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Classic Tales by Famous Authors :iilili|||iii!i!ii!|i!ii[!!!i THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES laeeic ITalee bo imous A'l iitbocs BLbi" a: . AND Oliver Goldsmith Photogravure! '"Ptoiif-I'Mi^' Print B. De Bera • i* •tX.i "'U^. Copyright 1902 Copyright 1905 BY The Bodleian Society /,-D X ILLUSTRATIONS PAGE Oliver Goldsmith Frontispiece Rose Coghlan as "Peg Woffington" ... 9 Jerome K. Jerome 199 Richard Brinsley Sheridan 267 Mrs. Drew as "Mrs. Malaprop" .... 277 Joseph Jefferson as "Bob Acres" .... 351 r CRITICAL SYNOPSIS OF SELECTIONS ; CRITICAL SYNOPSIS OF SELECTIONS Peg Woffington : By Charles Reade : Ernest Vane, a country gentleman of Shropshire, going to London on business, becomes fascinated with the beauty and wit of "Peg" (Margaret) Wof- fington, the brilliant Covent Garden actress of the middle eighteenth century. He tarries long in Lon- don, gains her acquaintance, makes his addresses with timid ardor and sincerity, and wins her love. This brilliant woman has a past which she has not endeavored to conceal. Her morals are those of the time and the stage ; but she is not depraved her nature is essentially noble, and she yearns for the sincere love of a kindred nature. She believes in Ernest Vane, and is filled with tender anticipa- tions of a happy future. But Ernest Vayie, though sincere, has deceived her ; he cannot bestow the honest love which she covets, but only the guilty love which she seeks to escape, for he is already a married man ! He has left behind him in the country a charming young wife whose existence he has concealed from the actress. Nor does Mrs. Vane know aught of her husband's infatuation for Mistress Woffington. Distressed at her husband's long absence, Mrs. Vane follows him to London, and finds him entertaining a gay party of guests at dinner, among whom is Mistress Wof- fington. It dawns but slowly on the stricken wife that her husband's love has strayed from her; to the actress, the keen woman of the world, the instant sense of the bitter deception of which she has been the victim brings a whirlwind of rage, jealousy and despair at the downfall of her vision of a true and .happy life. ;; CRITICAL SYNOPSIS OF SELECTIONS For a moment the demon of revenge prompts her she will seemingly yield to Vane's urgings, ternpt him to the utmost extreme of passion, tly with him, and then discard him with the bitterest scorn and contempt. But Alistress IVoffington has a heart. She cannot punish the weak lover without crushing the innocent and heartbroken wife. The gentleness and anguish of the simple country lady awakens her sympathy and she abandons revenge, hides her own bruised heart, and teaches her innocent rival the way to a renewed hold upon the affections of her repentant husband. Rivals, The: By Richard Brinsley Sheridan: The author of "The Rivals" was born and reared in the atmosphere of the theater. His father was an actor and manager, his mother a writer of suc- cessful plays, his wife a singer of high rank on the concert stage. Both of Sheridan's parents were witty, intellectually brilliant and highly educated. The son inherited their qualities, and his fine natu- ral endowment was likewise fully developed by excellent schooling. It was natural, therefore, that his literary powers should find expression in dra- matic writing ; and he brought to that work the very uncommon equipment of thorough knowledge of stagecraft combined with literary creativeness. It was because of this combination that Sheridan's earliest plays were brilliant and instant stage suc- cesses and have continued to hold a high place in popular esteem. Stage effects—situations that would "take" with audiences—were his primary aims, and the literary quality is not regarded except as an accessory to dramatic expression by action and situation. "The Rivals" was Sheridan's first play, written when he was twenty-three years of age, and first played at Covent Garden, Jan. 17, 1775. Its ex- traordinary popularity was due not alone to in- trinsic merit, but to the circumstance that it marked the beginning of a healthy reaction against the false sentiment then current in literature and drama. The tiresome inanities of the day, compounded of trivial thought dressed in pompous and stilted CRITICAL SYNOPSIS OF SELECTIONS phrases, were brilliantly ridiculed by "The Rivals," whose immortal Mrs. Malaprop delightfully trav- esties their inflated language and affectation of feel- ing. Her majestic sentences and unconscious sub- stitution of sound for sense, is a witty satire upon the bombast and Johnsonian ponderosity then current. The mawkish sentimentality which novelists and playwrights deemed indispensable in the portrayal of lovers is also ridiculed in the characters of Faulkland, Julia and