WBSU PREVIOUS QUESTION,PAPER-I,2010

WEST BENGAL STATE UNIVERSITY

B.A ENGLISH HONS PART-I, 2010 EXAM PAPER
PAPER -I
SECTIONS- 1 AND 2
1.Ans!" #n$ %&'" &% ()! %&**&+n, -'!s(+&ns: 4X5=20
a)How is Heorot described in the extract from Beowulf that ou ha!e read"
b)#hat is the cause of $eor%s sadness"How does he console himself"$iscuss with
reference to the extract.
c)#hat does &aedmon sa about the &reation on his H'()"
d)*ssess the im+ortance of the *n,lo-.axon chronicle in the histor of /n,lish
0iterature.
e)/xamine and ex+lain &haucer%s use of ima,es to describe the season in his +rolo,ue
1he &anterbur 1ales.
f)How si,nificant is the use of colour smbolism in the extract of .ir 2awain and the
2reen 3ni,ht"
SECTIONS-.,/,0
2.Ans!" #n$ ()"!! &% ()! %&**&+n, -'!s(+&ns: 4x10=40
a)How does .ha5es+eare ex+lore the theme of 16(/ and B/*71' in .onnets 18 and
94"
b):0o!in, in 1ruth: is more about writin, +oetr than about lo!e.$o ou a,ree";ustif.
c)6dentif and ex+lain four t+ical (eta+hsical features in $onne%s 1H/ 2<<$
(<==<# or (ar!ell%s 1< H6. &<' (6.1=/...
d)&onsider the theme of lost childhood in >au,han%s 1H/ =/1=/*1.
4.Ans!" #n$ &n! &% ()! %&**&+n, -'!s(+&ns: 1x10=10
a)#hat are Bacon%s chief aims as an essaist and how does he achie!e them"*nswer with
s+ecial reference to <? .17$6/. *)$ <? 1=*>*60.
b)How re+resentati!e of the a,e is the +rose stle of Burton or Browne"$iscuss with
s+ecial reference to the extracts ou ha!e read.
4.Ans!" #n$ %+1! &% ()! %&**&+n, -'!s(+&ns2 5x2=10
a)How does .+enser wish to eternalise his lo!e in <)/ $*' 6 #=<1/"
b)2i!e one exam+le from 1he 2ood (orrow which shows $onne%s interest in
,eo,ra+h.
c)/x+lain: :1imes win,ed chariot:.
d)#hat is the difference between the structure of the .ha5es+earean and the @etrarchan
sonnet"
e)#hat does >au,han mean b :bri,ht shoots of e!erlastin,ness:"
f)6dentif and ex+lain an one ima,e used b .ha5es+eare in .onnet 11A to describe :true
lo!e:"
,)#hen did 3in, ;ames% *uthoriBed >ersion of the Bible a++ear"what is its si,nificance"
h)#hat doesBurton ha!e to sa about (an%s /xcellenc% in 1H/ *)*1<(' <?
(/0*)&H<0'"
SECTION-3
5.S4#n ()! %&**&+n, 5#ss#,!,+6!n(+%$ ()! 5"!6&7+n#n( 7!(!" #n6 +n6+4#(! ()!
1#"+#(+&ns +% #n$2 18090
.hall 6 com+are thee to a summer%s da"
1hou art more lo!el and more tem+erate.
=ou,h winds do sha5e the darlin, buds of (aC
*nd summer%s lease hath all too short a date.
SECTION-:
A.Ans!" #n$ %+1! &% ()! %&**&+n, -'!s(+&ns2 0X0920
a)How ha!e the =oman missionaries been instrumental durin, the 9th centur in brin,in,
0atin loans to /n,land"
b)/xamine the .candina!ian influence on /n,lish 2rammar and sntax.
c)1he ?rench on the /n,lish 0an,ua,e shows a su+erior culture.2i!e exam+les from two
fields to +ro!e this.
d)#rite a short note on Bac5 ?ormation.
e)2i!e three exam+les of :;ohnsonese:.*re these words a hindrance or hel+ to the
/n,lish 0an,ua,e"
f)6dentif fi!e hbrid words in /n,lish./x+lain how these words ha!e hel+ed to enrich
the /n,lish 0an,ua,e.
,).how the im+act of the +hraseolo, of the Bible on the /n,lish 0an,ua,e.2i!e three
exam+les.
h)6dentif three was in which British /n,lish has been influenced b *merican /n,lish.
@<.1/$ B' .*)1*)7 H*0$/=
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THE UNIVERSITY WITS
T)! Un+1!"s+($ W+(s
Introduction:
The University Wits were a group of well-educated scholars-cum-men of
letters who wrote in the closing years of the sixteenth century. All of them were
actively associated with the theatre and the plays written by them mark a
pronounced stage of development over the drama which existed before them.
With their dramatic work they paved the way for the great Shakespeare who was
indebted to them in numerous ways. iven below are the names of these
University Wits!
"l# $ohn %yly
"&# 'obert reene
"(# eorge )eele
"*# Thomas %odge
"+# Thomas ,ashe
"-# Thomas .yd
"/#0hristopher 1arlowe
They were called University Wits because they had training at one or other
of the two Universities-2xford and 0ambridge. The only exception3 and that a
doubtful one3 was Thomas .yd. Apart from academic training "in most cases3 an
1. A. degree# they had numerous characteristics in common. They were
members of learned societies and rather liberal in their views concerning od
and morality. They were all reckless 4ohemians and had their lives cut short by
excessive debauchery or a violent death. 1arlowe was killed in a street brawl3
perhaps over bought kisses3 and reene3 after a career of unfettered self-
dissipation3 died friendless and penniless and in a very touchingly repentant
frame of mind. 5urther3 in their intellectualism they were true embodiments of
the impact of the 'enaissance on 6nglish culture and sensibility. Then3 all of
them had fairly good relations with one another and were wont freely to lend a
hand to one another in the writing or completing of dramatic works.
