British Dramatists from Dryden to Sheridan

By George Henry Nettleton; Arthur Eillicot Case | Go to book overview

Row. And Sir Peter shall own for once he has been mistaken.

SIR PET. Oh, my life on Joseph's honor!

SIR OLIV. Well, come, give us a bottle of 90
good wine, and we'll drink the lad's health, and tell you our scheme.

SIR PET. Allons, then!

SIR OLIV. And don't, Sir Peter, be so severe against

your old friend's son. Odds my life! I am not 95
sorry that he has run out of the course a little; for my part, I hate to see prudence clinging to the green succors of youth; 'tis like ivy round a sapling, and spoils the growth of the tree. Exeunt.

End of Act the Second.


ACT III

SCENE I

SIR PETER'S.


SIR PETER TEAZLE, SIR OLIVER SURFACE, and
ROWLEY.

SIR PET. Well, then -- we will see this fellow first, and have our wine afterwards. But how is this, Master Rowley? I don't see the jet1 of your scheme.

ROW. Why, sir, this Mr. Stanley, whom I was

speaking of, is nearly related to them, by their 5
mother; he was once a merchant in Dublin, but has been ruined by a series of undeserved misfortunes. He has applied, by letter, since his confinement, both to Mr. Surface and Charles -- from the former he has
received nothing but evasive promises of future 10
service, while Charles has done all that his extravagance has left him power to do; and he is, at this time, endeavoring to raise a sum of money, part of which, in the midst of his own distresses, I know he intends
for the service of poor Stanley. 15

SIR OLIV. Ah! he is my brother's son.

SIR PET. Well, but how is Sir Oliver personally to -----

ROW. Why, sir, I will inform Charles and his

brother that Stanley has obtained permission to 20
apply in person to his friends, and, as they have neither of them ever seen him, let Sir Oliver assume his character, and he will have a fair opportunity of judging at least of the benevolence of their disposi
tions; and believe me, sir, you will find in the 25
youngest brother one who, in the midst of folly and dissipation, has still, as our immortal bard expresses it, --

'a tear for pity, and a hand

Open as day, for melting charity.'230

SIR PET. Psha! What signifies his having an open hand or purse either, when he has nothing left to give? Well, well, make the trial, if you please; but where is the fellow whom you brought for Sir Oliver to ex

amine, relative to Charles' s affairs? 35

ROW. Below, waiting his commands, and no one can give him better intelligence. -- This, Sir Oliver, is a friendly Jew, who, to do him justice, has done everything in his power to bring your nephew to a

proper sense of his extravagance. 40

SIR PET. Pray let us have him in.

ROW. Desire Mr. Moses to walk upstairs.

SIR PET. But why should you suppose he will speak the truth?

ROW. Oh, I have convinced him that he has 45
no chance of recovering certain sums advanced to Charles but through the bounty of Sir Oliver, who he knows is arrived; so that you may depend on his fidelity to his [own] interest. I have also another evi
dence in my power, one Snake, whom I have de- 50
tected in a matter little short of forgery, and shall shortly produce to remove some of your prejudices, Sir Peter, relative to Charles and Lady Teazle.

SIR PET. I have heard too much on that subject.

ROW. Here comes the honest Israelite. 55


Enter MOSES.

-- This is Sir Oliver.

SIR OLIV. Sir, I understand you have lately had great dealings with my nephew Charles.

MOS. Yes, Sir Oliver -- I have done all I could for

him, but he was ruined before he came to me for 60
assistance.

SIR OLIV. That was unlucky, truly -- for you have had no opportunity of showing your talents.

MOS. None at all -- I hadn't the pleasure of know

ing his distresses -- till he was some thousands 65
worse than nothing.

SIR OLIV. Unfortunate, indeed! But I suppose you have done all in your power for him, honest Moses?

MOS. Yes, he knows that. This very evening 70
I was to have brought him a gentleman from the city, who doesn't know him, and will, I believe, advance him some money.

____________________
91] CS the Lad's health; D your Lady's good health; M the lads' health; R your lady's health.
98]CSM succours; Rae text juices; R suckers.
14]Sheridan corrects all his distresses (C) to his own distresses. S follows the corrected reading.
30] C read originally the day (as in Rae), but the is crossed out in correction. S follows the correction.
43] In C the word (? Pray) before why is heavily blotted out, presumably by Sheridan, to avoid repetition of pray in line 41.
49] D his own interest. In C the word (? own) before interest is heavily blotted out (? by Sheridan). S follows the corrected text of C, reading his interest.
1
Point, gist.
2
From Henry IV, Part II, IV. iv. 31-32. (Quoted correctly, but not transcribed as verse.)

