. For practice then suppose this brief will show it- Me, Serjeant Woodward, counsel for the poet. Used to the ground, I know 'tis hard to deal With this dread court, from whence there's no appeal ; No tricking here, to blunt the edge of law, Or, damn'd in equity, escape by flaw : But judgment given, your sentence must remain ; No writ of error lies to Drury Lane ! Yet when so kind you seem, 'tis past dispute We gain some favour, if not costs of suit. No spleen is here ! I see no hoarded fury ; I think I never faced a milder jury ! Sad else our plight ! where frowns are transportation, A hiss the gallows, and a groan damnation ! But such the public candour, without fear My client waives all right of challenge here. No newsman from our session is dismiss'd, Nor wit nor critic we scratch off the list ; His faults can never hurt another's ease, His crime, at worst, a bad attempt to please : Thus, all respecting, he appeals to all, And by the general voice will stand or fall. THE RIVALS. 3 PROLOGUE BY THE AUTHOR. SPOKEN ON THE TENTH NJGHT BY MHS. BULKLEY. GRANTED our cause, our suit and trial o'er, The worthy serjeant need appear no more : In pleasing I a different client choose, He served the Poet I would serve the Muse ; Like him, I'll try to merit your applause, A female counsel in a female's cause. Look on this form, 1 where humour, quaint and sly, Dimples the cheek, and points the beaming- eye ; Where gay invention seems to boast its wiles In amorous hint, and half-triumphant smiles ; While her light mask or covers satire's strokes, Or hides the conscious blush her wit provokes. Look on her well does she seem form'd to teach ? Should you expect to hear this lady preach ? Is grey experience suited to her youth? Do solemn sentiments become that mouth ? Bid her be grave, those lips should rebel prove To every theme that slanders mirth or love. Yet, thus adorned with every graceful art To charm the fancy and yet reach the heart Must we displace her ? And instead advance The goddess of the woful countenance The sentimental Muse ! Her emblems view, The Pilgrim's Progress, and a sprig of rue ! View her too chaste to look like flesh and blood Primly portray'd on emblematic wood ! There, fix'd in usurpation, should she stand, She'll snatch the dagger from her sister's hand : 1 Pointing to the figure of Comedy. THE RIVALS. [ACT And having made her votaries weep a flood, Good heaven ! she'll end her comedies in blood Bid Harry Woodward break poor Dunstal's crown ! Imprison Quick, and knock Ned Shuter down ; While sad Barsanti, weeping o'er the scene, Shall stab herself or poison Mrs. Green. Such dire encroachments to prevent in time, Demands the critic's voice the poet's rhyme. Can our light scenes add strength to holy laws ! Such puny patronage but hurts the cause: Fair virtue scorns our feeble aid to ask ; And moral truth disdains the trickster's mask, For here their favourite stands, 1 whose brow severe And sad, claims youth's respect, and pity's tear ; Who, when oppress'd by foes her worth creates, Can point a poniard at the guilt she hates. ACT THE FIRST. SCENE I. A Street. Enter THOMAS. He crosses the Stage. FAG follows, looking after him. FAG. What! Thomas! sure 'tis he ? What ! Thomas! Thomas ! THOS. Hey ! Odd's life ! Mr. Fag ! give us your hand, my old fellow-servant. FAG. Excuse my glove, Thomas. I'm devilish glad to see you, my lad. Why, my prince of charioteers, you look as hearty ! but who the deuce thought of seeing you in Bath ? THOS. Sure, master, Madam Julia, Harry, Mrs. Kate, and the postillion, be all come. 1 Pointing to Tragedy. SC. I.] THE RIVALS. FAG. Indeed ! THOS. Ay, master thought another fit of the gout was coming to make him a visit ; so he'd a mind to gi't the slip, and whip ! we were all off at an hour's warning. FAG. Ay, ay, hasty in everything, or it would not be Sir Anthony Absolute ! THOS. But tell us, Mr. Fag, how does young master? Odd ! Sir Anthony will stare to see the captain here ! FAG. I do not serve Captain Absolute now. THOS. Why, sure ! FAG. At present I am employed by Ensign Beverley. THOS. I doubt, Mr. Fag, you ha'u't changed for the better. FAG. I have not changed, Thomas. THOS. No ! Why, didn't you say you had left young master ? FAG. No. Well, honest Thomas, I must puzzle you no further. Briefly then Captain Absolute and Ensign Beverley are one and the same person. THOS. The devil they are ! FAG. So it is indeed, Thomas ; and the ensign half of my master being on guard at present the captain has nothing to do with me. THOS. So, so ! What, this is some freak, 1 warrant ! Do tell us, Mr. Fag, the meaning o't you know, I ha* trusted you. FAG. You'll be secret, Thomas ? THOS. As a coach horse. FAG. Why, then, the cause of all this is Love, Love, Thomas, who (as you may get read to you) has been a masquerader ever since the days of Jupiter. THOS. Ay, ay ; I guessed there was a lady in the case but pray, why does your master pass only for ensign ? Now if he had shammed general indeed THE RIVALS. [ACT I. FAG. Ah ! Thomas, there lies the mystery o' the matter. Hark'ee, Thomas, my master is in love with a lady of a very singular taste a lady who likes him better as a half-pay ensign than if she knew he was son and heir to Sir Anthony Absolute, a baronet of three thousand a year. THOS. That is an odd taste indeed ! But has she got the stuff, Mr. Fag? Is she rich, hey? FAG. Rich ! Why, I believe she owns half the stocks ! Zounds ! Thomas, she could pay the national debt as easily as I could my washerwoman ! She has a lapdog that eats out of gold, she feeds her parrot with small pearls, and all her thread-papers are made of bank-notes ! THOS. Bravo, faith ! Odd ! I warrant she has a set of thousands at least ; but does she draw kindly with the captain ? FAG. As fond as pigeons. THOS. May one hear her name ? FAG. Miss Lydia Languish. But there is an old tough aunt in the way ; though, by-the-bye, she has never seen my master for we got acquainted with miss while on a visit in Gloucestershire. THOS. Well I wish they were once harnessed to- gether in matrimony. But pray, Mr. Fag, what kind of a place is this Bath ? I ha' heard a deal of it here's a mort o' merry-making, hey ? FAG. Pretty well, Thomas, pretty well 'tis a good lounge. In the morning we go to the pump-room (though neither my master nor I drink the waters) ; after breakfast we saunter on the parades, or play a game at billiards ; at night we dance ; but damn the place, I'm tired of it ; their regular hours stupefy me not a fiddle nor a card after eleven ! However, Mr. Faulkland's gentleman and I keep it up a little in SC. I.] THE RIVALS. private parties. I'll introduce you there, Thomas you'll like him much. THOS. Sure I know Mr. Du-Peigne you know his master is to marry Madam Julia. FAG. I had forgot. But, Thomas, you must polish a little indeed you must. Here now this wig ! What the devil do you do with a wig, Thomas? None of the London whips of any degree of ton wear wigs now. THOS. More's the pity ! more's the pity ! I say. Odd's life ! when I heard how the lawyers and doctors had took to their own hair, I thought how 'twould go next. Odd rabbit it ! when the fashion had got foot on the bar, I guessed 'twould mount to the box ! but 'tis all out of character, believe me, Mr. Fag : and look'ee, I'll never gi' up mine the lawyers and doctors may do as they will. FAG. Well, Thomas, we'll not quarrel about that. THOS. Why, bless you, the gentlemen of the pro- fessions ben't all of a mind for in the village now, tho'ff Jack Gauge, the exciseman, has ta'en to his carrots, there's little Dick, the farrier, swears he'll never forsake his bob, though all the college should appear with their own heads ! FAG. Indeed ! well said, Dick ! But hold mark ! mark ! Thomas. THOS. Zooks ! 'tis the captain. Is that the lady with him? FAG. No, no ; that is Madam Lucy, my master's mistress's maid. They lodge at that house but I must after him to tell him the news. THOS. Odd ! he's giving her money ! Well, Mr. Fag FAG. Good-bye, Thomas. I have an appointment in Gyde's Porch this evening at eight ; meet me there, and we'll make a little party. [Exeunt severally. THE RIVALS. [ACT I. SCENE II. A Dressing-room in MRS. MALAPROP'S Lodgings. LYDIA sitting on a sofa, with a book in her hand. LUCY, as just returned from a message. LUCY. Indeed, ma'am, I traversed half the town in search of it : I don't believe there's a circulating library in Bath I ha'n't been at. LYD. And could not you get The Reward of Constancy? LUCY. No, indeed, ma'am. LYD. Nor The Fatal Connexion ? LUCY. No, indeed, ma'am. LYD. Nor The Mistakes of the Heart? LUCY. Ma'am, as ill luck would have it, Mr. Bull said Miss Sukey Saunter had just fetched it away. LYD. Heigh-ho ! Did you inquire for The Delicate Distress ? LUCY. Or, The Memoirs of Lady Woodford ? Yes, in- deed, ma'am. I asked everywhere for it ; and I might have brought it from Mr. Frederick's, but Lady Slattern Lounger, who had just sent it home, had so soiled and dog's-eared it, it wa'n't fit for a Christian to read. LYD. Heigh-ho ! Yes, I always know when Lady Slattern has been before me. She has a most observing thumb ; and, I believe, cherishes her nails for the con- venience of making marginal notes. Well, child, what have you brought me? LUCY. Oh ! here, ma'am. [Taking books from under her cloak, and from her pockets.] This is The Gordian Knot, and this Peregrine Pickle. Here are The Tears of Sensibility, and Humphrey Clinker. This is The Memoirs of a Lady of Quality, written by herself, and here the second volume of The Sentimental Journey. EC. II.J THE RIVALS. 