Their Contribution to the Drama:
Whatever may be said against their reproachable careers as human beings3
it will have to be admitted that3 to 7uote Allardyce ,icoll38they laid.a sure basis
for the 6nglish theatre.8 5or understanding appropriately the contribution of the
University Wits in this respect we should first ac7uaint ourselves with the state of
the 6nglish drama before them. ,ow3 when the University Wits started writing
there were two fairly distinct traditions of the dramatic art before them. 2ne was
the native tradition "especially of. comedy# which was vigorous3 no doubt93 but
devoid of the artistic discipline of he classical reek and 'oman drama. The other
was the tradition set by the imitators of ancient 'oman drama. Such works as
Sackville and ,orton9s Gorboduc "tragedy# and Ralph Roister Doister "comedy#
are instances of this tradition. These plays3 though they exhibit ample awareness
of the classical form and control3 are devoid of the vigour of the purely native
plays. :ifferentiating between the popular and classical tradition3 Allardyce
,icoll observes! 8The classicists had form but no fire; the popular dramatists had
interest3 but little sense of form.8 The function of the University Wits was to
combine the form with the fire. They had plenty of 8fire8 in them3 all being
reckless hedonists3 but they had also the sense of form ac7uired by them from
training in classical learning. While retaining in their dramatic works the vigour
of the popular native tradition3 they gave them that literary grace and power
which offered Shakespeare 8a viable and fitting medium for the expression of his
genius.8
2ne thing which needs to be amply emphasised is that though the
University Wits looked to the classical drama and incorporated its general respect
of form in their own productions3 they never imitated it slavishly. They retained
for themselves sufficient freedom3 sometimes even that of violating its well-
recognised principles such as the strict separation of the species "comedy and
tragedy3 for instance#3 the observance of 8the three unities8 "those of time3 place3
and action#3 and the reporting of the ma<or incidents to the audience through the
dialogue of the dramatis personae or the agency of the messenger. What they
established upon the 6nglish stage was not a pale copy of the ancient reek or
roman drama3 but a kind of romantic drama which was to be later adopted by
Shakespeare himself. %yly3 reene3 and )eele contributed much towards the
establishment of the romantic comedy3 and .yd and 1arlowe3 6li=abethan
tragedy. 4esides3 1arlowe in his Edward II set an example of the historical play
for Shakespeare and others.
5urther3 the University Wits set about the work of reforming the language
of the drama. They made the medium of dramatic utterance extremely pliant and
responsive to all the various moods endeavoured to be conveyed through it. %yly
lenfthe language of comedy3 especially the prose3 a wonderfully sophisticated
touch3 )eele gave it a rare sweetness3 and reene3 considerable geniality and
openness. As regards the language of tragedy3 .yd did not do much except
.introducing exaggerative bombast "which is not always without vigour#3 but
1arlowe breathed into it that consuming intensity coupled with virtuosic
brilliance which thrilled his contemporaries and thrills us even today. 4lank verse
became 1ariowe9s 8mighty line.8
,ow let us consider the individual contribution of the various University
Wits to the development of 6nglish drama.
(1) John Lyly (1554-1606):
%yly is better known for his prose romance Euphues than his dramatic
productions. >t must be remembered that he himself was a courtier and wrote for
the discerning courtiers. ?e had no intention to charm the eyes and ears of the
masses or to win their acclamation. ?is plays are rather of the nature of mas7ues
which were very popular with the 7ueen and the court. ?e gave comedy a touch
of sophistication and an intellectual tone lacking in the native comedy which was
predominantly of the nature of rough-and-tumble farce. %yly wrote eight plays in
all out of which Compaspe, Endunion, and Gallathea are the best and the best
known. And though all the eight are3 broadly speaking3 comedies3 yet they can be
roughly divided3 after,icoll3 into three groups as follows!
"i# those which are allegorical and mythical in tone;
"ii# those which display realistic features ; and
"iii# those which mark the introduction of more or less historical features.
%yly9s plays are the production of scholarship united to an elegant fancy
and a somewhat fantastic wit3 but not of a writer capable of moving the passions
or of depicting character by subtle and felicitous touches. 4roadly speaking3
%yly9s achievement is to have synthesised many mutually antagonistic elements
which had till then lain unreconciled. ?is was a 'enaissance mind working
synthetically on the native material before him. 5or instance we have fre7uently
in his plays a courtly main plot "in which such characters as kings3 7ueens3
princes3 princesses3 knigh ts3 fairies3 pagan and reek and 'oman deities figure#
supported by a sub-plot setting forth the blunders of villagers. %yly strangely
amalgamates humour and romantic imagination and in this way paves the way
for Shakespeare who does likewise in many of his comedies.
>n his plays %yly used a mixture of verse and prose. This mixing of the two
is suggestive of his mixing of the world of reality and the world of romance. 8The
same fusion83 observes ,icoll. 8is to be discovered in As You Like It". %yly found a
suitable blank verse for comedy as 1arlowe did for tragedy. Whereas 1arlowe9s
blank verse is characteri=ed by consuming intensity and mouth-filling bombast3
%yly9s is by its lightness of touch suitable for comedy. The prose that %yly used in
his comedies is sometimes mannered after the style of his Euphues it is full of
puns3 far-fetched conceits3 and verbal pyrotechnics which Shakespeare
incorporated in his early comedies uch as Lo!e"s Labour Lost and A #idsummer
$i%ht"s Dream.
obert !reene (155"-#$):
reene wrote some five plays in all. They are ! &i' (he Comical
)istor* o+Alphonsus ,in% o+Ara%on
&ii' A Lookin% Glass +or London and En%land "written <ointly with %odge#
&iii' (he )onourable )istor* o+ -riar .acon and -riar .un%a*
&i!' (he )istor* o+ /rlando -urioso
&!' (he 0cottish )istor* o+ 1ames, the -ourth.
2ut of them the most important and interesting is -riar .acon and -riar
.un%a*. With this play and $ames >@3 reene contributed substantially towards
the establishment of the romantic comedy. ?e effects two kinds of fusion!
"a# The fusion of various plots and sub-plots; and
"b# the fusion of various moods and worlds in one and the ame play.
>n -riar .acon and -riar .un%a*, for instance3 there are3 in the words of
,icoll3 8three distinct worlds mingled together-the world of magic3 the world of
aristocratic life3 and the world of the country. These3 by his art3 reene has woven
together into a single harmony3 showing the way to Shakespeare when the latter
came to write A #idsummer $i%ht"s Dream." As regards characterisation3 ,icoll
gives reene the credit of being 8the first to draw the 'osalinds and 0elias of
6li=abethan times.8 :orothea3 the heroine of his comedy 1ames I2 which has
romantic love for its theme3 is the best known of all the female characters in
6li=abethan drama excluding Shakespeare9s works. 5urther3 as regards reene9s
handling of blank verse which he used as the medium of his comedies3 it may be
observed that he gave it more flexibility than the imitators of the classical models
allowed it.
(%) !eor&e 'eele (155"-#():
The five plays of )eele extant today are!
