diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:48:29 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:48:29 -0700 |
| commit | ae0f5f41b52b16d0d066de8d207bc4990360e6f3 (patch) | |
| tree | 700bfddb8133524c52057ceec90a59d8720ccdc4 /16267-h | |
Diffstat (limited to '16267-h')
| -rw-r--r-- | 16267-h/16267-h.htm | 4627 | ||||
| -rw-r--r-- | 16267-h/images/img08.jpg | bin | 0 -> 24928 bytes | |||
| -rw-r--r-- | 16267-h/images/img52.jpg | bin | 0 -> 24173 bytes |
3 files changed, 4627 insertions, 0 deletions
diff --git a/16267-h/16267-h.htm b/16267-h/16267-h.htm new file mode 100644 index 0000000..9d1924e --- /dev/null +++ b/16267-h/16267-h.htm @@ -0,0 +1,4627 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>The Gamester</title> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"> + +<style type = "text/css"> +body {margin-left: 10%; margin-right: 15%;} +hr {width: 80%;} +hr.narrow {width: 50%;} +i {font-size: 105%;} +td {vertical-align: top;} +td.ARS {vertical-align: top; font-size: 90%;} + +.act {font-size: 115%; text-align: center; padding-top: 2em; letter-spacing: .3em;} +.scene {text-align: center; padding-top: 1.5em; letter-spacing: .3em; clear: right;} + +h1 {font-size: 200%; font-weight: normal; text-align: center; letter-spacing: .5em;} +h2 {font-size: 150%; font-weight: normal; text-align: center; letter-spacing: .4em;} +h3 {font-size: 125%; font-weight: normal; text-align: center; letter-spacing: .3em;} + +.contents {font-family: sans-serif; margin-left: 1.5em; text-indent: -1.5em;} +.mynote {font-family: sans-serif; font-size: 90%;} + +.verse {margin-left: 2em; margin-top: .1em; margin-bottom: .1em; font-style: italic;} +.verse2 {margin-left: 3em; text-indent: -1em; margin-top: .1em; margin-bottom: .1em; font-style: italic;} +.scenedesc {text-align: center; margin-top: .5em; margin-bottom: .5em; font-style: italic;} +.stagedir {text-align: right;} +.firstspkr {text-align: center; margin-top: 1em; margin-bottom: .3em; font-style: italic; font-size: 110%; letter-spacing: .3em;} + +.indent {text-indent: 40%;} +.songindent {text-indent: 4em; margin-top: .5em;} + +ins.correction {text-decoration: none; border-bottom: thin dotted red;} +.pagenum {position: absolute; left: 4%; font-size: 95%; +font-style: normal; text-align: left;} +.folionum {position: absolute; left: 90%; font-size: 90%; font-weight: bold; +font-style: normal; text-align: left;} +.firstletter {float: left; padding-right: 0.2em; margin-bottom: -0.2em; font-size: 250%;} + +.smallcaps {font-variant: small-caps; font-style: normal;} +.charname {font-variant: small-caps; font-style: normal; letter-spacing: .2em;} + +</style> +</head> + +<body> + + +<pre> + +The Project Gutenberg EBook of The Gamester (1753), by Edward Moore + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Gamester (1753) + +Author: Edward Moore + +Commentator: Charles H. Peake + Phillip R. Wikelund + +Release Date: July 12, 2005 [EBook #16267] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GAMESTER (1753) *** + + + + +Produced by David Starner, Louise Hope and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<p align = "center"><font size = "+2">Series Five:<br> +<i>Drama</i></font><br> +<br> +<br> +<font size = "+1">No. 1</font><br> +<br> +<br> +Edward Moore, <i>The Gamester</i> (1753)<br> +<font size = "-1"><br> +<br> +With an Introduction by</font><br> +<br> +Charles H. Peake<br> +<font size = "-1"><br> +and<br> +<br> +a Bibliographical Note by</font><br> +<br> +Philip R. Wikelund<br> +<br> +<br> +<br> +<br> +The Augustan Reprint Society<br> +<font size = "-1">July, 1948<br> +<i>Price: 75 cents</i></font> +</p> +<hr> +<br> +<table align = "center" summary = "table of contents"> +<tr> +<td> +<div class = "contents"> +<a href = "#intro">Introduction</a> +</div> +<div class = "contents"> +<a href = "#biblio">Bibliographical Note</a> +</div> +<div class = "contents"> +<span class = "smallcaps">The Gamester</span><br> +<a href = "#Game_ill1">Illustration: Beverley and Mrs Beverley</a><br> +<a href = "#Game_pref">Preface</a><br> +<a href = "#Game_prol">Prologue</a><br> +<a href = "#Game_cast">Dramatis Personae</a><br> +<a href = "#Game_I">Act I</a><br> +<a href = "#Game_II">Act II</a><br> +<a href = "#Game_III">Act III</a><br> +<a href = "#Game_IV">Act IV</a><br> +<a href = "#Game_V">Act V</a><br> +<a href = "#Game_epi">Epilogue</a><br> +<a href = "#Game_ill2">Illustration: Beverley with potion</a> +</div> +<div class = "contents"> +<a href = "#ARSpubs">ARS List of Publications</a> +</div> +</td> +</tr> +</table> +<br> +<div class = "mynote"> +[Transcriber's Note:<br> +The main character's name is spelled "Beverly" in the modern +Introduction, "Beverley" in the original play. +The name "Stukely" was misspelled in two scene descriptions. +The corrections are noted with <ins class = "correction" +title = "like this">popups</ins>.<br> +In addition to the page numbers, the original text labeled the recto +(odd) pages of the first leaves of each signature. These will appear in the right margin as Aaa, Aaa2...] +</div> +<br> +<hr> +<br> +<p align = "center"><i>GENERAL EDITORS</i><br> +<br> +<span class = "smallcaps">Richard C. Boys</span>, <i>University of +Michigan</i><br> +<span class = "smallcaps">Edward Niles Hooker</span>, <i>University of +California, Los Angeles</i><br> +<span class = "smallcaps">H. T. Swedenberg, Jr.</span>, <i>University +of California, Los Angeles</i><br> +<br> +<br> +<i>ASSISTANT EDITOR</i><br> +<br> +<span class = "smallcaps">W. Earl Britton</span>, +<i>University of Michigan</i><br> +<br> +<br> +<i>ADVISORY EDITORS</i><br> +<br> +<span class = "smallcaps">Emmett L. Avery</span>, <i>State College of +Washington</i><br> +<span class = "smallcaps">Benjamin Boyce</span>, <i>University of +Nebraska</i><br> +<span class = "smallcaps">Louis I. Bredvold</span>, <i>University of +Michigan</i><br> +<span class = "smallcaps">Cleanth Brooks</span>, <i>Yale +University</i><br> +<span class = "smallcaps">James L. Clifford</span>, <i>Columbia +University</i><br> +<span class = "smallcaps">Arthur Friedman</span>, <i>University of +Chicago</i><br> +<span class = "smallcaps">Samuel H. Monk</span>, <i>University of +Minnesota</i><br> +<span class = "smallcaps">Ernest Mossner</span>, <i>University of +Texas</i><br> +<span class = "smallcaps">James Sutherland</span>, <i>Queen Mary +College, London</i> +<br> +<br> +<br> +<br> +<font size = "-1">Lithoprinted from copy supplied by author<br> +by<br> +Edwards Brothers, Inc.<br> +Ann Arbor, Michigan, U.S.A.<br> +1948</font></p> +<br> +<hr> +<span class = "pagenum">1</span><br> +<br> +<p align = "center"><a name = "intro"><tt>INTRODUCTION</tt></a></p> + +<p><tt>This reprint of Edward Moore's <u>The</u> <u>Gamester</u> makes +available to students of eighteenth century literature a play which, whatever +its intrinsic merits, is historically important both as a vehicle for a +century of great actors and as a contribution to the development of middle-class +tragedy which had considerable influence on the Continent. <u>The</u> +<u>Gamester</u> was first presented at the Drury Lane Theatre February 7, 1753 +with Garrick in the leading role, and ran for ten successive nights. Up to the +middle of the nineteenth century it remained a popular stock piece--John +Philip Kemble, Mrs. Siddons, Mrs. Barry, the Keans, Macready, and others +having distinguished themselves in it--and in America from 1754 to 1875 it +enjoyed even more performances than in England. (J.H. Caskey, <u>The</u> +<u>Life</u> <u>and</u> <u>Works</u> <u>of</u> <u>Edward</u> <u>Moore</u>, +96-99). Moore's middle-class tragedy is the only really successful attempt to +follow Lillo's decisive break with tradition in England in the eighteenth +century. His background, like Lillo's, was humble, religious, and mercantile. +The son of a dissenting pastor, Moore received his early education in +dissenters' academies, and then served an apprenticeship to a London +linen-draper. After a few years in Ireland as an agent for a merchant, Moore +returned to London to join a partnership in the linen trade. The partnership +was soon dissolved, and Moore turned to letters for a livelihood. Among his +works are <u>Fables</u> <u>for</u> <u>the</u> <u>Female</u> <u>Sex</u> (1744) +which went through three editions, <u>The</u> <u>Foundling</u> (1748), a +successful comedy, and <u>Gil</u> <u>Blas</u> (1751), an unsuccessful comedy. +In 1753, with encouragement and some assistance from Garrick, he produced +<u>The</u> <u>Gamester</u>, upon which his reputation as a writer depends.