-861-

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British Dramatists from Dryden to Sheridan
Table of contents

Table of contents

  • Title Page i
  • Preface iii
  • Contents v
  • Restoration Drama 1
  • Heroic Drama 3
  • Reference Works 6
  • Prologue to the First Part 9
  • Act I 11
  • [scene I] 11
  • Act II 15
  • [scene I] 15
  • Act III 18
  • [scene I] 18
  • Act IV 24
  • [scene I] 24
  • [scene Ii] 25
  • Act V 31
  • [scene I] 31
  • [scene Ii] 32
  • [scene Iii] 33
  • Epilogue 38
  • The Rehearsal 39
  • Prologue 41
  • Act I 43
  • Scene I 43
  • [scene Ii] 44
  • Act II 48
  • Scene I 48
  • Scene II 49
  • Scene III 50
  • Scene IV 50
  • Scene V 52
  • Act III 52
  • Scene I 52
  • Scene II 54
  • Scene III 54
  • Scene IV 55
  • Scene V 55
  • Act IV 57
  • Scene I 57
  • Scene II 61
  • Act I 62
  • Scene I 62
  • Epilogue 67
  • Blank-Verse Tragedy (1677-1700) 69
  • Reference Works 72
  • Preface 75
  • Prologue 81
  • Act I 83
  • Scene [i] 83
  • Act II 88
  • [scene I] 88
  • Act III 94
  • [scene I] 94
  • Act IV 100
  • [scene I] 100
  • Act V 107
  • [scene I] 107
  • Epilogue 114
  • Prologue 117
  • Act I 119
  • Scene I 119
  • Act II 123
  • [scene I] 123
  • Scene [ii] 124
  • [scene Iii] 125
  • Act III 128
  • [scene I] 128
  • Scene II 130
  • Act IV 136
  • [scene I] 136
  • Scene [ii] 137
  • Act V 143
  • [scene I] 143
  • [scene Ii] 145
  • [scene Iii] 147
  • [scene Iv] 149
  • Epilogue 150
  • Comedy of Errors 151
  • Reference Works 154
  • Prologue 157
  • Act I 159
  • Scene I 159
  • Act II 165
  • [scene I] 165
  • Scene II 167
  • Act III 170
  • [scene I] 170
  • Scene II 172
  • Scene III 176
  • Act IV 180
  • [scene I] 180
  • Scene II 185
  • Scene III 187
  • Act V 188
  • [scene I] 188
  • Scene II 191
  • Epilogue 197
  • Dedication 201
  • Prologue. Spoken by the Plain Dealer. 205
  • Act I 207
  • Scene I 207
  • Act II 214
  • Scene I 214
  • Act III 226
  • Scene I 226
  • Act IV 236
  • Scene I 236
  • [scene Ii] 241
  • Act V 246
  • Scene I 246
  • [scene Ii] 248
  • [scene Iii] 254
  • Epilogue 257
  • The Preface 261
  • Prologue 263
  • Act I 265
  • Scene I 265
  • [scene Ii] 266
  • [scene Iii] 268
  • Act II 271
  • Scene I 271
  • Act III 279
  • [scene I] 279
  • [scene Ii] 281
  • [scene Iii] 284
  • [scene Iv] 285
  • [scene V] 286
  • Act IV 286
  • [scene I] 286
  • [scene Ii] 288
  • [scene Iii] 290
  • [scene Iv] 291
  • [scene V] 292
  • Act V 295
  • [scene I] 295
  • [scene Ii] 297
  • [scene Iii] 299
  • [scene Iv] 301
  • [scene V] 303
  • Epilogue 307
  • Dedication to the Right Honorable Ralph, Earl of Mountague, &c. 311
  • Act I 313
  • Scene I 313
  • Act II 318
  • Scene I 318
  • Act III 324
  • Scene I 324
  • Act IV 332
  • Scene I 332
  • Act V 340
  • Scene I 340
  • Epilogue 347
  • Prologue 351
  • Act I 353
  • Scene I 353
  • [scene Ii] 359
  • Act III 362
  • [scene I 362
  • [scene Ii] 363
  • [scene Iii] 365
  • Act IV 370
  • Scene I 370
  • [scene Ii] 376
  • [scene Iii] 381
  • [scene Iv] 383
  • An Epilogue Designed to Be Spoke in 'the Beaux' Stratagem.' 386