"i# (he Arrai%nment o+ 3aris "a pastoral play#
"ii# (he .attle o+ Alca4ar "a romantic tragedy#
"iii# (he -amous Chronicle o+ ,in% Edward, the -irst &a chronicle history#
"iv# (he Lo!e o+ ,in% Da!id and -air .athsheba "a kind of mvsterv piav. for it has a
biblical theme# 9
"v# (he /ld 5i!es" (ale "a romantic satire on the current dramatic taste#
The list shows )eele9s versatility as a dramatist. ?owever3 his plays are not
marked by any technical brilliance. What is of interest to us is his excellence as a
poet. 80ertainly83 observes 0ompton-'ickett3 8he shares with 1arlowe the
honour of informing blank verse with musical ability that3 in the later hand of
Shakespeare3 was to be one of its most important characteristics.8 4ut it is )eele9s
fault that 8he allows poetry to enter into scenes from which it ought to be
excluded8 ",icoll#. 5or instance3 when Absalom in Da!id and .athsheba finds
his own hair about to hang him to death3 he bursts into a poetic utterance!
5hat an%r* an%el sittin% in these shades,
)ath laid his cruel hands upon m* hair .
And holds m* bod* thus twi6t hea!en and earth7
(4) Thoma) Lod&e (155"-16$5) and
(5) Thoma) *a)he (156(-1601):
Their dramatic work is inconsiderable. %odge who was3 according to
osson3 8little better than a vagrant3 looser than liberty3 lighter than vanity itself38
was3 in ,icoll9s words3 8the least of the University Wits ",+or he 8gave practically
nothing to the theatre.8 ?e has left only one play3 (he 5ounds o+ Ci!il 5ar. 4oth
,ashe and he are much more important for their fiction than dramatic art.
(6) Thoma) +yd (155(-#():
?is only play (he 0panish (ra%ed* is modelled on Seneca9s revenge
tragedies which before .yd had been imitated by some scholars like Sackville and
,orton3 the writers o+Gorboduc. 4ut whereas Gorboduc was rather slavishly and
strictly based on Seneca3 .yd is much more flexible in his attempt. 2f course
there are murders and bloodshed3 suicides and horrifying incidents "like the
biting off of a man9s tongue by himself and the running amuck of a respectable
lady#3 the ghost and many other Senecan features3 yet (he 0panish (ra%ed*
breaks away from the Senecan tradition on various points. 5or example3 there is
much of action on the stage itself "and not reported3 as in Seneca#. 1oreover3
though3 after Seneca3 it has for its leitmoti+re!en%e "?eironimo9s revenge for the
murder of his son# yet there is strong external action. The 6li=abethan audiences
had a craving for watching sensational3 even horrifying action. .yd was obliging
enough. ,icoll aptly describes (he 0panish (ra%ed* as 8a Senecan play adapted
to popular re7uirements.8
.yd9s contribution to 6nglish tragedy is twofold. 5irst3 he gave a new kind
of tragic hero who was neither a royal personage nor a superman but an ordinary
person. Secondly3 he introduced the element of introspection in the hero. Along
with the external conflict in the play3 we are conscious of a kind of introspective
self-analysis within ?eironimo himself. >n this; respect .yd was paving the way
for Shakespeare9s ?amlet.
.yd9s blank verse was ridiculed for its pomposity and exaggeration even by
his contemporaries-who had an ear for high-sounding words. %ike Seneca9s tragic
style3 .yd9s also has the element of rhetoric in it. .yd9s extravagance is sometimes
annoying but we must remember 0ompton-'ickett9s words that 8even
extravagance is better than lifelessness.8
(() Chri)to,her -arlo.e (1564-#%):
?e is3 in ,icoll9s words3 8the most talented of pre-Shakespeareans.8 ?is plays are!
&i' (amburlaine, the Great
&ii' Doctor -austus
&iii' he 1ew o+ #alta
&i!' Edward, the 0econd and
&!' 3arts o+ (he #assacre at 3aris and Dido 8ueen o9 Cartha%e.
1arlowe9s contribution to 6nglish tragedy is very vital and manifold. ?e
himself seems to be aware of having scored an advance over the previous drama.
>n the prologue to his first play he sets his manifesto in these lines !
-rom 9i%%in% !eins o+ rh*min% mother wits,
And such conceits as clowna%e keeps in pa*,
5e will lead *ou to the statel* tent o+ war.
1arlowe promises that his play is going to be different from the
conventional plays in both its language and sub<ect. And he3 indeed3 keeps his
promise.
5irst of all3 1arlowe exalted and varied the sub<ect-matter of tragedy. 5or
the Senecan motive of revenge he substituted the more interesting theme of
ambitionAambition for power as in (amburlaine, ambition for infinite
knowledge as in Doctor -austus, and ambition for gold as in (he 1ew o+ #alta.
Secondly3 he put forward a new kind of the tragic hero. The medieval
concept of tragedy was the fall of a great man. See3 for instance3 the words of the
1onk in 0haucer9s Canterbur* (ales.
(ra%edie is to se*n a cert*ne storie,
As old bokes maken us memorie,
/+ h*m who stood in %reat prosperitie
And is *:+allen out o+ hi%h de%ree
Into miserie and endeth wretchedl*.
1arlowe revived the Aristotelean conception of the tragic hero in so far as
he introduced a certain flaw or flaws in his character. ?is heroes are air
supermen whose ma<or flaw is always an over-weening ambition. Their love is the
love of the impossible; but with a singular intensity and concentration of purpose3
they make headway towards their destination though they perish by forces
beyond their control. Thus3 there is a dramatic conflict between their ambition
and the antagonistic forces of life which stand in its way. 4ut along with this
outer conflict3 there is3 at least in Doctor -austus, a struggle in the mind of the
chief character also. This was something new for 6nglish tragedy.
,ext3 he gave a greater unity to the drama. This he did in Edward II. The
rest of his plays are weak in structure3 being loose strings of scenes and episodes.
4ut as he matured he ac7uired a greater technical and constructive skill.
2ne of 1arlowe9s chief merits is his reformation of the chronicle plays of
his time. They were formless and poor in characterisation. 1arlawe humanised
the puppets of these plays and introduced motives in them. Also he gave shape
and internal development to his plots. ?e handled the crude historical material
<udiciously and artistically3 selecting some3 re<ecting some3 and modifying some3
so as to suit his dramatic purpose. 2ut of the formlessness of old chronicle
1arlowe produced a play which is a genuine tragedy and the model for
Shakespeare9s RichardII.