</tt></p> + +<p><tt>It is impossible, of course, to review here all the factors involved in +the development of middle-class tragedy in England in the eighteenth century. +However, certain aspects of that movement which concern Moore's immediate +predecessors and which have not been adequately recognized might be mentioned +briefly. Aside from Elizabethan and Jacobean attempts to give tragic +expression +<span class = "pagenum">2</span> +to everyday human experience, historians have noted the efforts of Otway, +Southerne, and Rowe to lower the social level of tragedy; but in this period +middle-class problems and sentiments and domestic situations appear in +numerous tragedies, long-since forgotten, which in form, setting, and social +level present no startling deviations from traditional standards. Little or no +attention has been given to some of these obscure dramatists who in the midst +of the Collier controversy attempted to illustrate in tragedy the arguments +advanced in the third part of John Dennis's <u>The</u> <u>Usefulness</u> +<u>of</u> <u>the</u> <u>Stage</u>, <u>to</u> <u>the</u> <u>Happiness</u> +<u>of</u> <u>Mankind</u>, <u>to</u> <u>Government</u>, <u>and</u> <u>to</u> +<u>Religion</u> (1698). Striving to demonstrate the usefulness of the stage, +these avowed reformers produced essentially domestic tragedies, by treating +such problems as filial obedience and marital fidelity in terms of orthodox +theology. The argument that the stage can be an adjunct of the pulpit is +widespread, and appears most explicitly in Hill's preface to his <u>Fatal</u> +<u>Extravagance</u> (1721), sometimes regarded as the first middle-class +tragedy in the eighteenth century, and in Lillo's dedication to <u>George</u> +<u>Barnwell</u> (1731). The line from these obscure dramatists at the turn of +the century to Lillo is direct and clear. Of these forgotten plays we can note +here only <u>Fatal</u> <u>Friendship</u> (1698) by Mrs. Catherine Trotter whom +John Hughes hailed as "the first of stage-reformers"</tt></p> + +<p><tt>(<u>To</u> <u>the</u> <u>Author</u> <u>of</u> <u>Fatal</u> <u>Friendship</u>, +<u>a</u> <u>Tragedy</u>), an unquestionably domestic tragedy inculcating a +theological "lesson". To this play, which was acted with "great applause" +(<u>Biographica</u> <u>Dramatica</u>, 107), Aaron Hill was, I am convinced, +considerably indebted for his <u>Fatal</u> <u>Extravagance</u>, which is, in +turn, one of the sources of <u>The</u> <u>Gamester</u>.</tt></p> + +<p><tt>In the early eighteenth century, then, there is clearly discernible a +two-fold tendency toward middle-class tragedy which reaches its fullest +expression in Lillo: the desire to lower the social level of the characters in +order to make the tragedy more moving; and the desire to defend the stage by +demonstrating its religious and moral utility. In his prologue to <u>The</u> +<u>Fair</u> <u>Penitent</u> (l703), Rowe gave expression to the first: the +"fate of kings and empires", he argues, +<span class = "pagenum">3</span> +is too remote to engage our feelings, for "we ne'er can pity that we ne'er can +share"; therefore he offers "a melancholy tale of private woes". In his +prologue, Lillo repeats this idea, but in his dedication he shows himself +primarily concerned with the second tendency. Specifically challenging those +"who deny the lawfulness of the stage", he argues that "the more extensively +useful the moral of any tragedy is, the more excellent that piece must be of +its kind"; the generality of mankind is more liable to vice than are kings; +therefore "plays founded on moral tales in private life may be of admirable +use... by stifling vice in its first principles". Dramatists who were +concerned only or primarily with the first of these tendencies (the emotional +effect), produced domestic or pseudo-domestic tragedies in the manner of Otway +and Rowe. But those who stressed the second (moral and religious utility), +seeking practical themes of widespread applicability, quite logically moved +toward genuine middle-class tragedy. Thus Hill's <u>Fatal</u> <u>Extravagance</u> +is concerned with the "vice" of gambling; while Charles Johnson's <u>Caelia</u>, +<u>or</u> <u>The</u> <u>Perjur'd Lover</u> (1732) attacks fashionable +libertinism of the day, telling the story which Richardson was later to retell +in seven ponderous volumes. In <u>Caelia</u> the religious rationalization of +the tragic action is subdued, Johnson apparently preferring to stress the +social and moral aspects of his subject, and to this end he resolutely refused +to expunge or modify the boldly realistic brothel scenes, against which a +fastidious audience had protested.</tt></p> + +<p><tt>A comparison of <u>The</u> <u>Gamester</u> with its predecessor, +<u>Fatal</u> <u>Extravagance</u>, reflects certain developments in the +intellectual background of the first half of the eighteenth century. Hill +anticipated Lillo in repeating Rowe's argument for lowering the social level +of tragedy and in stating vigorously his desire to defend the stage by +demonstrating its religious and moral utility. An admirer of Dennis's critical +writings, Hill repeats Dennis's argument that the stage can affect those whom +the pulpit falls to reach, and he offers his play</tt></p> + +<p><tt>as proof that "sound and useful instruction may be drawn from the +<u>Theatre</u>", challenging the enemies of the stage to test his play "by the +rules of religion +<span class = "pagenum">4</span> +and virtue" (Preface). Taking a "hint", as he says, from <u>A</u> <u>Yorkshire</u> +<u>Tragedy</u>, Hill endeavored to show the "private sorrows" that result from +gaming.</tt></p> + +<p><tt>At the opening of the play, the hero, having gambled away his fortune, +faces poverty. His friend who signed his bond is in jail and a kindly uncle +has failed to secure the needed relief. In a fit of passion growing out of +despair, the hero kills the villainous creditor, and decides to poison his +(the hero's) wife and children, and then stab himself. In his dying moments he +learns that the uncle has substituted a harmless cordial for the poison and +that a long-lost brother has died leaving him a fortune. This bare outline +gives no indication of Hill's careful theological rationalization of character +and plot which he promised in his preface. Hill incorporated in his play the +teachings of orthodox divines; there is nothing 'revolutionary' in his +analytical presentation of human nature. The theological significance of +Hill's play has not, to my knowledge, been recognized; thematic passages tend +to be dismissed as tiresome and gratuitous moralizing and the plot is often +regarded as empty melodrama or the representation of some ambiguous 'fate'. It +is in this deliberate theological rationalization of his materials that Hill +owes most to Mrs. Trotter's domestic tragedy and that he differs significantly +from Moore.</tt></p> + +<p><tt>As with Hill and Lillo, Moore's desire to write a play with an +extensively useful 'moral' led him to middle-class realism and prose. To +attack the widespread fashion of gaming which he regarded as a "vice", Moore +attempted to present "a natural picture" in language adapted "to the +capacities and feelings of every part of the audience" (Preface, 1756). That +he should have treated this social problem tragically is to be explained, +perhaps, by his sources and by his religious background. He justified the +"horror of its catastrophe" on the grounds that "so prevailing and destructive +a vice as Gaming" warranted it. <u>The</u> <u>Gamester</u> has been justly +credited with superior dramatic qualities in comparison with Hill's <u>Fatal</u> +<u>Extravagance,</u>, but we might perhaps note briefly certain aspects of the +two plays which reflect changes in the intellectual background. In both plays +theological ideas are involved in the treatment of the fall of the hero, +partially +<span class = "pagenum">5</span> +in Moore's play, completely In Hill's. Not recognizing ideas common to early +eighteenth century sermons, the modern reader may perhaps puzzle over the +steadily increasing moral paralysis and despondency in Moore's hero, +<ins class = "correction" title = "spelling as in original">Beverly</ins>. +Vice, preached the divines, beclouds the reason, leaving it progressively +incapable of controlling the passions:</tt></p> + +<p><tt> Follies, if uncontroul'd, of every kind,<br> + Grow into passions, and subdue the mind. (V, 4)</tt></p> + +<p><tt>Further each commission of sin causes progressive loss of grace, +without which man cannot act rightly. In prison +<ins class = "correction" title = "spelling as in original">Beverly</ins> +is incapable of prayer +("I cannot pray--Despair has laid his iron hand upon me, and seal'd me for +perdition..."). However, a benevolent deity touches him with the finger of +grace, enabling him to repent ("I wish'd for ease, a moment's ease, that cool +repentance and contrition might soften vengeance"). He can now pray for mercy +and in his dying moments is vouchsafed assurance of forgiveness ("Yet Heaven +is gracious--I ask'd for hope, as the bright presage of forgiveness, and like +a light, blazing thro' darkness, it came and chear'd me...").