Lydia. To these inane types of the preposterous artificiality which then ruled the comedy stage, Sheridan opposed three strikingly genuine personalities, creations of flesh and blood, bubbling with humor, full of humanity, abounding in natural feeling, and the very antithesis of false sentiment. Bob Acres. Mrs. Malaprop and 6"iV Lucius O'Trigger are delightfully huma;^, and the interest of the play centers about them as admirable delineations of character and true types of the modern comedy of manners. The rivals are Bob Acres and an imaginary Ensign Beverly, Captain Absolute and Sir Lucius O'Trigger, all of whom seek the hand of Lydia Languisli. Acres, being discarded in favor of Beverly (who is known only to Lydia, but is in reality Captain Absolute), is persuaded by Sir Lucius O'Trigger to challenge Beverly; and Sir Lucius himself challenges Captain Absolute. Bob Acres is an awkward young country squire of the type depicted by Fielding. There is no more laugh- able situation in the whole range of comedy than the challenge and duel. The witty Irish fire-eater inflames the gawky Acres to a sense of injury, in- structs him in the niceties of dueling, and finally reduces him to a state of abject misery by the assurance that "in case of an accident" he can depend upon being pickled and sent home in a barrel. As there is no Beverly, Acres is relieved from fighting, to his intense relief and the enor- mous disappointment of Sir Lucius. The latter is likewise deprived of the expected pleasure of shoot- ing Captain Absolute by the discovery that Sir Lucius had unwittingly paid his addresses to Mrs. Malaprop, the aunt, instead of to Lydia, the niece, — — CRITICAL SYNOPSIS OF SELECTIONS and thus none of the rivals remained to dispute the Captain's claim. She Stoops to Conquer; or, The Mistakes of a Night: By Oliver Goldsmith: This delightful comedy was played for the first time in 1772, at Covent Garden—but one year before Goldsmith's death. It v/as the precursor of the modern comedy of ma •" nd was quickly fol- lowed by Sheridan's bri' Dmedies. In that day, stage parent vere seemingly stern autocrats who selected mates for their children without consulting the latter's inclination. The young folks likewise admitted the duty of obedience, but in comedies usually found out some way of following their own inclinations and thereafter reconciling their exasperated elders to the inevitable. Not infrequently, indeed— in stage-land, at least the young people thus betrothed by their parents were personally unknown to each other ; and the various mistakes of identity and misadventures which resulted were an unfailing resource of comedy. Such errors supply the motive of "She Stoops to Conquer." Charles Marlow is to marry Kate Hard- castle, the daughter of his father's old friend. The match has been arranged by the parents solely on the strength of their long-standing friendship ; and the young man is a stranger to both Kate and her father. Mrs. Hardcastlc is guardian to her niece, Constance Neville, whom she intends shall marry Tony Lumpkin, her son by a former marriage ; but Constance is secretly betrothed to George Hastings, a friend of Marloiv's, and likewise not known to the Hardcastles. The two friends arc traveling down to the country Marloiv to present himself to his prospective bride and her family, and Hastings to plan an elopement with Constance. Having lost their way at night, they make in- quiries at "The Three Pigeons" ale-house, where they encounter Tony Lumpkin, a boisterous, noisy, mischievous young lout, who delights in roaring carouses and practical jokes. He learns the iden- tity of the strangers, and plans a joke on them. Tony informs them that they are far astray, and — r CRITICAL SYNOPSIS OF SELECTIONS cannot possibly find their way at night ; and advises them to stop at the inn to which he directs them, the supposed inn being Mr. Hardcastle's house. They deport themselves with the utmost freedom, give orders to their astounded host, and Marlotv makes love to Kate, believing her the bar-maid. Mr. Hardcastlc is scandalized at the seeming in- solence and rakishness of Marlow; and Tony is hugely delighted -^t tl- various funny mystifications which ensue. In due time IVi . ow discovers that the supposed inn is Hardcastle Hail, the host is Mr. Hardcastlc, and the bar-maid with whom he has made free is Kate Hardcastle, to whom he is betrothed. While he makes his peace, the ingenious Tony is thwart- ing his fond mamma's plan of wedding him to his detested cousin Constance by helping Hastings to elope with her. Finally both pairs of lovers are happily disposed of to the satisfaction of all except Mrs. Hardcastle. Stage-Land: By Jerome K. Jerome: In theory the drama is assumed to depict life To hold, as 't were.
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