%ast but not the least is 1arlowe9s establishment of blank verse as an effective
and pliant medium of tragic utterance. ?is blank verse is immensely superior to
the blank verse o+ Gorboduc, the first tragedy which employed this measure. ?e
found it wooden3 mechanical3 and lifeless and breathed into it a scarifying
intensity 9of passion which electrified it into something livingBand throbbing with
energy. ?e substituted the end-stopped lines of Gorboduc with run-on lines
forming verse paragraphs. True3 some element of bombast is perceptible in
1arlowe9s earlier works3 but in Edward II his style becomes 7uite subdued and
answers more readily to the whole gamut of varying moods sought to be conveyed
through it. ?e made blank verse a great dramatic medium acknowledged by all
his successors as the metre indispensable for any serious drama. With 1arlowe3
indeed3 begins a new era in the history of-6nglish drama.
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W!6n!s6#$, ;!<"'#"$ =, 2012
S)! S(&&5s (& C&n-!"
B$ O*+1!" G&*6s7+() >1:.0?-1::/@
*uthor 6nformation
.he .too+s to &onEuer was written b <li!er 2oldsmith F1940"-1994)C a +lawri,htC
no!elistC +oetC and essaist. His most memorable no!el is 1he >icar of #a5efield F19AA).
His most memorable +oems are :1he 1ra!eller: F19A4) and :1he $eserted >illa,e:
F1990). He was an excellent writer who was admired b the ,reatest authors of his da.
.......2oldsmith was born in 6reland as the son of an *n,lican minister. *fter ,raduatin,
from 1rinit &olle,e in $ublinC 6relandC he studied medicine at the 7ni!ersit of
/dinbur,h in .cotland and the 7ni!ersit of 0eiden in 1he )etherlands. 1hen he roamed
/uro+eC e5in, out a li!in, b +lain, the flute and be,,in,. *fter arri!in, in /n,land in
195AC he wor5ed as an a+othecar%s hel+erC a +hsicianC an assistant teacher at a schoolC a
translator of textsC and an author of ma,aBine and news+a+er articles. *fter establishin,
his re+utation as a maGor writerC he s+ent his mone Gust as Euic5l as he made itC
,amblin, freEuentlC and was almost alwas in debt. 1hou,h a +olished writerC he was a
clums con!ersationalist. 1hou,h man of his fictional characters were attracti!e and
desirableC he himself was homelC !ainC sociall ine+tC and a +oor mana,er of his business
affairs. .amuel ;ohnsonHthe ,reat essaistC +oetC criticC and lexico,ra+herHsaid of himC
:)o man was more foolish when he had not a +en in his handC or more wise when he
had: FEtd. in :2oldsmithC <li!er.: Britannica 2001 on &$-=<().
1+e of @la
..he .too+s to &onEuer is a sta,e +la in the form of a comed of mannersC which
ridicules the manners Fwa of lifeC social customsC etc.) of a certain se,ment of societC in
this case the u++er class. 1he +la is also sometimes termed a drawin,-room comed. 1he
+la uses farce Fincludin, man mix-u+s) and satire to +o5e fun at the class-
consciousness of ei,hteenth-centur /n,lishmen and to satiriBe what 2oldsmith called
the :wee+in, sentimental comed so much in fashion at +resent.:
.ettin,
.(ost of the action ta5es +lace in the Hardcastle mansion in the /n,lish countrsideC
about sixt miles from 0ondon. 1he mansion is an old but comfortable dwellin, that
resembles an inn. * brief e+isode ta5es +lace at a nearb ta!ernC 1he 1hree @i,eons
*lehouse. 1he time is the ei,hteenth centur.
&haracters
(r. Hardcastle:(iddle-a,ed ,entleman who li!es in an old mansion in the countrside
about sixt miles from 0ondon. He +refers to the sim+le rural life and its old-fashioned
manners and customs to the trend and +retentious was of u++er-crust 0ondon.
(rs. $oroth Hardcastle:#ife of (r. Hardcastle. 7nli5e her husbandC she earns to
sam+le life in hi,h societ. .he also !alues material +ossessions and ho+es to match her
son Fb her first husband) with her nieceC &onstance )e!illeC in order to 5ee+ her niece%s
inheritance in the famil.
&harles (arlow:@romisin, oun, man who comes to the countr to woo the Hardcastles%
+rett dau,hterC 3ate. His onl drawbac5 is that he is extremel sh around refined
oun, ladiesC althou,h he is com+letel at easeHand e!en forwardHwith women of
humble birth and wor5in,-class status. He is a +i!otal character in the +laC used b
author 2oldsmith to satiriBe /n,land%s +reoccu+ation withC and o!erem+hasis onC class
distinctions. Howe!erC (arlow%s redeemin, Eualities ma5e him a li5eable characterC and
the audience tends to root for him when he becomes the !ictim of a +ractical Go5e
resultin, in mix-u+s and mista5en identities.
3ate Hardcastle:@rett dau,hter of the Hardcastles who is wooed b &harles (arlow.
#hen he mista5es her for a woman of the lower classC she allows him to continue to
mista5e her identitC thus freein, his ca+ti!e ton,ue so she can disco!er what he reall
thin5s about her.
1on 0um+5in:.on of (rs. Hardcastle b her first husband. He is a fatC ale-drin5in,
oun, man who has little ambition exce+t to +la +ractical Go5es and !isit the local ta!ern
whene!er he has a mind. #hen 1on comes of a,eC he will recei!e 1C500 +ounds a ear.
His mother ho+es to marr him to her nieceC &onstance )e!illeC who is in line to inherit a
cas5et of Gewels from her uncle. 1on and (iss )e!ille des+ise each other.
2eor,e Hastin,s:?riend of (arlow who lo!es &onstance )e!ille.#hile (arlow is bus
with 3ateC Hastin,s is bus with &onstance. Hastin,s hatches a +lan to elo+e with
&onstance and recei!es the hel+ of 1onC who wants to erase &onstance from his lifeH
and his mother%s constant efforts to match him with &onstance.
&onstance )e!ille:&omel oun, lad who lo!es Hastin,s but is bede!iled b (rs.
Hardcastle%s schemes to match her with 1on. &onstanceC an or+hanC is the niece and
ward of (rs. Hardcastle Fwho holds (iss )e!ille%s inheritance in her +ossession until she
becomes le,all Eualified to ta5e +ossession of it) and the cousin of 3ate.
.ir &harles (arlow:?ather of oun, &harles.