</tt></p> + +<p><tt>In this aspect Moore is working along the lines laid down by Hill, but +there is a significant difference, attributable perhaps to the weakening of +orthodox theology and the spreading influence of the Shaftesburian school of +ethical theorists. In the older theology, man's progressive loss of grace +correspondingly releases his natural propensity for evil, and working in these +concepts neither Hill nor Lillo hesitated to show his hero descending to +murder. Moore, influenced perhaps by the ethical sentiments of the day, +compromised his theological concepts and permitted his hero no really evil act +(excluding of course his suicide), and stressed instead +<ins class = "correction" title = "spelling as in original">Beverly's</ins> mistaken +trust in Stukely, who is, as Elton has pointed out, a "Mandevillian man" +(<u>Survey</u> <u>of</u> <u>English</u> <u>Literature:</u> <u>1730-1760</u>, +I, 329-30).</tt></p> + +<p><tt>There is another significant difference between the two plays which +reflects the development of religious thought in the first half of the +eighteenth century. Commenting on the too-late arrival of the news of the +uncle's death, +<span class = "pagenum">6</span> +Elton remarks that "this <u>too-lateness</u>... which is in the nature of an +accident, is a common and mechanical device of Georgian tragedy" (I, 330). +Hill employed the device, the good news coming as a complete surprise, but he +made it part of a carefully ordered plot designed to reveal the direct +intervention and mysterious workings of a particular Providence, making +characterization and action consistent, and giving his play a precise +theological significance. In Moore's day, however, under the impact of deism +and the developing rationalism, the concept of a particular Providence in +orthodox theology had become so subtilized that the older idea of direct and +striking intervention in human affairs all but disappeared. By mid-eighteenth +century, deity, as Leslie Stephen points out, "appears under the colourless +shape of Providence--a word which may be taken to imply a remote divine +superintendence, without admitting an actual divine interference" (<u>History</u> +<u>of</u> <u>English</u> <u>Thought</u> <u>In</u> <u>the</u> <u>Eighteenth</u> +<u>Century</u>, II, 336). The references to Providence in Moore's play are of +this type, pious labels on prudential morality. Moore carefully avoids the +various devices employed by Hill to indicate direct divine intervention; +consequently the late arrival of the news of the uncle's death (which was +expected throughout the play) is without special meaning, and serves only as a +theatrical device intended to heighten the emotional effect. <u>The</u> +<u>Gamester</u>, then, is a clear reflection of the state of English thought +in the middle of the eighteenth century, in which a declining theology becomes +suffused with the ideas and sentiments of the moralists of the age.</tt></p> + +<p><tt>Despite the popularity of their plays, neither Lillo nor Moore inspired +any significant followers in England. On the Continent, however, their +influence was considerable. In his introduction to his edition of <u>The</u> +<u>London</u> <u>Merchant</u>, A.W. Ward traces Lillo's influence on the +Continent, and Caskey gives a detailed account of Moore's (119-134). +<u>The</u> <u>Gamester</u> was translated into German, French, Dutch, Spanish, +and Italian. It was first acted at Breslau in 1754 and retained its stage +popularity for more than two decades. A German translation appeared in 1754, +and for more than twenty years numerous editions and translations +<span class = "pagenum">7</span> +continued to appear. In France, Diderot admired the play and translated it in +1760 (not published until 1819); Saurin's translation and adaptation (1767) +proved popular on the French stage (he later provided an alternate happy +ending which was frequently played).</tt></p> + +<p><tt><u>The</u> <u>Gamester</u> is reproduced, with permission, from a copy +owned by the University of Michigan.</tt></p> + +<div class = "indent"><tt>Charles H. Peake</tt></div> +<div class = "indent"><tt>University of Michigan</tt></div> +<br> +<span class = "pagenum">1</span><br> + +<p align = "center"><a name = "biblio"><tt>BIBLIOGRAPHICAL NOTE</tt></a></p> + +<p><tt>The first edition of Moore's <u>The</u> <u>Gamester</u> appeared in +1753 shortly after the opening of Garrick's performance of the play on +February 7. This edition is in many respects a good text; it has seemed +desirable for several reasons, however, to reprint this work from the 1756 +edition of <u>Poems</u>, <u>Fables</u>, <u>and</u> <u>Plays</u> (often +referred to as the "Collected Works"). The 1756 text often corrects that of +1753 and is generally superior to later printings; it contains passages and +improved readings not present in other editions; it aims at formal correctness, +employing classical scene division; as a "Works" edition it exhibits excellent +editorial and typographical treatment; it enjoys a superior general readability +advantageous to classroom use; and, finally, it contains Moore's vindicatory +preface, which, as far as an examination of available copies shows, does not +appear in other editions. Inasmuch as the 1756 printing is somewhat late, +standing between the fourth and fifth editions of the play, a brief bibliographical +account of <u>The</u> <u>Gamester</u> is offered.</tt></p> + +<p><tt>The play was printed separately many times in the eighteenth century. +The first edition, in the University of Michigan copy, bears the title: THE / +GAMESTER. / A / TRAGEDY. / As it is Acted at the / <u>Theatre</u>-<u>Royal</u> +in <u>Drury</u>-<u>Lane</u>. / [rule] / ornament / [rule] / <u>LONDON</u>: / +Printed for R. FRANCKLIN, in <u>Russel</u>-<u>Street</u>, / <u>Covent</u>-<u>Garden</u>; +and Sold by R. DODSLEY, / in <u>Pall</u>-<u>Mall</u>. M.DCC.LIII. / The +anonymity of the titlepage is half-hearted, for the dedication to Henry Pelham +is signed "Edw. Moore." A prologue written by Garrick, an epilogue, and the +cast of the original performance precede the eighty-four page text. Francklin +and Dodsley brought out a second edition in the same year and a fourth edition +in 1755; presumably a third edition had been issued in the interim. In 1771 a +fifth and a sixth edition appeared, and in 1776 another London edition came +out. In 1784 two more editions made an appearance, the first printed for R. +Butters (John H. Caskey, <u>The</u> <u>Life</u> <u>and</u> <u>Works</u> +<u>of</u> <u>Edward</u> <u>Moore</u>, Yale Studies in English, LXXV [New +Haven, 1927], p. 174), the second +<span class = "pagenum">2</span> +printed for a group of four booksellers--Thomas Davies, W. Nicoll, Samuel +Bladon, and John Bew. The same combination of booksellers, with W. Lowndes +taking the place of Davies, issued in 1789 an inferior reprinting of their +1784 text. The editions of 1784 and 1789 are interesting because they identify +by inverted commas the cuts made in contemporary stage versions. Before the +end of the century three editions were printed outside London: two Dublin +imprints of 1763 and 1783, and an American imprint of 1791 by Henry Taylor in +Philadelphia.</tt></p> + +<p><tt>In addition to these separate publications, <u>The</u> <u>Gamester</u> +was included in two collections of Moore's works. The 1756 edition has already +been noticed. THE DRAMATIC WORKS OF Mr. Edward Moore, as the 1788 titlepage +describes the volume, was issued by the Lowndes-Nicoll-Bladon-Bew group and +was actually an assembled text made up of the 1784 printing of <u>The</u> +<u>Gamester</u>, the 1786 <u>The</u> <u>Foundling</u>, and the 1788 <u>Gil</u> +<u>Blas</u>.</tt></p> + +<p><tt>The play was a favorite in many popular dramatic collections of the +late eighteenth and early nineteenth century; it appeared in Bell's <u>British</u> +<u>Theatre</u> in 1776 and thereafter, in Mrs. Inchbald's <u>The</u> +<u>British</u> <u>Theatre</u> in 1808, in Dibdin's <u>London</u> <u>Theatre</u> +in 1815, and in Cumberland's <u>British</u> <u>Theatre</u> in 1826. According +to Caskey and other sources the play was thus reprinted more than a dozen +times by the middle of the nineteenth century. Since then it has declined in +favor and has seldom been reprinted, even in textbook anthologies covering +representative literature of the period.</tt></p> + +<p><tt>The 1756 text of the play and the plates from the Davies-Nicoll-Bladon-Bew +1784 edition have been reproduced through the cooperation of the University of +Michigan Library from copies of these editions in its possession. Because of +its lack of significance, the dedication to Henry Pelham has not been +reprinted.</tt></p> + +<div class = "indent"><tt>Philip R. Wikelund</tt></div> +<div class = "indent"><tt>University of Michigan</tt></div> +<br> +<hr> +<hr> +<br> +<p align = "center">THE</p> +<h1> GAMESTER.