  • Jeremy Collier's Attack on the Stage 387
  • Reference Works 388
  • Eighteenth-Century Drama 395
  • Sentimental Comedy 397
  • Reference Works 398
  • The Prologue 401
  • Act I 403
  • Scene I 403
  • Act II 408
  • Scene I 408
  • [scene Ii] 410
  • Act III 413
  • Scene I 413
  • Act IV 420
  • Scene I 420
  • Act V 426
  • Scene I 426
  • [scene Ii] 427
  • [scene Iii] 428
  • [scene Iv] 429
  • [scene V] 429
  • [scene Vi] 430
  • [scene Vii] 432
  • The Epilogue 436
  • The Preface 439
  • Prologue 441
  • Act I 443
  • Scene I 443
  • Scene II 447
  • Act II 450
  • Scene I 450
  • [scene Ii] 451
  • Act III 455
  • Scene I 455
  • Act IV 460
  • Scene I 460
  • Scene [ii] 463
  • Scene [iii] 465
  • Act V 466
  • Scene I 466
  • Scene [ii] 467
  • Scene [iii] 468
  • Epilogue 472
  • Blank-Verse Tragedy 473
  • Reference Works 475
  • Prologue 479
  • Act I 481
  • Scene I 481
  • Scene II 482
  • Scene III 483
  • Scene IV 483
  • [scene V] 485
  • [scene Vi] 485
  • Act II 486
  • Scene I 486
  • [scene Ii] 487
  • [scene Iii] 488
  • [scene Iv] 489
  • [scene V] 489
  • [scene Vi] 491
  • Act III 492
  • Scene I 492
  • [scene Ii] 492
  • [scene Iii] 494
  • [scene Iv] 494
  • [scene V] 494
  • [scene Vi] 495
  • [scene Vii] 495
  • Act IV 496
  • Scene I 496
  • [scene Ii] 496
  • [scene Iii] 497
  • [scene Iv] 498
  • Act V 500
  • Scene I 500
  • [scene Ii] 500
  • [scene Iii] 501
  • [scene Iv] 501
  • Epilogue 503
  • Prologue 507
  • Act I 509
  • Scene I 509
  • Scene II 510
  • Act II 512
  • Scene I 512
  • Act III 516
  • Scene I 516
  • Act IV 519
  • [scene I] 519
  • Act V 524
  • Scene I 524
  • Epilogue 530
  • Ballad Opera 531
  • Reference Works 532
  • Introduction 534
  • Act I 537
  • Scene I 537
  • Scene II 537
  • Scene III 538
  • Scene IV 538
  • Scene V 540
  • Scene VI 540
  • Scene VII 540
  • Scene VIII 541
  • Scene IX 543
  • Scene X 543
  • Scene XI 544
  • Scene XII 545
  • Scene XIII 545
  • Scene XIII 546
  • Scene II 546
  • Scene II 550
  • Scene VI 551
  • Scene VII 551
  • Scene VIII 551
  • Scene IX 552
  • Scene X 553
  • Scene XI 554
  • Scene XII 554
  • Scene XIII 555
  • Scene XIV 556
  • Scene XIV 557
  • Scene II 557
  • Scene II 559
  • Scene III 559
  • Scene IV 559
  • Scene V 560
  • Scene VI 561
  • Scene VII 562
  • Scene VIII 563
  • Scene IX 564
  • Scene X 564
  • Scene XI 564
  • Scene XII 566
  • Scene XIII 566
  • Scene XIV 567
  • Scene XV 568
  • Scene XVI 568
  • Scene XVII 568
  • Mid-Eighteenth-Century Drama (1730-1770) 571
  • Reference Works 573
  • H. Scriblerus Secundus His Preface 577
  • Act I 581
  • Scene I 581
  • Scene II 582
  • Scene III 583
  • Scene IV 585
  • Scene V 585
  • Scene VI 586
  • Act II 586
  • Scene I 586
  • Scene II 586
  • Scene III 587
  • Scene IV 588
  • Scene V 588
  • Scene VI 589
  • Scene VII 590
  • Scene VIII 590
  • Act II 593
  • Scene I 593
  • Scene II 593
  • Scene III 594
  • Scene IV 594
  • Scene V 595
  • Scene VI 595
  • Scene VII 595
  • Scene VIII 596
  • Scene IX 596
  • [dedication] 601
  • Prologue 603
  • Act I 605
  • Scene I 605
  • Scene II 606
  • Act II 609