.er!ants in the Hardcastle Household
(aid in the Hardcastle Household
0andlord of the 1hree @i,eons *lehouse
?irst ?ellowC .econd ?ellowC 1hird ?ellowC ?ourth ?ellow $rin5in, com+anions of 1on
0um+5in.
@lot .ummar.
.......6n a downstairs room of their old mansionC $oroth Hardcastle tells her husband that
the need a little di!ersionHnamelC a tri+ to 0ondonC a cit she has ne!er !isited. 1heir
nei,hborsC the Ho,,s sisters and (rs. 2ri,sbC s+end a month in 0ondon e!er winter. 6t
is the +lace to see and be seen. But old HardcastleC content with his humdrum rural
existenceC sas +eo+le who !isit the ,reat cit onl brin, bac5 its sill fashions and
!anities. <nce u+on a timeC he sasC 0ondonIs affectations and fo++eries too5 a lon, time
to reach the countrJ now the come swiftl and re,ularl b the coach-load.
.......(rs. HardcastleC ea,er for fresh faces and con!ersationsC sas their onl !isitors are
(rs. <ddfishC the wife of the local ministerC and (r. &ri++le,ateC the lame dancin,
teacher. #hatIs moreC their onl entertainment is (r. HardcastleIs old stories about sie,es
and battles. But Hardcastle sas he li5es e!erthin, oldHfriendsC timesC mannersC boo5sC
wineC andC of courseC his wife.
.......0i!in, in their home with them is their dau,hterC 3ateC a +rett miss of marria,eable
a,eC and 1onC (rs. HardcastleIs son b her first husbandC (r. 0um+5in. *s a boC 1on
bede!iled his ste+fatherC (r. HardcastleC with e!er !ariet of mischiefC burnin, a
ser!antIs shoesC scarin, the maidsC and !exin, the 5ittens. *ndC Hardcastle sasC K6t was
but esterda he fastened m wi, to the bac5 of m chairC and when 6 went to ma5e a
bowC 6 +o+t m bald head in (rs. ?riBBleIs face.L
.......)ow as a oun, manC 1on has become a fat slob who s+ends most of his time at the
local alehouse. .oon he will come of a,eC ma5in, him eli,ible for an inheritance of 1500
+ounds a ear with which to feed his fancies. (rs. Hardcastle wants to match 1on with
her niece and wardC &onstance )e!illeC who has inherited a cas5et of Gewels from her
uncle. *s (iss )e!illeIs ,uardianC (rs. Hardcastle holds the Gewels under loc5 and 5e
a,ainst the da when &onstance can ta5e le,al +ossession of them.
.......#hile (r. and (rs. Hardcastle discuss the 0ondon tri+ that is not to ta5e +laceC 1on
+asses between them and sets off for the alehouseC 1he 1hree @i,eons. (rs. Hardcastle
chases out the door after himC sain, he should find somethin, better to do than associate
with riffraff.
.......*loneC (r. Hardcastle laments the follies of the a,e. /!en his darlin, 3ate is
becomin, infectedC for now she has become fond of K?rench fri++er.L #hen she enters
the roomC he tells her he has arran,ed for her to meet an eli,ible oun, manC (r. &harles
(arlowC a scholar with man ,ood Eualities who Kis desi,ned for em+loment in the
ser!ice of the countr.L (arlow is to arri!e for a !isit that !er e!enin, with a friendC (r.
2eor,e Hastin,s. 'oun, (arlow is the son of HardcastleIs friendC .ir &harles (arlow.
3ate welcomes the o++ortunit to meet the oun, manC althou,h she is war about her
fatherIs descri+tion of him as extremel sh around oun, ladies.
.......B and bC &onstance )e!ille comes in for a !isit. #hen 3ate tells her about oun,
(r. (arlowC &onstance tells her that her own admirerC (r. Hastin,sC a friend of the
(arlow famil. (iss )e!ille welcomes the attentions of Hastin,s but laments (rs.
HardcastleIs attem+ts to +air her with her K+rett monsterCL 1onC in an effort to 5ee+
(iss )e!illeIs Gewels in the famil. 1on and &onstance des+ise each other.
1on @las 1ric5
.......(eanwhileC at the alehouseC 1on is ha!in, a ri++in, ,ood time sin,in, and drin5in,
when Hastin,s and oun, (arlow come in as5in, for directions to the Hardcastle home.
Ha!in, Gust arri!ed in the area from 0ondon after a wearisome tri+C the ha!e lost their
wa. 1onC who resents (r. HardcastleIs treatment of him latelC sees a wa to ,et e!en:
He tells (arlow and Hastin,s that Hardcastle is an u,lC cantan5erous fellow and that his
dau,hter is a KtallC tra+esin,C trollo+in,C tal5ati!e ma+ole.L ButC he sasC HardcastleIs
son Fmeanin, himself) is a K+rettC well-bred outh that e!erbod is fond of.L (arlow
sas he has been told otherwiseC namelC that the dau,hter is Kwell-bred and beautifulJ the
sonC an aw5ward boobC reared u+ and s+oiled at his motherIs a+ron-strin,.L
.......1a5en abac5C 1on can onl hem and haw. 1henC decidin, to wor5 a mischiefC he
tells them the Hardcastle home is too far to reach b ni,htfall but that there is a nice inn
Gust u+ the road. 1he KinnL isC of courseC the Hardcastle home. #hen (arlow and
Hastin,s arri!e thereC the note that the inn is old but commendable in its own wa.
Hastin,s comments that (arlow has tra!eled widelC stain, at man innsC but wonders
wh such a man of the world is so sh around oun, women. (arlow reminds him that
he is sh onl around oun, ladies of culture and bearin,. *round women of the lower
classesC he is a nonsto+ tal5erC a wa, com+letel at ease. Hastin,s re+lies: KBut in the
com+an of women of re+utation 6 ne!er saw such an idiotC such a tremblerJ ou loo5 for
all the world as if ou wanted an o++ortunit of stealin, out of the room.L
.......#hen (r. Hardcastle entersC he welcomes them as the ex+ected ,uestsHthe (arlow
fellow who is to meet his dau,hter and (arlowIs friend Hastin,s. Howe!erC the oun,
menHbelie!in, that the are at the inn described b 1onHthin5 (r. Hardcastle is the
inn5ee+erC and treat him li5e oneC ,i!in, him orders to +re+are their su++er and as5in, to
see the accommodations. Hardcastle is much offended b their beha!iorC thin5in, them
the rudest of !isitorsC for he remains unaware that the thin5 the are at an inn. He 5ee+s
his feelin,s to himself.