</h1> +<p align = "center">A</p> +<h2> TRAGEDY.</h2> +<br> +<p align = "center">As it is Acted at the</p> +<h3> THEATRE-ROYAL</h3> +<p align = "center">IN</p> +<h3> DRURY-LANE.</h3> +<br> +<hr> +<a name = "Game_ill1"> </a> + +<p align = "center"> +<img src = "images/img08.jpg" width = "336" height = "576" +alt = "Beverley collapsed on floor"> +</p> +<p align = "center"> +<i><span class = "charname">M<sup>rs.</sup> SIDDONS</span> and +<span class = "charname">M<sup>r.</sup> KEMBLE</span> as<br> +Mr. & Mrs. Beverley Act 5. Sc. 4.<br> +</i>Bev.<i> O! for a few short Moments to tell you how my<br> +Heart bleeds for you.</i> +</p> + +<hr> +<br> + +<span class = "pagenum">417</span><span class = "folionum">Hhh</span> + +<h2><a name = "Game_pref">PREFACE.</a></h2> + +<p><i>It having been objected to this tragedy, that its language is prose, and +its catastrophe too horrible, I shall entreat the reader's patience for a +minute, that I may say a word or two to these objections.</i></p> + +<p><i>The play of the <span class = "smallcaps">Gamester</span> was intended +to be a natural picture of that kind of life, of which all men are judges; and +as it struck at a vice so universally prevailing, it was thought proper to +adapt its language to the capacities and feelings of every part of the +audience: that as some of its characters were of no higher rank than +</i>Sharpers<i>, it was imagined that (whatever good company they may find +admittance to in the world) their speaking blank verse upon the stage would be +unnatural, if not ridiculous. But though the more elevated characters also +speak prose, the judicious reader will observe, that it is a species of prose +which differs very little from verse: in many of the most animated scenes, I +can truly say, that I often found it a much greater difficulty to avoid, +<span class = "pagenum">418</span> +than to write, </i>measure<i>. I shall only add, in answer to this objection, +that I hoped to be more interesting, by being more natural; and the event, as +far as I have been a witness of it, has more than answered my expectations.</i></p> + +<p><i>As to the other objection, the horror of its catastrophe, if it be +considered simply what that catastrophe is, and compared with those of other +tragedies, I should humbly presume that the working it up to any uncommon +degree of horror, is the </i>merit<i> of the play, and not its </i>reproach<i>. +Nor should so prevailing and destructive a vice as <span class = "smallcaps">Gaming</span> +be attacked upon the theatre, without impressing upon the imagination all the +horrors that may attend it.</i></p> + +<p><i>I shall detain the reader no longer than to inform him, that I am +indebted for many of the most popular passages in this play to the inimitable +performer, who, in the character of the</i> Gamester, <i>exceeded every idea I +had conceived of it in the writing.</i></p> +<br> +<hr> +<br> +<span class = "folionum">Hhh2</span> + +<h1><a name = "Game_prol">PROLOGUE.</a></h1> + +<p>Written and spoken by Mr. GARRICK.</p> + +<div class = "verse"> +<i>Like fam'd La Mancha's knight, who launce in hand,<br> +Mounted his steed to free th' enchanted land,<br> +Our Quixote bard sets forth a monster-taming,<br> +Arm'd at all points, to fight that hydra—<span class = "smallcaps">Gaming</span>.<br> +Aloft on Pegasus he waves his pen,<br> +And hurls defiance at the caitiff's den.<br> +The </i>First<i> on fancy'd giants spent his rage,<br> +But </i>This<i> has more than windmills to engage:<br> +He combats passion, rooted in the soul,<br> +Whose pow'rs, at once delight ye, and controul;<br> +Whose magic bondage each lost slave enjoys,<br> +Nor wishes freedom, though the spell destroys.<br> +To save our land from this <span class = "smallcaps">Magician</span>'s charms,<br> +And rescue maids and matrons from his arms,<br> +Our knight poetic comes. And Oh! ye fair!<br> +This black <span class = "smallcaps">Enchanter</span>'s wicked arts beware!<br> +His subtle poison dims the brightest eyes,<br> +And at his touch, each grace and beauty dies:<br> +Love, gentleness and joy to rage give way,<br> +And the soft dove becomes a bird of prey.<br> +May this our bold advent'rer break the spell,<br> +And drive the </i>demon<i> to his native hell.<br> + Ye slaves of passion, and ye dupes of chance,<br> +Wake all your pow'rs from this destructive trance!<br> +Shake off the shackles of this tyrant vice:<br> +Hear other calls than those of cards and dice:<br> +Be learn'd in nobler arts, than arts of </i>play<i>,<br> +And other debts, than those of </i>honour<i> pay:<br> +No longer live insensible to shame,<br> +Lost to your country, families and fame.<br> + Could our romantic muse this work atchieve,<br> +Would there one honest heart in </i>Britain<i> grieve?<br> +Th' attempt, though wild, would not in vain be made,<br> +If every honest hand would lend its aid.</i> +</div> +<br> +<br> +<p align = "center"><a name = "Game_cast"><font size = "+2">Dramatis Personae.</font></a></p> + +<table align = "center" summary = "cast list"> +<tr><td colspan = "2"><div class = "scene">MEN.</div><br></td></tr> +<tr><td>Beverley,</td><td>Mr. <span class = "smallcaps">Garrick</span>.</td></tr> +<tr><td>Lewson,</td><td>Mr. <span class = "smallcaps">Mossop</span>.</td></tr> +<tr><td>Stukely,</td><td>Mr. <span class = "smallcaps">Davies</span>.</td></tr> +<tr><td>Jarvis,</td><td>Mr. <span class = "smallcaps">Berry</span>.</td></tr> +<tr><td>Bates,</td><td>Mr. <span class = "smallcaps">Burton</span>.</td></tr> +<tr><td>Dawson,</td><td>Mr. <span class = "smallcaps">Blakes</span>.</td></tr> +<tr><td>Waiter,</td><td>Mr. <span class = "smallcaps">Ackman</span>.<br> +<br></td></tr> +<tr><td colspan = "2"><div class = "scene">WOMEN.</div><br></td></tr> +<tr><td>Mrs. Beverley,</td><td>Mrs. <span class = "smallcaps">Pritchard</span>.</td></tr> +<tr><td>Charlotte,</td><td>Miss. <span class = "smallcaps">Haughton</span>.</td></tr> +<tr><td>Lucy,</td><td>Mrs. <span class = "smallcaps">Price</span>.<br> +<br></td></tr> +<tr><td colspan = "2"><div class = "scene">SCENE, <span class = "smallcaps">London</span>.</div></td></tr> +</table> +<br> +<hr> +<br> +<p align = "center">THE</p> +<h1> GAMESTER.</h1> +<p align = "center">A</p> +<h3> TRAGEDY.</h3> +<br> +<hr class = "narrow"> +<br> +<div class = "act"><a name = "Game_I">ACT I. SCENE I.</a></div> +<br> +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>, +and <span class = "charname">Charlotte</span>.</div> + +<div class = "firstspkr">Mrs. BEVERLEY.</div> +<p><span class = "firstletter">B</span>E comforted, my dear; all may be well +yet. And now, methinks, the lodgings begin to look with another face. O +sister! sister! if these were all my hardships; if all I had to complain of +were no more than quitting my house, servants, equipage and show, your pity +would be weakness.</p> + +<p><i>Char.</i> Is poverty nothing then?</p> + +<p><i>Mrs. Bev.</i> Nothing in the world, if it affected only Me. While we had +a fortune, I was the happiest of the rich: and now 'tis gone, give me but a +bare subsistance, and my +<span class = "pagenum">422</span> +husband's smiles, and I'll be the happiest of the poor. To Me now these +lodgings want nothing but their master. Why d'you look so at me?</p> + +<p><i>Char.</i> That I may hate my brother.</p> + +<p><i>Mrs. Bev.</i> Don't talk so, Charlotte.</p> + +<p><i>Char.</i> Has he not undone you? Oh! this pernicious vice of gaming! But +methinks his usual hours of four or five in the morning might have contented +him; 'twas misery enough to wake for him till then: need he have staid out all +night? I shall learn to detest him.</p> + +<p><i>Mrs. Bev.</i> Not for the first fault. He never slept from me before.</p> + +<p><i>Char.</i> Slept from you! No, no; his nights have nothing to do with +sleep. How has this one vice driven him from every virtue! nay, from his +affections too!—The time <i>was</i>, sister—</p> + +<p><i>Mrs. Bev.</i> And <i>is</i>. I have no fear of his affections. Would I +knew that he were safe!</p> + +<p><i>Char.</i> From ruin and his companions. But that's impossible. His poor +little boy too! What must become of Him?</p> + +<p><i>Mrs. Bev.</i> Why, want shall teach him industry. From his father's +mistakes he shall learn prudence, and from his mother's resignation, patience. +Poverty has no such terrors in it as you imagine. There's no condition of +life, sickness and pain excepted, where happiness is excluded. The needy +peasant, who rises early to his labour, enjoys more welcome rest at night +for't. His bread is sweeter to him; his home happier; his family dearer; his +enjoyments surer. The sun that rouses him in the morning, sets in the evening +to release him. All situations have their comforts, if sweet contentment dwell +in the heart. But my poor Beverley has none. The thought of having ruined +those he loves, is misery for ever to him. Would I could ease his mind of +That!