EDITORIAL INTRODUCTION. It is the peculiar good fortune of the author of "She Stoops to Conquer" to be one of the writers whom the public is always happy to see, whether he presents himself in the character of novelist in his "Vicar of Wakefield," as poet in his “Traveller" and "Deserted Village," or as dramatist, as in this play and that of the "Good Natured Man." He always brings with him, wherever he appears, one of those delightful sunshiny natures which makes him welcome company, which can never lose its charm, and which will be as acceptable to our children as it is to ourselves, and has been to several generations of our ancestors. Although Goldsmith had acquired an established position as the author of one of the most popular domestic romances, and two of the most successful and pleasing poems in the language, he was resisted in his attempt to produce the present popular drama, through a series of obstacles and discouragements, which make one of the most curious chapters in the history of the Stage. The manuscript of "She Stoops to Conquer" was offered to Mr. Colman, of Covent Garden Theatre, in 1773-returned, with copious objections written on the blank leaves: submitted to Garrick, who avoided a direct answer: again placed before Colman, who, after the urgent solicitations of Dr. Johnson and other friends of the author, yielded a reluctant assent to its being brought forward at his theatre. As evidence of the feeling entertained towards dramatic performances at that period, it may be mentioned that it was a subject of comment in the correspondence of Dr. Johnson with Bishop White, the late venerable Episcopal prelate of Pennsylvania—one of the noblest and purest Christians of the last and present age-in which Johnson says: 66 Dr. Goldsmith has a new comedy in rehearsal at Covent Garden, to which the manager predicts ill success. I hope he will be mistaken. I think it deserves a very kind reception." The public were of the same opinion, and although its first manager was confident it must prove a "barrel of gunpowder" and blow all parties concerned into the air-although the actors threw up their parts, and the voice of the green-room was pronounced against it, it secured at once a triumphant success. The play is now a standard, and is recognized wherever the English Drama is represented as an established classic. The mistaking of a private house for an inn, which is the main incident in the plot, justly raises the objection that many of its leading scenes necessarily rely upon a verbal evasion, kept up by an ingenious avoidance of every expression, scarcely possible in the conversation of everyday life—which would rectify the error; for that would put an end to the further progress of the piece. From the want of an organized and thoroughly efficient company of the old school of actors it has not been as often represented here as its unquestionable merits would have justified. Its latest opportunity of this kind was in the old company at the Park Theatre; where Henry Placide's Tony Lumpkin, the Marlow of Richings, and Mrs. Wheatley's Mrs. Hardcastle, are not forgotten. There is no attempt at the profound delineation of character, no passages of eloquent sentiment, and very little complication of scene and story. It accomplished the end its author had in view when he questioned one of his critics, “Did it make you laugh?" "Exceedingly," the critic answered. "Then," said the dramatist, "that is all I require." The success of "She Stoops to Conquer" was the first blow at the class of sentimental comedies, and it was so effectually struck, that they have not since shown themselves on the English Stage as prevailing models. C. M. SIR CHARLES MARLOW.-Gentlemen's old fashioned blue suit, camlet fly, and cocked hat. HARDCASTLE.-Old fashioned camlet suit, cocked hat, and scarlet roquelare. YOUNG MARLOW.-First dress: Dark green coat, white waistcoat, pantaloons, and black boots. Second dress: Fashionable dress suit. HASTINGS.-Gentleman's plain suit. TONY LUMPKIN.-Scarlet jacket, flowered silk waistcoat, buff breeches. MRS. HARDCASTLE.-First dress: Brocade sack and petticoat. Second dress: MISS HARDCASTLE.-First dress: White muslin, trimmed with lace. Second dress: Smart colored gown, and white apron trimmed with ribbon. MISS NEVILLE.-Blue satin body, and leno petticoat trimmed with blue satin. EXITS AND ENTRANCES. R. means Right; L. Left; R. D. Right Door; L. D. Left Door; 8. E. Second Entrance; U. E. Upper Entrance; M. D. Middle Door. RELATIVE POSITIONS. R. means Right; L. Left; C. Centre; R. C. Right of Centre; L. C. Left of Centre. SHE STOOPS STOOPS TO CONQUER. ACT I. SCENE I-A Chamber in an old-fashioned House. Enter MRS. HARDCASTLE and MR. HARDCASTLE, r. Mrs. H. I vow, Mr. Hardcastle, you're very particular. Is there a creature in the whole country, but ourselves, that does not take a trip to town now and then, to rub off the rust a little ? There's the two Miss Hoggs, and our neighbor, Mrs. Grigsby, go to take a month's polishing every winter. Hard. Ay, and bring back vanity and affectation to last them a whole year. I wonder why London cannot keep its own fools at home. In my time, the follies of the town crept slowly among us, but now they travel faster than a stage-coach. Its fopperies come down, not only as inside passengers, but in the very basket. Mrs. H. Ay, your times were fine times, indeed; you have been telling us of them for many a long year. Here we live in an old rumbling mansion, that looks for all the world like an inn, but that we never see company. Our best visitors are old Mrs. Oddfish, the curate's wife, and little Cripplegate, the lame dancing-master; and all our entertainment your old stories of Prince Eugene and the Duke of Marlborough. I hate such old-fashioned trumpery. Hard. And I love everything that's old: old friends, old times, old manners, old books, old wine; and, I believe, Dorothy,-[Taking her hand.]-you'll own I have been pretty fond of an old wife. |