.......#hen Hardcastle ,oes u+stairs with (arlow to show him his roomC Hastin,s runs
into &onstance )e!ille andC throu,h his con!ersation with herC realiBes that he is at the
Hardcastle homeC not an inn. Hastin,s decides to 5ee+ the information a secret from
(arlowC fearin, that (arlow would react to the mix-u+ b immediatel lea!in,. 1husC he
allows (arlow to belie!e that &onstance and 3ate are also ,uests at the Kinn.L
.......#hen (arlow finall meets 3ateC his shness all but ton,ue-ties him. *lmost e!er
time he starts a sentenceC 3ate has to finish it. But she com+liments him on bein, so
cle!er as to brin, u+ interestin, to+ics of con!ersation. *ll the while that the tal5C
(arlow lac5s the coura,e e!en to loo5 at her face. He does not e!en 5now what she
loo5s li5e.
.......6n another roomC 1onC who has returned from the +ubC and &onstance are insultin,
each otherC as usualC to the disma of (rs. Hardcastle. *fter Hastin,s obser!es their
s+itfire ,i!e-and-ta5eC he tells 1on he will ta5e the oun, lad off his hands if 1on will
hel+ him win her.
.......K6Ill en,a,e to whi+ her off to ?ranceC and ou shall ne!er hear more of herCL
Hastin,s sas.
.......1on re+lies: K/codC 6 will Mhel+N to the last dro+ of m blood.L
Hardcastle *nnoed
.......(r. HardcastleC meanwhileC is becomin, more and more annoed with (arlow for
treatin, him li5e a lac5e. *lone on the sta,eC Hardcastle lamentsC KHe has ta5en
+ossession of the eas-chair b the fire-side alread. He too5 off his boots in the +arlourC
and desired me to see them ta5en care of. 6Im desirous to 5now how his im+udence
affects m dau,hter.L
.......3ate has been u+stairs chan,in, into casual clothes. #hen she comes down and tal5s
with her fatherC she bemoans (arlowIs incredible shness while HardcastleC in turnC
com+lains about (arlowIs rudeness. 1he wonder whether the are tal5in, about the
same +erson.
.......#hile the con!erseC 1onC who 5nows where his mother 5ee+s e!erthin,C ,ets the
cas5et of Gewels (rs. Hardcastle is holdin, for &onstance and ,i!es it to Hastin,s as an
inducement for Hastin,s to run off with &onstance. 0aterC (rs. Hardcastle disco!ers it
missin, and thin5s a robber is about.
.......(eanwhileC a maid tells 3ate that (arlow belie!es he is at an inn. 1he maid also
tells her that (arlow mistoo5 3ate for a barmaid after she chan,ed into her casual attire.
3ate decides to 5ee+ u+ the charadeC chan,in, her !oice and demeanor in (arlowIs
+resence.
.......#hen he stri5es u+ a con!ersation with herC he sas she is K!astl handsome.L
2rowin, boldC he addsC K.u++ose 6 should call for a tasteC Gust b wa of a trialC of the
nectar of our li+s.L F1o audiences attendin, the +laC (arlowIs bold beha!ior is not at all
sur+risin,C for the are aware that (arlow is a different man when in the +resence of
women of the ser!ant class.) #hen old Hardcastle obser!es 3ate and (arlow to,etherC
he sees (arlow seiBe 3ateIs hand and treat her li5e a mil5maid. HeIs thin5in, of turnin,
(arlow out. #hen he ma5es his feelin,s 5nown to 3ateC she as5s for an hour to con!ince
her father that (arlow is not so bold and rude as her father belie!es he is. He a,rees to
her +ro+osal.
.......1he +lot thic5ens at this +ointC for another !isitor will shortl arri!eH(arlowIs
fatherC .ir &harles (arlow. 6t seems (iss )e!ille ha++ened on a letter to old Hardcastle
in which .ir &harles announced that he would arri!e at the Hardcastle home a few hours
after his son made his a++earance. #hen she tells 2eor,e Hastin,s of .ir &harlesIs
ex+ected arri!al at an minuteC 2eor,e worries that .ir &harlesHwho is aware of
2eor,eIs fondness for &onstanceHwill somehow u+set their +lans to run off to,ether.
&onstance as5s whether the Gewels are safe. 2eor,e assures her the areC for he has sent
the GewelsC !ia a ser!antC to (arlow for safe5ee+in,.
.......7nfortunatelC un5nown to Hastin,sC (arlow has told the ser!ant to ,i!e the cas5et
of Gewels to the KlandladL for safe5ee+in,. .o the Gewels are bac5 where the were
ori,inallC in (rs. HardcastleIs +ossession Fas (iss )e!illeIs ,uardian). 1on tells his
mother a ser!ant was res+onsible for mis+lacin, them. .atisfiedC she returns to the tas5 of
+romotin, a romance between 1on and &onstanceC unaware that Hastin,s and the oun,
lad are +lottin, to abscond.
.......(arlow is b now ca+ti!ated b the barmaid and sas to himselfC K.heIs mineC she
must be mine.L
.......(eanwhileC old Hardcastle has had enou,h of im+udent (arlow and orders him to
lea!e. (arlow +rotests. Hardcastle rants and exits in a huff. #hen 3ate entersC she
realiBes (arlow now 5nows somethin, stran,e is ,oin, onC so she re!eals that the inn is
HardcastleIs house. Howe!erC she describes herself as a Krelati!eLHa K+oor relationL
who hel+s out. *s suchC she 5nowsC (arlow will continue to tal5 to her freelC since a
K+oor relationL is the same in standin, as a barmaid. (arlowC sha5en and dee+l
embarrassedC sasC K1o mista5e this house of all others for an innC and m father%s old
friend for an inn5ee+erD #hat a swa,,erin, +u++ must he ta5e me forD #hat a sill
+u++ do 6 find mselfD
.......(arlow tells the K+oor relationL that he will be lea!in,C in !iew of the circumstancesC
but notes that she has been the onl +ositi!e thin, that ha++ened to him durin, the
confusin, and disconcertin, ordeal. His words hel+ to identif the feelin, she felt for him
when the met: lo!e. Her scheme of +osin, as a barmaidO+oor relation to find out his real
feelin,sHa scheme in which she stoo+ed to conEuerHhas +ro!ed wise.
.......?urther mix-u+s de!elo+ in!ol!in, (iss )e!illeIs Gewels and (r. Hastin,sI +lanned
elo+ement with &onstance. 1on is im+licated as the tric5ster who set in motion the
comed of errors b tellin, (arlow and Hastin,s that the Hardcastle home was an inn.