</p> + + +<span class = "pagenum">423</span> +<p><i>Char.</i> If He alone were ruined, 'twere just he should be punished. He +is my brother, 'tis true; but when I think of what he has done; of the fortune +You brought him; of his own large estate too, squandered away upon this vilest +of passions, and among the vilest of wretches! O! I have no patience! My own +little fortune is untouched, he says: would I were sure on't!</p> + +<p><i>Mrs. Bev.</i> And so you may; 'twould be a sin to doubt it.</p> + +<p><i>Char.</i> I will be sure on't. 'Twas madness in me to give it to his +management. But I'll demand it from him this morning. I have a melancholy +occasion for't.</p> + +<p><i>Mrs. Bev.</i> What occasion?</p> + +<p><i>Char.</i> To support a sister.</p> + +<p><i>Mrs. Bev.</i> No; I have no need on't. Take it, and reward a lover with +it. The generous Lewson deserves much more. Why won't you make him happy?</p> + +<p><i>Char.</i> Because my sister's miserable.</p> + +<p><i>Mrs. Bev.</i> You must not think so. I have my jewels left yet. I'll +sell them to supply our wants; and when all's gone these hands shall toil for +our support. The poor should be industrious—Why those tears, Charlotte?</p> + +<p><i>Char.</i> They flow in pity for you.</p> + +<p><i>Mrs. Bev.</i> All may be well yet. When he has nothing to lose, I shall +fetter him in these arms again; and then what is it to be poor?</p> + +<p><i>Char.</i> Cure him but of this destructive passion, and my uncle's death +may retrieve all yet.</p> + +<p><i>Mrs. Bev.</i> Ay, Charlotte, <i>could</i> we cure him. But the disease +of play admits no cure but poverty; and the loss of another fortune would but +encrease his shame and his affliction. Will Mr. Lewson call this morning?</p> + +<span class = "pagenum">424</span> +<p><i>Char.</i> He said so last night. He gave me hints too, that he had +suspicions of our friend Stukely.</p> + +<p><i>Mrs. Bev.</i> Not of treachery to your Brother? That he loves play I +know; but surely he is honest.</p> + +<p><i>Char.</i> He would fain be thought so; therefore I doubt him. Honesty +needs no pains to set itself off.</p> + +<p><i>Mrs. Bev.</i> What now, Lucy?</p> + + +<div class = "scene">SCENE II.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lucy</span>.</div> + +<i>Lucy</i>. Your old steward, madam. I had not the heart to deny him +admittance, the good old man begged so hard for it. +<div class = "stagedir">[<i>Exit.</i></div> + + +<div class = "scene">SCENE III.</div> + +<div class = "scenedesc">Enter <span class = "charname">Jarvis</span>.</div> + +<p><i>Mrs. Bev.</i> Is this well, Jarvis? I desired you to avoid me.</p> + +<p><i>Jar.</i> Did you, madam? I am an old man, and had forgot. Perhaps too +you forbad my tears; but I am old, madam, and age will be forgetful.</p> + +<p><i>Mrs. Bev.</i> The faithful creature! how he moves me!</p> +<div class = "stagedir">[<i>To Charlotte.</i></div> + +<p><i>Char.</i> Not to have seen him had been cruelty.</p> + +<p><i>Jar.</i> I have forgot these apartments too. I remember none such in my +young master's house; and yet I have lived in't these five and twenty years. +His good father would not have dismissed me.</p> + +<p><i>Mrs. Bev.</i> He had no reason, Jarvis.</p> + +<p><i>Jar.</i> I was faithful to him while he lived, and when he +<span class = "pagenum">425</span><span class = "folionum">Iii</span> +died, he bequeathed me to his son. I have been faithful to Him too.</p> + +<p><i>Mrs. Bev.</i> I know it, I know it, Jarvis.</p> + +<p><i>Char.</i> We both know it.</p> + +<p><i>Jar.</i> I am an old man, madam, and have not a long time to live. I +asked but to have died with him, and he dismissed me.</p> + +<p><i>Mrs. Bev.</i> Prithee no more of this! 'Twas his poverty that dismissed +you.</p> + +<p><i>Jar.</i> Is he indeed so poor then? Oh! he was the joy of my old heart. +But must his creditors have all? And have they sold his house too? His father +built it when He was but a prating boy. The times I have carried him in these +arms! And, Jarvis, says he, when a beggar has asked charity of me, why should +people be poor? You shan't be poor, Jarvis; if I was a king, nobody should be +poor. Yet He is poor. And then he was so brave!—O, he was a brave little +boy! And yet so merciful, he'd not have killed the gnat that stung him.</p> + +<p><i>Mrs. Bev.</i> Speak to him, Charlotte; for I cannot.</p> + +<p><i>Char.</i> When I have wiped my eyes.</p> + +<p><i>Jar.</i> I have a little money, madam; it might have been more, but I +have loved the poor. All that I have is yours.</p> + +<p><i>Mrs. Bev.</i> No, Jarvis; we have enough yet. I thank you though, and +will deserve your goodness.</p> + +<p><i>Jar.</i> But shall I see my master? And will he let me attend him in his +distresses? I'll be no expence to him: and 'twill kill me to be refused. Where +is he, madam?</p> + +<p><i>Mrs. Bev.</i> Not at home, Jarvis. You shall see him another time.</p> + +<p><i>Char.</i> To-morrow, or the next day. O, Jarvis! what a change is +here!</p> +<span class = "pagenum">426</span> + + +<p><i>Jar.</i> A change indeed, madam! My old heart akes at it. And yet +methinks—But here's somebody coming.</p> + + +<div class = "scene">SCENE IV.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lucy</span> with <span +class = "charname">Stukely</span>.</div> + +<p><i>Lucy.</i> Mr. Stukely, Madam.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> Good morning to you, Ladies. Mr. Jarvis, your servant. Where's +my friend, madam?</p> +<div class = "stagedir">[<i>To Mrs. Beverley.</i></div> + +<p><i>Mrs. Bev.</i> I should have asked that question of You. Have not you +seen him to-day?</p> + +<p><i>Stu.</i> No, madam.</p> + +<p><i>Char.</i> Nor last night?</p> + +<p><i>Stu.</i> Last night! Did not he come home then?</p> + +<p><i>Mrs. Bev.</i> No. Were not you together?</p> + +<p><i>Stu.</i> At the beginning of the evening; but not since. Where can he +have staid?</p> + +<p><i>Char.</i> You call yourself his friend, Sir; why do you encourage him in +this madness of gaming?</p> + +<p><i>Stu.</i> You have asked me that question before, madam; and I told you +my concern was that I could not save him. Mr. Beverley is a man, madam; and if +the most friendly entreaties have no effect upon him, I have no other means. +My purse has been his, even to the injury of my fortune. If That has been +encouragement, I deserve censure; but I meant it to retrieve him.</p> + +<p><i>Mrs. Bev.</i> I don't doubt it, Sir; and I thank you. But where did you +leave him last night?</p> + +<p><i>Stu.</i> At Wilson's, madam, if I ought to tell; in company I did not +like. Possibly he may be there still. Mr. Jarvis knows the house, I believe.</p> + +<p><i>Jar.</i> Shall I go, madam?</p> + +<span class = "pagenum">427</span><span class = "folionum">Iii2</span> + +<p><i>Mrs. Bev.</i> No; he may take it ill.</p> + +<p><i>Char.</i> He may go as from himself.</p> + +<p><i>Stu.</i> And if he pleases, madam, without naming Me. I am faulty +myself, and should conceal the errors of a friend. But I can refuse nothing +here.</p> +<div class = "stagedir">[<i>Bowing to the ladies.</i></div> + +<p><i>Jar.</i> I would fain see him, methinks.</p> + +<p><i>Mrs. Bev.</i> Do so then. But take care how you upbraid him. I have +never upbraided him.</p> + +<p><i>Jar.</i> Would I could bring him comfort!</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> Don't be too much alarmed, madam. All men have their errors, +and their times of seeing them. Perhaps my friend's time is not come yet. But +he has an uncle; and old men don't live for ever. You should look forward, +madam: we are taught how to value a second fortune by the loss of a first.</p> +<div class = "stagedir">[<i>A knocking at the door.</i></div> + +<p><i>Mrs. Bev.</i> Hark!—No; that knocking was too rude for Mr. +Beverley. Pray heaven he be well!</p> + +<p><i>Stu.</i> Never doubt it, madam. You shall be well too: every thing shall +be well.</p> +<div class = "stagedir">[<i>Knocking again.</i></div> + +<p><i>Mrs. Bev.</i> The knocking is a little loud though. Who waits there? +Will none of you answer?—None of you, did I say? Alas! I thought myself +in my own house, surrounded with servants.</p> + +<p><i>Char.</i> I'll go, sister—But don't be alarmed so.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> What extraordinary accident have you to fear, madam?</p> + +<p><i>Mrs. Bev.</i> I beg your pardon; but 'tis ever thus with me in Mr. +Beverley's absence. No one knocks at the door, but I fancy 'tis a messenger of +ill news.</p> + +<p><i>Stu.</i> You are too fearful, madam; 'twas but one night of absence; and +if ill thoughts intrude (as love is always +<span class = "pagenum">428</span> +doubtful) think of your worth and beauty, and drive them from your breast.</p> + +<p><i>Mrs. Bev.</i> What thoughts? I have no thoughts that wrong my husband.