Yes; and can't I — but I vow I'm disposing of the husband, before I have secured the lover. Enter Miss Neville. Miss Hardcastle. I'm glad you 're come, Neville, my dear. Tell me, Constance, how do I look this evening? Is there anything whimsical about me? Is it one of my well-looking days, child? Am I in face today? Miss Neville. Perfectly, my dear. Yet, now I look again bless me! surely no accident has happened among the canary birds or the gold-fishes? Has your brother or the cat been meddling? Or has the last novel been too moving? Miss Hardcastle. No; nothing of all this. I have been threatened I can scarce get it out—I have been threatened with a lover. Miss Neville. And his name Miss Hardcastle. The son of Sir Charles Marlow. Miss Neville. As I live, the most intimate friend of Mr. Hastings, my admirer. They are never asunder. I believe you must have seen him when we lived in town. Miss Hardcastle. Never. Miss Neville. He's a very singular character, I assure you. Among women of reputation and virtue, he is the modestest man alive; but his acquaintance give him a very different character among creatures of another stamp: you understand me. Miss Hardcastle. An odd character, indeed! I shall never be able to manage him. What shall I do? Pshaw, think no more of him, but trust to occurrences for success. But how goes on your own affair, my dear? Has my mother been courting you for my brother Tony, as usual? Miss Neville. I have just come from one of our agreeable tête-à-têtes. She has been saying a hundred tender, things, and setting off her pretty monster as the very pink of perfection. Miss Hardcastle. And her partiality is such that she actually thinks him so. A fortune like yours is no small temptation. Besides, as she has the sole management of it, I'm not surprised to see her unwilling to let it go out of the family. Miss Neville. A fortune like mine, which chiefly consists in jewels, is no such mighty temptation. But at any rate, if my dear Hastings be but constant, I make no doubt to be too hard for her at last. However, I let her suppose that I am in love with her son; and she never once dreams that my affections are fixed upon another. Miss Hardcastle. My good brother holds out stoutly. I could almost love him for hating you so. Miss Neville. It is a good-natured creature at bottom, and I'm sure would wish to see me married to anybody but himself. But my aunt's bell rings for our afternoon's walk round the improvements. Allons. Courage is necessary, as our affairs are critical. Miss Hardcastle. Would it were bed-time, and all were well. [Excunt. Scene II, AN ALEHOUSE ROOM. Several shabby fellows with punch and tobacco; Tony at the head of the table, a little higher than the rest; a mallet in his hand. Omnes. Hurrea, hurrea, hurrea, bravo! First Fellow. Now, gentlemen, silence for a song. The Squire is going to knock himself down for a song.1 Omnes. Ay, a song, a song! Tony. Then I'll sing you, gentlemen, a song I made upon this alehouse, The Three Pigeons.2 SONG. Let schoolmasters puzzle their brain, With grammar, and nonsense, and learning; Gives genus a better discerning. Let them brag of their heathenish gods, Their Lethes, their Styxes, and Stygians, Their quis, and their quæs, and their quods, They're all but a parcel of pigeons. Toroddle, toroddle, toroll! When Methodist preachers 3 come down, They always preach best with a skinful. ' knock himself down for a song: It will be noticed that Tony has a mallet in his hand and has presumably been playing auctioneer. 2 The Three Pigeons: To pigeon meant to fleece at faro. Goldsmith often sang this song himself. 3 Methodist preachers: Goldsmith never missed a chance to ridicule the followers of Wesley. See The Citizen of the World, Letter cxi, and references to "the tabernacle" in plays. But when you come down with your pence, That you, my good friend, are the pigeon. Toroddle, toroddle, toroll! Then come, put the jorum1 about, And let us be merry and clever, Our hearts and our liquors are stout, Here's the Three Jolly Pigeons for ever. Let some cry up woodcock or hare, Your bustards, your ducks, and your widgeons; Here's a health to the Three Jolly Pigeons. Omnes. Bravo, bravo! Toroddle, toroddle, toroll! First Fellow. The Squire has got some spunk in him. Second Fellow. I loves to hear him sing, bekeays he never gives us nothing that 's low.' Third Fellow. Oh, damn anything that's low, I cannot bear it! Fourth Fellow. The genteel thing is the genteel thing any time; if so be that a gentleman bees in a concatenation accordingly. 3 Third Fellow. I like the maxum of it, Master Muggins. What though I am obligated to dance a bear, a man may be a gentleman for all that. May this be my poison, if my bear ever dances but to the very genteel 1 jorum: A drinking bowl. “The usurer is a swallow, sir, that can swallow gold by the jorum." Fielding, The Author's Farce, 1730. 2 he never gives us nothing that's low: This and the next three speeches refer to the criticism of Goldsmith's first play as ungenteel. 3 concatenation accordingly: Fourth Fellow is talking non sense. est of tunes: Water Parted,1 or The minuet in Ariadne.2 Second Fellow. What a pity it is the Squire is not come to his own. It would be well for all the publicans within ten miles round of him. Tony. Ecod, and so it would, Master Slang. I'd then show what it was to keep choice of company. 3 Second Fellow. Oh, he takes after his own father for that. To be sure, old Squire Lumpkin was the finest gentleman I ever set my eyes on. For winding the straight horn, or beating a thicket for a hare, or a wench, he never had his fellow. It was a saying in the place, that he kept the best horses, dogs, and girls, in the whole county. Tony. Ecod, and when I'm of age I'll be no bastard, I promise you. I have been thinking of Bet Bouncer and the miller's gray mare to begin with. But come, my boys, drink about and be merry, for you pay no reckoning. Well, Stingo, what's the matter? 1 Water Parted: The first words of a song sung by Arbaces in Act III of Arne's opera of Artaxerxes, first performed February, 1762: Water parted from the sea, May increase the river's tide; Or thro' fertile vallies glide: Yet in search of lost герове, Doom'd like me forlorn to roam, Still it murmurs as it flows, Till it reach its native home. 2 minuet in Ariadne: Handel's opera Ariadne opens with a minuet. 3 the straight horn: The coaching horn. Bet Bouncer: Mentioned often throughout the play. To be compared with Foote's Bet Blossom. Fitzgerald tried to show that Goldsmith had been influenced by Foote. However, as Goldsmith's play was written first, Foote must be the borrower. |