.......#hen .ir &harles arri!esC he and old Hardcastle ha!e a lau,h about the mix-u+sC but
Hardcastle tells 3ate that he is still uncon!inced that (arlow is anthin, but rude and
insultin,. 1o +ro!e that (arlow is a worth manC 3ate enacts one final scene as the +oor
relati!e while (arlow con!erses with her and .ir &harles and Hardcastle listen behind a
screen. 6n the endC 3ate re!eals her identit to (arlowC and e!erone understands the
mista5es of the e!enin,.
.......But there is a further de!elo+ment: <ld Hardcastle re!eals that 1on is Kof a,eLH
and has been for three monthsC meanin, he has a ri,ht now to ma5e u+ his own mind
about his future. 6mmediatelC as his first act as his own manC 1on ,oes a,ainst his
motherIs wishes and refuses to marr &onstance )e!illeC freein, her to marr Hastin,sH
and Eualifin, her to recei!e the Gewels. 6n the endC the oun, lo!ersH3ate and (arlowC
&onstance and Hastin,sHare betrothed.
.......(rs. Hardcastle commentsC K1his is all but the whinin, end of a modern no!el.L
.tle and .tructure
.......2oldsmith%s stle is wrC wittC and sim+le but ,raceful. ?rom be,innin, to endC the
+la is both entertainin, and eas to understandC +resentin, few words and idioms that
modern audiences would not understand. 6t is also well constructed and mo!es alon,
ra+idlC the e!ents of the first actHin +articularC references to 1on 0um+5in%s childhood
+ro+ensit for wor5in, mischief and +lain, +lain, +ractical Go5esHforeshadowin, the
e!ents of the followin, acts.
.......1here are freEuent scene chan,esC +unctuated b an occasional a++earance of a
character alone on the sta,e Fsolus in the sta,e directions) recitin, a brief account of his
feelin,s. 6n modern termsC the +la is a +a,e-turner for readers. 2oldsmith obser!ed the
classical unities of time and +laceC for the action of the +la ta5es +lace in sin,le locale
Fthe /n,lish countrside) on a sin,le da.
?irst @erformance
.......2oldsmith com+leted the +la in 1994. 6t was first +erformed at &o!ent 2arden
1heatre in 0ondon on (arch 15 of that ear. 6t was well recei!ed. <!er the last two
centuriesC it has become one of the most +o+ular comedies in /n,lish literar histor. 6t is
still +erformed often toda throu,hout the /n,lish-s+ea5in, world.
*ctin, *++roach
........he .too+s to &onEuer ,enerall reEuires actors to deli!er restrainedC subtle
+erformances for a +roduction of the +la to be successful. <!eractin,C t+ical in so
man modern motion-+icture comediesC can ruin the +la. 1he best comedic actorsHli5e
0aurel and HardC #.&. ?ieldsC @eter 7stino!C and @eter .ellersHuse a strai,ht face to
bend +eo+le o!er with lau,hter.
1hemes
&lass Bias
.......7ntil 3ate teaches him a lessonC (arlow res+onds to women solel on the basis of
their status in societ. He loo5s down on women of the lower class but is wholl at ease
around themJ he esteems women of the u++er class but is +ainfull sh around them. 0i5e
the 0ondon societ in which he was brou,ht u+C he assumes that all women of a certain
class thin5 and act accordin, to artificial and arbitrar standards ex+ected of that class.
*s for (rs. HardcastleC she a++ears to assess a +erson b the !alue of his or her
+ossessions.
0o!e 6,nores .ocial Boundaries
.......*lthou,h +re!ailin, attitudes amon, /n,land%s elite classes frown on romance
between one of their own and a +erson of humble ori,inC (arlow can%t hel+ fallin, in
lo!e with a common :barmaid: Fwho isC of courseC 3ate in dis,uise).
Ho+e for ?lawed Humanit
.......*lthou,h (arlow ma5es a fool of himself as a result of his u++er-class biasesC 3ate
has enou,h common sense to see throu,h the 0ondon hauteur encasin, him and to
a++reciate him for his ,enuinel ,ood EualitiesHwhich are considerableC once he allows
them to surface. *lsoC (rs. HardcastleC in s+ite of her mis,uided !aluesC enGos the lo!e
of her +racticalC down-to-earth husband. HeC tooC is willin, to loo5 beond her foibles in
fa!or of her ,ood +oints.
(one Breeds 6ndolence
.......1on 0um+5in will ,et 1C500 +ounds a ear when he comes of a,e. 1husC without
financial worriesC he de!otes himself to ale and a do-nothin, life.
&limax
.......1he climax occurs when 3ate re!eals her true identit to oun, (arlow while
Hardcastle and .ir &harles listen behind a screen.
*n /ssa on the 1heatre
<rC a &om+arison Between 0au,hin, and .entimental &omed
B <li!er 2oldsmith
#ritten in 1992
.......1he theaterC li5e all other amusementsC has its fashions and its +reGudices: and when
satiated with its excellence man5ind be,in to mista5e chan,e for im+ro!ement. ?or some
ears tra,ed was the rei,nin, entertainmentJ but of late it has entirel ,i!en wa to
comedC and our best efforts are now exerted in these li,hter 5inds of com+osition. 1he
+om+ous trainC the swellin, +hraseC and the unnatural rantC are dis+laced for that natural
+ortrait of human foll and frailtC of which all are Gud,esC because all ha!e sat for the
+icture.
.......But as in describin, nature it is +resented with a double faceC either of mirth or
sadnessC our modern writers find themsel!es at a loss which chiefl to co+ fromJ and it
is now debatedC whether the exhibition of human distress is li5el to afford the mind
more entertainment than that of human absurdit"
.......&omed is defined b *ristotle to be a +icture of the frailties of the lower +art of
man5indC to distin,uish it from tra,edC which is an exhibition of the misfortunes of the
,reat. #hen comedC thereforeC ascends to +roduce the characters of +rinces or ,enerals
u+on the sta,eC it is out of its wal5sC since low life and middle life are entirel its obGect.