</p> + +<p><i>Stu.</i> Such thoughts indeed would wrong him. The world is full of +slander; and every wretch that knows himself unjust, charges his neighbour +with like passions; and by the general frailty, hides his own. If you are +wise, and would be happy, turn a deaf ear to such reports: 'tis ruin to +believe them.</p> + +<p><i>Mrs. Bev.</i> Ay, worse than ruin. 'Twould be to sin against conviction. +Why was it mentioned?</p> + +<p><i>Stu.</i> To guard you against rumour. The sport of half mankind is +mischief; and for a single error they make men devils. If their tales reach +you, disbelieve them.</p> + +<p><i>Mrs. Bev.</i> What tales? By whom? Why told? I have heard nothing; or if +I had, with all his errors, my Beverley's firm faith admits no doubt. It is my +safety; my seat of rest and joy, while the storm threatens round me. I'll not +forsake it. (<i>Stukely sighs, and looks down</i>) Why turn you from me? And +why that sigh?</p> + +<p><i>Stu.</i> I was attentive, madam; and sighs will come we know not why. +Perhaps I have been too busy. If it should seem so, impute my zeal to +friendship, that meant to guard you against evil tongues. Your Beverley is +wronged; slandered most vilely. My life upon his truth.</p> + +<p><i>Mrs. Bev.</i> And mine too. Who is't that doubts it? But no matter—I +am prepared, Sir.—Yet why this caution?—You are my husband's +friend; I think you mine too; the common friend of both. (<i>Pauses</i>) I had +been unconcerned else.</p> +<span class = "pagenum">429</span> + +<p><i>Stu.</i> For heaven's sake, madam, be so still! I meant to guard you +<i>against</i> suspicion, not to alarm it.</p> + +<p><i>Mrs. Bev.</i> Nor have you, Sir. Who told you of suspicion? I have a +heart it cannot reach.</p> + +<p><i>Stu.</i> Then I am happy—I would say more, but am prevented.</p> + + +<div class = "scene">SCENE V.</div> + +<div class = "scenedesc">Re-enter <span class = "charname">Charlotte</span>.</div> + +<p><i>Mrs. Bev.</i> Who was it, Charlotte?</p> + +<p><i>Char.</i> What a heart has that Jarvis!—A creditor, sister. But +the good old man has taken him away. Don't distress his wife! Don't distress +his sister! I could hear him say. 'Tis cruel to distress the afflicted. And +when he saw me at the door, he begged pardon that his friend had knocked so +loud.</p> + +<p><i>Stu.</i> I wish I had known of this. Was it a large demand, madam?</p> + +<p><i>Char.</i> I heard not that; but visits such as these, we must expect +often. Why so distressed, sister? This is no new affliction.</p> + +<p><i>Mrs. Bev.</i> No, Charlotte; but I am faint with watching;</p> + +quite sunk and spiritless. Will you excuse me, Sir? I'll to my chamber, and +try to rest a little. + +<p><i>Stu.</i> Good thoughts go with you, madam.</p> +<div class = "stagedir">[<i>Exit Mrs. Beverley.</i></div> +My bait is taken then. (<i>Aside.</i>) Poor Mrs. Beverley! How my heart +grieves to see her thus! + +<p><i>Char.</i> Cure her, and be a friend then.</p> + +<p><i>Stu.</i> How cure her, madam?</p> + +<p><i>Char.</i> Reclaim my brother.</p> + +<span class = "pagenum">430</span> +<p><i>Stu.</i> Ay; give him a new creation; or breathe another soul into him. +I'll think on't, madam. Advice, I see, is thankless.</p> + +<p><i>Char.</i> Useless I am sure it is, if through mistaken friendship, or +other motives, you feed his passion with your purse, and sooth it by example. +Physicians, to cure fevers, keep from the patient's thirsty lip the cup that +would inflame him; You give it to his hands. (<i>A knocking.</i>) Hark, Sir! +These are my brother's desperate symptoms. Another creditor.</p> + +<p><i>Stu.</i> One not so easily got rid of—What, Lewson!</p> + + +<div class = "scene">SCENE VI.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lewson</span>.</div> + +<p><i>Lew.</i> Madam, your servant. Yours, Sir. I was enquiring for you at +your lodgings.</p> + +<p><i>Stu.</i> This morning? You had business then?</p> + +<p><i>Lew.</i> You'll call it by another name, perhaps. Where's Mr. Beverley, +madam?</p> + +<p><i>Char.</i> We have sent to enquire for him.</p> + +<p><i>Lew.</i> Is he abroad then? He did not use to go out so early.</p> + +<p><i>Char.</i> No; nor to stay out so late.</p> + +<p><i>Lew.</i> Is that the case? I am sorry for it. But Mr. Stukely, perhaps, +may direct you to him.</p> + +<p><i>Stu.</i> I have already, Sir. But what was your business with Me?</p> + +<p><i>Lew.</i> To congratulate you upon your late successes at play. Poor +Beverley! But You are his friend; and there's a comfort in having successful +friends.</p> + +<p><i>Stu.</i> And what am I to understand by this?</p> +<span class = "pagenum">431</span> + +<p><i>Lew.</i> That Beverley's a poor man, with a rich friend; that's +all.</p> + +<p><i>Stu.</i> Your words would mean something, I suppose. Another time, Sir, +I shall desire an explanation.</p> + +<p><i>Lew.</i> And why not now? I am no dealer in long sentences. A minute or +two will do for me.</p> + +<p><i>Stu.</i> But not for Me, Sir. I am slow of apprehension, and must have +time and privacy. A lady's presence engages my attention. Another morning I +may be found at home.</p> + +<p><i>Lew.</i> Another morning then, I'll wait upon you.</p> + +<p><i>Stu.</i> I shall expect you, Sir. Madam, your servant.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Char.</i> What mean you by this?</p> + +<p><i>Lew.</i> To hint to him that I know him.</p> + +<p><i>Char.</i> How know him? Mere doubt and supposition!</p> + +<p><i>Lew.</i> I shall have proof soon.</p> + +<p><i>Char.</i> And what then? Would you risk your life to be his punisher?</p> + +<p><i>Lew.</i> My life, madam! Don't be afraid. And yet I am happy in your +concern for me. But let it content you that I know this Stukely. 'Twould be as +easy to make him honest as brave.</p> + +<p><i>Char.</i> And what d'you intend to do?</p> + +<p><i>Lew.</i> Nothing, till I have proof. Yet my suspicions are well-grounded. +But methinks, madam, I am acting here without authority. Could I have leave to +call Mr. Beverley brother, his concerns would be my own. Why will you make my +services appear officious?</p> + +<p><i>Char.</i> You know my reasons, and should not press me. But I am cold, +you say: and cold I will be, while a poor sister's destitute. My heart bleeds +for her! and till I see her sorrows moderated, love has no joys for me. +<span class = "pagenum">432</span> +<i>Lew.</i> Can I be less a friend by being a brother? I would not say an +unkind thing; but the pillar of your house is shaken. Prop it with another, +and it shall stand firm again. You must comply.</p> + +<p><i>Char.</i> And will, when I have peace within myself. But let us change +the subject. Your business here this morning is with my sister. Misfortunes +press too hard upon her: yet till to day she has borne them nobly.</p> + +<p><i>Lew.</i> Where is she?</p> + +<p><i>Char.</i> Gone to her chamber. Her spirits failed her.</p> + +<p><i>Lew.</i> I hear her coming. Let what has passed with Stukely be a +secret. She has already too much to trouble her.</p> + + +<div class = "scene">SCENE VII.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>.</div> + +<p><i>Mrs. Bev.</i> Good morning, Sir. I heard your voice, and, as I thought, +enquiring for me. Where's Mr. Stukely, Charlotte?</p> + +<p><i>Char.</i> This moment gone. You have been in tears, sister; but here's a +friend shall comfort you.</p> + +<p><i>Lew.</i> Or if I add to your distresses, I'll beg your pardon, madam. +The sale of your house and furniture was finished yesterday.</p> + +<p><i>Mrs. Bev.</i> I know it, Sir. I know too your generous reason for +putting me in mind of it. But you have obliged me too much already.</p> + +<p><i>Lew.</i> There are trifles, madam, which you have set a value on: those +I have purchased, and will deliver. I have a friend too that esteems you; he +has bought largely, and will call nothing his, till he has seen you. If a +visit to him would not be painful, he has begged it may be this morning.</p> + +<span class = "pagenum">433</span><span class = "folionum">Kkk</span> + +<p><i>Mrs. Bev.</i> Not painful in the least. My pain is from the kindness of +my friends. Why am I to be obliged beyond the power of return?</p> + +<p><i>Lew.</i> You shall repay us at your own time. I have a coach waiting at +the door. Shall we have Your company, madam?</p> +<div class = "stagedir">[<i>To Charlotte.</i></div> + +<p><i>Char.</i> No. My brother may return soon; I'll stay and receive +him.</p> + +<p><i>Mrs. Bev.</i> He may want a comforter, perhaps. But don't upbraid him, +Charlotte. We shan't be absent long. Come, Sir, since I <i>must</i> be so +obliged.</p> + +<p><i>Lew.</i> 'Tis I that am obliged. An hour or less will be sufficient for +us. We shall find you at home, madam? (<i>To Charlotte.</i>)</p> +<div class = "stagedir">[<i>Exit with Mrs. Beverley.</i></div> + +<p><i>Char.