  • Scene I 609
  • Scene II 611
  • Scene II 613
  • Act III 613
  • Scene I 613
  • Scene II 615
  • Scene III 616
  • Scene IV 617
  • Scene IV 618
  • Act IV 618
  • Scene I 618
  • Scene II 619
  • Act V 622
  • Scene I 622
  • Scene II 623
  • Epilogue 628
  • Act I 633
  • Scene I 633
  • Scene [ii] 635
  • Act II 638
  • [scene I] 638
  • Epilogue 646
  • Prologue 649
  • Prologue 651
  • Act I 653
  • Act II 656
  • Act III 659
  • Act IV 663
  • Act V 668
  • Epilogue 673
  • Prologue 677
  • Act I 679
  • Scene [i] 679
  • Act II 684
  • [scene Ii] Scene Changes to Oakly's. 684
  • [scene Ii] 686
  • Scene [iii] 687
  • Act III 691
  • Scene [i] 691
  • [scene Ii] 695
  • Act IV 698
  • Scene [i] 698
  • [scene Ii] 701
  • Act V 704
  • Scene [i] 704
  • Scene [ii] 705
  • Scene [iii] 706
  • Epilogue 712
  • Later Eighteenth-Century Drama - (1770-1780) 713
  • Sentimental Versus Laughing Comedy 713
  • Reference Works 717
  • Prologue 721
  • Act I 723
  • Scene I 723
  • Scene II 724
  • Scene III 724
  • Scene IV 724
  • Scene V 725
  • Scene VI 726
  • Act II 728
  • Scene I 728
  • Scene II 728
  • Scene III 729
  • Scene IV 730
  • Scene V 730
  • Scene VI 731
  • Scene VII 731
  • Scene VIII 732
  • Scene IX 733
  • Scene X 734
  • Scene XI 735
  • Act III 736
  • Scene I 736
  • Scene II 737
  • Scene III 737
  • Scene IV 739
  • Scene V 739
  • Scene VI 740
  • Scene VII 740
  • Scene VIII 742
  • Scene IX 743
  • Scene X 743
  • Scene IV 743
  • Scene I 743
  • Scene II 743
  • Scene III 744
  • Scene IV 745
  • Scene V 745
  • Scene VI 745
  • Scene VII 746
  • Scene VIII 746
  • Scene IX 747
  • Scene X 748
  • Act V 750
  • Scene I 750
  • Scene II 751
  • Scene III 751
  • Scene IV 751
  • Scene V 752
  • Scene VI 752
  • Scene VII 753
  • Scene VIII 754
  • Epilogue 756
  • Prologue 767
  • Act I 769
  • Scene [i] 769
  • Scene [ii] 771
  • Act II 773
  • Scene [i] 773
  • Act III 781
  • [scene I] 781
  • Act IV 785
  • [scene I] 785
  • Act V 791
  • [scene I] 791
  • [scene Ii] 792
  • [scene Iii] 794
  • Epilogue 797
  • Epilogue 798
  • Prologue 801
  • Prologue 803
  • Act I 805
  • Scene I 805
  • Scene II 806
  • Act II 810
  • Scene I 810
  • Scene II 816
  • Act III 817
  • Scene I 817
  • Scene II 818
  • Scene III 820
  • Scene IV 822
  • Act IV 824
  • Scene I 824
  • Scene II 826
  • Scene III 829
  • Act V 831
  • Scene I 831
  • Scene II 834
  • Scene III 835
  • Epilogue 839
  • A Portrait; Addressed to Mrs. Crewe, with the Comedy of the School for Scandal 843
  • Prologue 847
  • Act I 849
  • Scene I 849
  • Scene II 854
  • Act II 855
  • Scene I 855
  • Scene II 857
  • Scene III 860
  • Act III 861
  • Scene I 861
  • Scene II 864
  • Scene III 865
  • Act IV 868
  • Scene I 868
  • Scene II 870
  • Scene III 871
  • Act IV 876
  • Scene I 876
  • Scene II 878
  • Scene III 881
  • Epilogue 885
  • [dedication] 889
  • Prologue 891
  • Act I 893
  • Scene I 893
  • Scene II 898
  • Act II 902
  • Scene I 902
  • Scene II 902
  • Act III 908
  • Scene I 908
  • Textual Notes 913
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