1he +rinci+le EuestionC thereforeC isC whetherC in describin, low or middle lifeC an
exhibition of its follies be not +referable to a detail of its calamities" <rC in other wordsC
which deser!es the +referenceCHthe wee+in, sentimental comed so much in fashion at
+resentC or the lau,hin,C and e!en low comedC which seems to ha!e been last exhibited
b >anbru,h and &ibber"
.......6f we a++l to authoritiesC all the ,reat masters of the dramatic art ha!e but one
o+inion. 1heir rule isC that as tra,ed dis+las the calamities of the ,reatC so comed
should excite our lau,hter b ridiculousl exhibitin, the follies of the lower +art of
man5ind. BoileauC one of the best modern criticsC asserts that comed will not admit of
tra,ic distress:H
..............0e comiEueC ennemi des sou+irs et des +leursC
..............)%admet +oint dans ses !ers de tra,iEues douleurs.
.......)or is this rule without the stron,est foundation in natureC as the distresses of the
mean b no means affect us so stron,l as the calamities of the ,reat. #hen tra,ed
exhibits to us some ,reat man fallen from his hei,htC and stru,,lin, with want and
ad!ersitC we feel his situation in the same manner as we su++ose he himself must feelC
and our +it is increased in +ro+ortion to the hei,ht from which he fell. <n the contrarC
we do not so stron,l sm+athiBe with one born in humbler circumstancesC and
encounterin, accidental distress: so that while we melt for BelisariusC we scarcel ,i!e
half+ence to the be,,ar who accosts us in the street. 1he one has our +itC the other our
contem+t. $istressC thereforeC is the +ro+er obGect of tra,edC since the ,reat excite our
+it b their fallJ but not eEuall so of comedC since the actors em+loed in it are
ori,inall so meanC that the sin5 but little b their fall.
........ince the first ori,in of the sta,eC tra,ed and comed ha!e run in distinct channelsC
and ne!er till of late encroached u+on the +ro!inces of each other. 1erenceC who seems to
ha!e made the nearest a++roachesC alwas Gudiciousl sto+s short before he comes to the
downri,ht +atheticJ and et he is e!en re+roached b &aesar for wantin, the !is comica.
*ll the other comic writers of antiEuit aim onl at renderin, foll or !ice ridiculousC but
ne!er exalt their characters into bus5ined +om+C or ma5e what >oltaire humorousl calls
a tradesman%s tra,ed.
.......'et notwithstandin, this wei,ht of authoritC and the uni!ersal +ractice of former
a,esC a new s+ecies of dramatic com+osition has been introducedC under the name of
sentimental comedC in which the !irtues of +ri!ate life are exhibitedC rather than the
!ices ex+osedJ and the distresses rather than the faults of man5ind ma5e our interest in
the +iece. 1hese comedies ha!e had of late ,reat successC +erha+s from their no!eltC and
also from their flatterin, e!erman in his fa!orite foible. 6n these +las almost all the
characters are ,oodC and exceedin,l ,enerousJ the are la!ish enou,h of their tin mone
on the sta,eJ and thou,h the want humorC ha!e abundance of sentiment and feelin,. 6f
the ha++en to ha!e faults or foiblesC the s+ectator is tau,htC not onl to +ardonC but to
a++laud themC in consideration of the ,oodness of their heartsJ so that follC instead of
bein, ridiculedC is commendedC and the comed aims at touchin, our +assions without
the +ower of bein, trul +athetic. 6n this manner we are li5el to lose one ,reat source of
entertainment on the sta,eJ for while the comic +oet is in!adin, the +ro!ince of the tra,ic
museC he lea!es her lo!el sister Euite ne,lected. <f thisC howe!erC he is no wa
solicitousC as he measures his fame b his +rofits.
.......But it will be saidC that the theater is formed to amuse man5indC and that it matters
littleC if this end be answeredC b what means it is obtained. 6f man5ind find deli,ht in
wee+in, at comedC it would be cruel to abrid,e them in that or an other innocent
+leasure. 6f those +ieces are denied b the name of comediesC et call them b an other
name andC if the are deli,htfulC the are ,ood. 1heir successC it will be saidC is a mar5 of
their meritC and it is onl abrid,in, our ha++iness to den us an inlet to amusement.
.......1hese obGectionsC howe!erC are rather s+ecious than solid. 6t is true that amusement is
a ,reat obGect of the theaterC and it will be allowed that these sentimental +ieces do often
amuse usJ but the Euestion isC whether the true comed would not amuse us more" 1he
Euestion isC whether a character su++orted throu,hout a +ieceC with its ridicule still
attendin,C would not ,i!e us more deli,ht than this s+ecies of bastard tra,edC which onl
is a++lauded because it is new"
.......* friend of mineC who was sittin, unmo!ed at one of these sentimental +iecesC was
as5ed how he could be so indifferent" :#hC trulC: sas heC :as the hero is but a
tradesmanC it is indifferent to me whether he be turned out of his countin,-house on ?ish
.treet HillC since he will still ha!e enou,h to o+en sho+ in .t. 2iles%.:
.......1he other obGection is as ill-,roundedJ for thou,h we should ,i!e these +ieces
another nameC it will not mend their efficac. 6t will continue a 5ind of mulish +roductionC
with all the defects of its o++osite +arentsC and mar5ed with sterilit. 6f we are +ermitted
to ma5e comed wee+C we ha!e an eEual ri,ht to ma5e tra,ed lau,hC and to set down in
blan5 !erse the Gests and re+artees of all the attendants in a funeral +rocession.
.......But there is one ar,ument in fa!or of sentimental comedC which will 5ee+ it on the
sta,eC in s+ite of all that can be said a,ainst it. 6t isC of all othersC the most easil written.
1hose abilities that can hammer out a no!el are full sufficient for the +roduction of a
sentimental comed. 6t is onl sufficient to raise the characters a littleJ to dec5 out the
hero with a ribandC or ,i!e the heroine a titleJ then to +ut an insi+id dialo,ueC without
character or humorC into their mouthsC ,i!e them mi,ht ,ood heartsC !er fine clothesC
furnish a new set of scenesC ma5e a +athetic scene or twoC with a s+rin5lin, of tender
melanchol con!ersation throu,h the wholeC and there is no doubt but all the ladies will
cr and all the ,entlemen a++laud.
.......Humor at +resent seems to be de+artin, from the sta,eC and it will soon ha++en that
our comic +laers will ha!e nothin, left for it but a fine coat and a son,. 6t de+ends u+on
the audience whether the will actuall dri!e those +oor merr creatures from the sta,eC
or sit at a +la as ,loom as at the 1abernacle. 6t is not eas to reco!er an art when once
lostJ and it will be but a Gust +unishmentC that whenC b our bein, too fastidiousC we ha!e
banished humor from the sta,eC we should oursel!es be de+ri!ed of the art of lau,hin,.