</i> Certainly. I have but little inclination to appear abroad. O! +this brother! this brother! to what wretchedness has he reduced us!</p> +<div class = "stagedir">[<i>Exit.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE VIII</span>. Changes +to <span class = "charname">Stukely's</span> lodgings.</div> + +<div class = "scenedesc">Enter <span class = "charname">Stukely</span>.</div> + +<p><i>Stu.</i> That Lewson suspects me, 'tis too plain. Yet why should he +suspect me? I appear the friend of Beverley as well as he. But I am rich it +seems: and so I am; thanks to another's folly and my own wisdom. To what use +is wisdom, but to take advantage of the weak? This Beverley's my fool: I cheat +him, and he calls me friend. But more business must be done yet. His wife's +jewels are unsold; so is the reversion of his uncle's estate. I must have +these too. And then there's a treasure above all. I love his wife. Before she +knew this Beverley, I loved her; but like +<span class = "pagenum">434</span> +a cringing fool, bowed at a distance, while He stept in and won her. Never, +never will I forgive him for it. My pride, as well as love, is wounded by this +conquest. I must have vengeance. Those hints, this morning, were well thrown +in. Already they have fastened on her. If jealousy should weaken her +affections, want may corrupt her virtue. My hate rejoyces in the hope. These +jewels may do much. He shall demand them of her; which, when mine, shall be +converted to special purposes.—What now, Bates?</p> + + +<div class = "scene">SCENE IX.</div> + +<div class = "scenedesc">Enter <span class = "charname">Bates</span>.</div> + +<p><i>Bates.</i> Is it a wonder then to see me? The forces are in readiness, +and only wait for orders. Where's Beverley?</p> + +<p><i>Stu.</i> At last night's rendezvous, waiting for Me. Is Dawson with +you?</p> + +<p><i>Bates.</i> Dressed like a nobleman; with money in his pocket, and a set +of dice that shall deceive the devil.</p> + +<p><i>Stu.</i> That fellow has a head to undo a nation. But for the rest, they +are such low-mannered, ill-looking dogs, I wonder Beverley has not suspected +them.</p> + +<p><i>Bates.</i> No matter for manners and looks: do You supply them with +money, and they are gentlemen by profession. The passion of gaming casts such +a mist before the eyes, that the nobleman shall be surrounded with sharpers, +and imagine himself in the best company.</p> + +<p><i>Stu.</i> There's that Williams too: it was He, I suppose, that called at +Beverley's with the note this morning. What directions did you give him?</p> + +<span class = "pagenum">435</span><span class = "folionum">Kkk2</span> + +<p><i>Bates.</i> To knock loud, and be clamorous. Did not you see him?</p> + +<p><i>Stu.</i> No. The fool sneaked off with Jarvis. Had he appeared +within-doors, as directed, the note had been discharged. I waited there on +purpose. I want the women to think well of me; for Lewson's grown suspicious; +he told me so himself.</p> + +<p><i>Bates.</i> What answer did you make him?</p> + +<p><i>Stu.</i> A short one. That I would see him soon, for farther explanation.</p> + +<p><i>Bates.</i> We must take care of him. But what have we to do with +Beverley? Dawson and the rest are wondering at you.</p> + +<p><i>Stu.</i> Why let them wonder. I have designs above Their narrow reach. +They see me lend him money; and they stare at me. But they are fools. I want +him to believe me beggared by him.</p> + +<p><i>Bates.</i> And what then?</p> + +<p><i>Stu.</i> Ay, there's the question; but no matter. At night you may know +more. He waits for me at Wilson's. I told the women where to find him.</p> + +<p><i>Bates.</i> To what purpose?</p> + +<p><i>Stu.</i> To save suspicion. It looked friendly; and they thanked me. Old +Jarvis was dispatched to him.</p> + +<p><i>Bates.</i> And may intreat him home.</p> + +<p><i>Stu.</i> No; he experts money from me: but I'll have none. His wife's +jewels must go. Women are easy creatures, and refuse nothing where they love. +Follow me to Wilson's; but besure he sees you not. You are a man of character, +you know; of prudence and discretion. Wait for me +<span class = "pagenum">436</span> +in an outer room; I shall have business for you presently. Come, Sir.</p> + +<div class = "verse"> +Let drudging fools by honesty grow great;<br> +The shorter road to riches is deceit. +</div> +<div class = "stagedir">[<i>Exeunt.</i></div> + +<span class = "pagenum">437</span> + + +<div class = "act"><a name = "Game_II">ACT II.</a></div> + +<div class = "scenedesc"><span class = "charname">SCENE</span> a gaming house, +with a table, box, dice, &c.</div> + +<div class = "scenedesc"><span class = "charname">Beverley</span> is +discovered sitting.</div> + +<div class = "firstspkr">BEVERLEY.</div> +<p><span class = "firstletter">W</span>HY, what a world is this! The slave +that digs for gold, receives his daily pittance, and sleeps contented; while +those, for whom he labours, convert their good to mischief; making abundance +the means of want. O shame! shame! Had fortune given me but a little, that +little had been still my own. But plenty leads to waste; and shallow streams +maintain their currents, while swelling rivers beat down their banks, and +leave their channels empty. What had I to do with play? I wanted nothing. My +wishes and my means were equal. The poor followed me with blessings; love +scattered roses on my pillow, and morning waked me to delight.—O, bitter +thought! that leads to what I was, by what I am! I would forget both—Who's +there?</p> + + +<div class = "scene">SCENE II.</div> + +<div class = "scenedesc">Enter a <span class = "charname">Waiter</span>.</div> + +<p><i>Wait.</i> A gentleman, Sir, enquires for you.</p> + +<p><i>Bev.</i> He might have used less ceremony. Stukely I suppose?</p> + +<p><i>Wait.</i> No, Sir; a stranger.</p> + +<span class = "pagenum">438</span> + +<p><i>Bev.</i> Well, shew him in. (<i>Exit Waiter.</i>) A messenger from +Stukely then. From Him that has undone me! Yet all in friendship; and now he +lends me from his little, to bring back fortune to me.</p> + + +<div class = "scene">SCENE III.</div> + +<div class = "scenedesc">Enter <span class = "charname">Jarvis</span>.</div> + +Jarvis! Why this intrusion?—Your absence had been kinder. + +<p><i>Jar.</i> I came in duty, Sir. If it be troublesome—</p> + +<p><i>Bev.</i> It is. I would be private; hid even from myself. Who sent you +hither?</p> + +<p><i>Jar.</i> One that would persuade you home again. My mistress is not +well; her tears told me so.</p> + +<p><i>Bev.</i> Go with thy duty there then. But does she weep? I am to blame +to let her weep. Prithee begone; I have no business for thee.</p> + +<p><i>Jar.</i> Yes, Sir; to lead you from this place. I am your servant still. +Your prosperous fortune blessed my old age. If That has left you, I must not +leave you.</p> + +<p><i>Bev.</i> Not leave me! Recall past time then; or through this sea of +storms and darkness, shew me a star to guide me. But what can'st Thou?</p> + +<p><i>Jar.</i> The little that I can, I will. You have been generous to me. I +would not offend you, Sir—but—</p> + +<p><i>Bev.</i> No. Think'st thou I'd ruin Thee too? I have enough of shame +already. My wife! my wife! Would'st thou believe it, Jarvis? I have not seen +her all this long night; I, who have loved her so, that every hour of abscence +seemed as a gap in life. But other bonds have held me. O! I have played the +boy; dropping my counters in +<span class = "pagenum">439</span> +the stream, and reaching to redeem them, have lost Myself. Why wilt Thou +follow misery? Or if thou wilt, go to thy mistress—She has no guilt to +sting her, and therefore may be comforted.</p> + +<p><i>Jar.</i> For pity's sake, Sir! I have no heart to see this change.</p> + +<p><i>Bev.</i> Nor I to bear it. How speaks the world of me, Jarvis?</p> + +<p><i>Jar.</i> As of a good man dead. Of one, who walking in a dream, fell +down a precipice. The world is sorry for you.</p> + +<p><i>Bev.</i> Ay, and pities me. Says it not so? But I was born to infamy. +I'll tell thee what it says. It calls me villain; a treacherous husband; a +cruel father; a false brother; one lost to nature and her charities—Or +to say all in one short word, it calls me—Gamester. Go to thy mistress; +I'll see her presently.</p> + +<p><i>Jar.</i> And why not now? Rude people press upon her; loud, bawling +creditors; wretches, who know no pity. I met one at the door; he would have +seen my mistress—I wanted means of present payment, so promised it +to-morrow. But others may be pressing; and she has grief enough already. Your +absence hangs too heavy on her.</p> + +<p><i>Bev.</i> Tell her I'll come then. I have a moment's business. But what +hast Thou to do with My distresses? Thy honesty has left thee poor; and age +wants comfort. Keep what thou hast for cordials; left between thee and the +grave, misery steal in. I have a friend shall counsel me—This is that +friend.