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A COLLECTION OF THE HOST ESTEEMED
TRAGEDIES, COMEDIES, OPERAS, AND FARCES,
J. J. WOODWARD, No. 7 MINOR STREET.
RHMTTRD BY L. JOHNSON.
LIONEL AND CLARISSA:
A SCHOOL FOR FATHERS:
A OOWXO OPERA,
IN THREE ACTS.
BY ISAAC BICKERSTAFF, Ess*.
► Tun opera was first performed al Covent Garden, in 1768; and afterwards altered and revived at Drory Lane, with the new title of the School for Fathers, which is now usually added to its original name. The Author asserted the entire originality of his production, having borrowed neither character, language, nor incident, from any other writer. Be this as it may, the piece has considerable claims, not merely as a medium for vocal ability, but from its good sense.
Lionel and his Clarissa, whose delicacy of love is well portrayed, are sure to gain the sympathy of their younger auditors and readers.—Colonel Oldboy supports the old Engli h strength of character, in admirable contrast with the effeminate Mr. Jessamy, who is a good caricature of the modern breed of useless triflers, neither male nor female in their ideas or pursuits, but a nauseous compound of the worst parts of both.—Diana, Sir John Flowerdale, Lady Mary Oldboy, and the other characters, aro in good keeping with the general tone of this agreeable
SCENE I.—A Chamber in Colonel Oldboy's
COLONEL Oldboy is discovered at breakfast, read-
Diana. Ah, how delightful the morning,
Summer luxuriant adorning
Be grateful to the season,
Its pleasures let's employ;
Permits us to enjoy.
Col. O. Well said Dy, thank you, Dy.—This, Master Jenkins, is the way I make my daughter entertain me every morning at breakfast Come hero and kiss me, you slut; como here and kiss me, you baggage.
Diana. Lord, papa, you call one such names— Col. O. A fine girl, Master Jenkins, a devilish fine girl! she has got my eye to a twinkle. There's file for you—spirit!—I design to marry her to a