The Plays of David Garrick: A Complete Collection of the Social Satires, French Adaptations, Pantomimes, Christmas and Musical Plays, Preludes, Interludes, and Burlesques - Vol. 1

By Harry William Pedicord; Fredrick Louis Bergmann et al. | Go to book overview

SOPHIA. What! an abandoned, rash, profligate male-coquette, a wretch who can assume passions he never feels and sport with our sex's

frailties. Fie, fie, Bell.10

ARABELLA. Well, well, you are too angry to be merciful. If he is such a monster, I aM glad you are out of his clutches, and that you can so easily resign him to another.

SOPHIA. To another? There is not that woman, be she ever so handsome, that I hate enough to wish her so much evil. And happy it is for you, Bell, that you have a heart to resist his allurements.

ARABELLA. Yes, I thank my stars. I am not so susceptible of impressions of that kind. And yet I won't swear, if an agreeable man--I--I --

SOPHIA. No, no, Bell, you are not absolute stone; you may be mollified.

(Aside.) She is confounded.20

ARABELLA (aside). Surely he has not betrayed me. 'Tis impossible; I cannot be deceived.

SOPHIA. Well, shall we go in to the ladies and Mr. Tukely? Were they not surprised when he opened the business to 'em?

ARABELLA. 'Twas the finest scene imaginable. You could see, though they all endeavored to hide their liking to Daffodil, all were uneasy at Tukely's discovery. At first they objected to his scheme, but they began to listen to his proposal the moment I was called out to you. What farther he intends is a secret to us all. But here he

comes, and without the ladies.30

Enter Tukely.

TUKELY. Pray, Miss Bell--Bless me! Miss Sophy returned? I dare not ask, and yet if my eyes do not flatter my heart, your looks --

SOPHIA. Don't rely too much upon looks, Mr. Tukely.

TUKELY. Madam, why sure --

SOPHIA. Don't imagine, I say, that you can always see the mind in the face.

TUKELY. I can see, Madam, that your mind is not disposed to wish or make me happy.

SOPHIA. Did not I bid you not to rely upon looks? For do you know

now that my mind is at this time most absolutely disposed to do40
everything that you would have me. (Curtsies.)

TUKELY. Then I have nothing more to wish or ask of fortune. (Kneels and kisses her hand.)

ARABELLA. Come, come, this is no time to attend to one, when you have so many ladies to take care of.

TUKELY. I will not yet inquire into your adventures 'till I have accomplished my own. The ladies within have at last agreed to attend me this evening, where, if you have a mind to finish the picture

-155-

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The Plays of David Garrick: A Complete Collection of the Social Satires, French Adaptations, Pantomimes, Christmas and Musical Plays, Preludes, Interludes, and Burlesques - Vol. 1
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Illustrations ix
  • Preface xi
  • Acknowledgments xix
  • Introduction xxi
  • Lethe; Or, Esop in the Shades - A Dramatic Satire 1740 1
  • Epilogue 33
  • The Lying Valet 1741 35
  • Dramatis Personae 37
  • Scene 1. Gayless' Lodgings. Enter Gayless and Sharp. 37
  • Scene [ii]. Melissa's Lodgings. Enter Melissa and Kitty. 45
  • Scene [ii]. Melissa's Lodgings. Enter Melissa and Kitty. 45
  • Scene [ii]. Melissa's Lodgings. Enter Melissa and Kitty. 51
  • Epilogue 67
  • Miss in Her Teens: Or, the Medley of Lovers - A Farce 1747 69
  • Advertisement 71
  • Prologue 72
  • Dramatis Personae 74
  • Act I. Scene I. 74
  • Scene [ii.] Changes to A Chamber. 83
  • Act Ii. Scene I. 83
  • Epilogue 103
  • Lilliput 1756 - A Dramatic Entertainment 105
  • Advertisement 107
  • Prologue 110
  • Dramatis Personae 112
  • Epilogue 130
  • The Male-Coquette; Or, Seventeen-Hundred Fifty-Seven 1757 133
  • Advertisement 135
  • Prologue 136
  • Dramatis Personae 138
  • Act I. [scene I.] [a Hall in Sophia's House.] 138
  • [scene Ii.] 146
  • Act Ii. [scene I.] 146
  • Act Ii. [scene I.] 155
  • Act Ii. [scene I.] 162
  • The Guardian A Comedy 1759 169
  • Advertisement 171
  • Dramatis Personae 172
  • Act I. Scene I. A Hall in Mr. Heartly's House. 172
  • Act II 173
  • Act II 188
  • Harlequin's Invasion; Or, A Christmas Gambol 1759 199
  • Dramatis Personae 201
  • Act I 201
  • Scene Ii. Plain Chamber 205
  • Scene Ii. Plain Chamber 205
  • Scene Ii. Plain Chamber 213
  • Scene Ii. Plain Chamber 216
  • Scene Ii. Plain Chamber 221
  • The Enchanter; Or, Love and Magic A Musical Drama 1760 227
  • Advertisement 229
  • Persons 230
  • Act I. Scene I. 231
  • Scene Ii. Plain Chamber 233
  • Scene Ii. Plain Chamber 233
  • Scene Ii. Plain Chamber 234
  • Scene Ii. Plain Chamber 235
  • Scene Ii. Plain Chamber 235
  • Scene Ii. Plain Chamber 235
  • Scene Ii. Plain Chamber 238
  • Scene Ii. Plain Chamber 240
  • Scene Ii. Plain Chamber 240
  • The Farmer's Return from London . - An Interlude 1762 243
  • Advertisement 245
  • Persons of the Interlude 246
  • The Clandestine Marriage - Acomedy 1766 253
  • Advertisement 255
  • Prologue 256
  • Dramatist Personae 258
  • Act I. [scene I.] 258
  • Scene Ii. Plain Chamber 268
  • Act Ii. [scene I.] 268
  • [scene Ii.] 281
  • [scene Ii.] 281
  • [scene Ii.] 291
  • [scene Ii.] 298
  • Act Iv. Scene I. 298
  • [scene Ii.] 306
  • [scene Ii.] 306
  • [scene Ii.] 317
  • [scene Ii.] 320
  • Epilogue 332
  • Neck or Nothing A Farce 1766 337
  • Advertisement 339
  • Dramatis Personae 340
  • Act I. [scene I.] 340
  • Scene II 347
  • Scene II 355
  • Scene II 363
  • Scene II 364
  • List of References 373
  • Commentary and Notes 377
  • Index to Commentary 431
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