9 LYD. Heigh-ho ! What are those books by the glass ? LUCY. The great one is only The Whole Duty of Man, where I press a few blonds, ma'am. LYD. Very well give me the sal volatile. LUCY. Is it in a blue cover, ma'am ? LYD. My smelling-bottle, you simpleton ! LUCY. Oh, the drops here, ma'am. LYD. Hold ! Here's some one coming quick, see who it is. [Exit LUCY.] Surely 1 heard my cousin Julia's voice. Re-enter LUCY. LUCY. Lud ! ma'am, here is Miss Melville. LYD. Is it possible ! [Exit LUCY. Enter JULIA. LYD. My dearest Julia, how delighted am I ! [Em- brace.] How unexpected was this happiness ! JUL. True, Lydia, and our pleasure is the greater. But what has been the matter? You were denied to me at first ! LYD. Ah, Julia, I have a thousand things to tell you ! But first inform me what has conjured you to Bath? Is Sir Anthony here ? JUL. He is we are arrived within this hour and I suppose he will be here to wait on Mrs. Malaprop as soon as he is dressed. LYD. Then before we are interrupted, let me impart to you some of my distress ! I know your gentle nature will sympathise with me, though your prudence may condemn me ! My letters have informed you of my whole connection with Beverley ; but I have lost him, Julia ! My aunt has discovered our intercourse by a 10 THE RIVALS. [ACT I. note she intercepted, and has confined me ever since ! Yet, would you believe it ? she has absolutely fallen in love with a tall Irish baronet she met one night since we have been here, at Lady Macshuffle's rout. JUL. You jest, Lydia ! LYD. No, upon my word. She really carries on a kind of correspondence with him, under a feigned name though, till she chooses to be known to him ; but it is a Delia or a Celia, I assure you. JUL. Then, surely, she is now more indulgent to her niece. LYD. Quite the contrary. Since she has discovered her own frailty, she is become more suspicious of mine. Then I must inform you of another plague ! That odious Acres is to be in Bath to-day ; so that I protest I shall be teased out of all spirits ! JUL. Come, come, Lydia, hope for the best Sir Anthony shall use his interest with Mrs. Malaprop. LYD. But you have not heard the worst. Unfortu- nately I had quarrelled with my poor Beverley, just be- fore my aunt made the discovery, and I have not seen him since, to make it up. JUL. What was his offence ? LYD. Nothing at all ! But, I don't know how it was, as often as we had been together, we had never had a quarrel, and, somehow, I was afraid he would never give me an opportunity. So, last Thursday, I wrote a letter to myself, to inform myself that Beverley was at that time paying his addresses to another woman. I signed it your friend unknown, showed it to Beverley, charged him with his falsehood, put myself in a violent passion, and vowed I'd never see him more. JUL. And you let him depart so, and have not seen him since ? LYD. 'Twas the next day my aunt found the matter SC. II.] THE RIVALS. 11 out. I intended only to have teased him three days and a half, and now I've lost him for ever. JUL. If he is as deserving and sincere as you have represented him to me, he will never give you up so. Yet, consider, Lydia, you tell me he is but an ensign, and you have thirty thousand pounds. LYD. But you know I lose most of my fortune if I marry without my aunt's consent, till of age ; and that is what I have determined to do, ever since I knew the penalty. Nor could I love the man, who would wish to wait a day for the alternative. JfL. Nay, this is caprice ! LYD. What! does Julia tax me with caprice? I thought her lover Faulkland had inured her to it. JUL. I do not love even his faults. LYD. But apropos you have sent to him, I suppose ? JUL. Not yet, upon my word nor has he the least idea of my being in Bath. Sir Anthony's resolution was so sudden, I could not inform him of it. LYD. Well, Julia, you are your own mistress (though under the protection of Sir Anthony), yet have you, for this long year, been a slave to the caprice, the whim, the jealousy of this ungrateful Faulkland, who will ever delay assuming the right of a husband while you suffer him to be equally imperious as a lover. JUL. Nay, you are wrong entirely. We were con- tracted before my father's death. That, and some consequent embarrassments, have delayed what I know to be my Faulklaud's most ardent wish. He is too generous to trifle on such a point : and for his char- acter, you wrong him there too. No, Lydia, he is too proud, too noble to be jealous ; if he is captious, 'tis without dissembling ; if fretful, without rudeness. Unused to the fopperies of love, he is negligent of the little duties expected from a lover but being unhack- 12 THE RIVALS. [A