</p> +<span class = "pagenum">440</span> + + +<div class = "scene">SCENE IV.</div> + +<div class = "scenedesc">Enter <span class = "charname">Stukely</span>.</div> + +<p><i>Stu.</i> How fares it, Beverley? Honest Mr. Jarvis, well met; I hoped to +find you here. That viper Williams! Was it not He that troubled you this +morning?</p> + +<p><i>Jar.</i> My mistress heard him then? I am sorry that she heard +him.</p> + +<p><i>Bev.</i> And Jarvis promised payment.</p> + +<p><i>Stu.</i> That must not be. Tell him I'll satisfy him.</p> + +<p><i>Jar.</i> Will you, Sir? Heaven will reward you for't.</p> + +<p><i>Bev.</i> Generous Stukely! Friendship like yours, had it ability like +will, would more than ballance the wrongs of fortune.</p> + +<p><i>Stu.</i> You think too kindly of me. Make haste to Williams; his +clamours may be rude else.</p> +<div class = "stagedir">[<i>To Jarvis.</i></div> + +<p><i>Jar.</i> And my master will go home again. Alas! Sir, we know of hearts +there breaking for his absence.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Bev.</i> Would I were dead!</p> + +<p><i>Stu.</i> Or turned hermit; counting a string of beads in a dark cave; or +under a weeping willow, praying for mercy on the wicked. Ha! ha! ha! Prithee +be a man, and leave dying to disease and old age. Fortune may be ours again; +at least, we'll try for't.</p> + +<p><i>Bev.</i> No, it has fooled us on too far.</p> + +<p><i>Stu.</i> Ay, ruined us; and therefore we'll sit down contented. These +are the despondings of men without money; but let the shining ore chink in the +pocket, and folly turns to wisdom. We are fortune's children. True, she's a +fickle mother; but shall We droop because She's peevish? No; she has smiles in +store. And these her frowns are meant to brighten them.</p> + +<span class = "pagenum">441</span><span class = "folionum">Lll</span> + +<p><i>Bev.</i> Is this a time for levity? But You are single in the ruin, and +therefore may talk lightly of it. With Me 'tis complicated misery,</p> + +<p><i>Stu.</i> You censure me unjustly. I but assumed these spirits to chear +my friend. Heaven knows he wants a comforter.</p> + +<p><i>Bev.</i> What new misfortune?</p> + +<p><i>Stu.</i> I would have brought you money; but lenders want securities. +What's to be done? All that was mine is yours already.</p> + +<p><i>Bev.</i> And there's the weight that sinks me. I have undone my friend +too; one, who to save a drowning wretch, reached out his hand, and perished +with him.</p> + +<p><i>Stu.</i> Have better thoughts.</p> + +<p><i>Bev.</i> Whence are they to proceed? I have nothing left.</p> + +<i>Stu. (Sighing) </i>Then we're indeed undone. What, nothing? No moveables? +nor useless trinkets? Bawbles, locked up in caskets, to starve their owners? I +have ventured deeply for you. + +<p><i>Bev.</i> Therefore this heart-ake; for I am lost beyond all hope.</p> + +<p><i>Stu.</i> No : means may be found to save us. Jarvis is rich. Who made +him so? This is no time for ceremony.</p> + +<p><i>Bev.</i> And is it for dishonesty? The good old man! Shall I rob Him +too? My friend would grieve for't. No; let the little that he has, buy food +and cloathing for him.</p> + +<p><i>Stu.</i> Good morning then.</p> +<div class = "stagedir">[<i>Going.</i></div> + +<p><i>Bev.</i> So hasty! Why, then good morning.</p> + +<p><i>Stu.</i> And when we meet again, upbraid me. Say it was I that tempted +you. Tell Lewson so; and tell him I have wronged you: he has suspicions of me, +and will thank you.</p> + +<i>Bev</i>, No; we have been companions in a rash voyage, +<span class = "pagenum">442</span> +and the same storm has wrecked us both. Mine shall be self-upbraidings. + +<p><i>Stu.</i> And will they feed us? You deal unkindly by me. I have sold and +borrowed for you, while land or credit lasted; and now, when fortune should be +tried, and my heart whispers me success, I am deserted; turned loose to +beggary, while You have hoards.</p> + +<p><i>Bev.</i> What hoards? Name them, and take them.</p> + +<p><i>Stu.</i> Jewels.</p> + +<p><i>Bev.</i> And shall this thriftless hand seize Them too? My poor, poor +wife! Must she lose all? I would not wound her so.</p> + +<p><i>Stu.</i> Nor I, but from necessity. One effort more, and fortune may +grow kind. I have unusual hopes.</p> + +<p><i>Bev.</i> Think of some other means then.</p> + +<p><i>Stu.</i> I have; and you rejected them.</p> + +<p><i>Bev.</i> Prithee let me be a man.</p> + +<p><i>Stu.</i> Ay, and your friend a poor one. But I have done. And for these +trinkets of a woman, why, let her keep them to deck out pride with, and shew a +laughing world that she has finery to starve in.</p> + +<p><i>Bev.</i> No; she shall yield up all. My friend demands it. But need he +have talked lightly of her? The jewels that She values are truth and +innocence: those will adorn her ever; and for the rest, she wore them for a +husband's pride, and to his wants will give them. Alas! you know her not. +Where shall we meet?</p> + +<p><i>Stu.</i> No matter. I have changed my mind. Leave me to a prison; 'tis +the reward of friendship.</p> + +<p><i>Bev.</i> Perish mankind first! Leave you to a prison! No: fallen as you +see me, I'm not that wretch. Nor would I change this heart, overcharged as +'tis with folly and misfortune, +<span class = "pagenum">443</span><span class = "folionum">Lll2</span> +for one most prudent and most happy, if callous to a friend's distresses.</p> + +<p><i>Stu.</i> You are too warm.</p> + +<p><i>Bev.</i> In such a cause, not to be warm is to be frozen. Farewell. I'll +meet you at your lodgings.</p> + +<p><i>Stu.</i> Reflect a little. The jewels may be lost. Better not hazard +them. I was too pressing.</p> + +<p><i>Bev.</i> And I ungrateful. Reflection takes up time. I have no leisure +for't. Within an hour expect me.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> The thoughtless, shallow prodigal! We shall have sport at night +then—But hold—the jewels are not ours yet. The lady may refuse +them. The husband may relent too. 'Tis more than probable—I'll write a +note to Beverley, and the contents shall spur him to demand them. But am I +grown this rogue through avarice? No; I have warmer motives: love and revenge. +Ruin the husband, and the wife's virtue may be bid for. 'Tis of uncertain +value, and sinks, or rises in the purchase, as want, or wealth, or passion +governs. The poor part cheaply with it; rich dames, though pleased with +selling, will have high prices for't; your love-sick girls give it for oaths +and lying; but wives, who boast of honour and affections, keep it against a +famine. Why, let the famine come then; I am in haste to purchase.</p> + + +<div class = "scene">SCENE V.</div> + +<div class = "scenedesc">Enter <span class = "charname">Bates</span>.</div> + +Look to your men, Bates; there's money stirring. We meet to-night upon this +spot. Hasten and tell them so. Beverley calls upon me at my lodgings, and we +return together. Hasten, I say; the rogues will scatter else. +<span class = "pagenum">444</span> + +<p><i>Bates.</i> Not till their leader bids them.</p> + +<p><i>Stu.</i> Come on then. Give them the word, and follow me; I must advise +with you. This is a day of business.</p> +<div class = "stagedir">[<i>Exeunt.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE VI</span>. changes to +<span class = "charname">Beverley's</span> lodgings.</div> + +<div class = "scenedesc">Enter <span class = "charname">Beverley</span>, and +<span class = "charname">Charlotte</span>.</div> + +<p><i>Char.</i> Your looks are changed too; there's wildness in them. My +wretched sister! how will it grieve her to see you thus!</p> + +<p><i>Bev.</i> No, no; a little rest will ease me. And for your Lewson's +kindness to her, it has my thanks: I have no more to give him.</p> + +<p><i>Char.</i> Yes; a sister and her fortune. I trifle with him; and he +complains. My looks, he says, are cold upon him. He thinks too—</p> + +<p><i>Bev.</i> That I have <i>lost</i> your fortune—He dares not think +so.</p> + +<p><i>Char.</i> Nor does he—You are too quick at guessing. He cares not +if you had. That care is mine. I lent it you to husband; and now I claim +it.</p> + +<p><i>Bev.</i> You have suspicions then?</p> + +<p><i>Char.</i> Cure them, and give it me.</p> + +<p><i>Bev.</i> To stop a sister's chiding.</p> + +<p><i>Char.</i> To vindicate her brother.</p> + +<p><i>Bev.</i> How if he needs it not?</p> + +<p><i>Char.</i> I would fain hope so.</p> + +<p><i>Bev.</i> Ay, would and cannot. Leave it to time then; 'twill satisfy all +doubts.</p> + +<p><i>Char.</i> Mine are already satisfied.</p> + +<p><i>Bev.</i> 'Tis well. And when the subject is renewed, speak to me like a +sister, and I will answer like a brother.</p> + +<span class = "pagenum">445</span><span class = "folionum">Lll3</span> + +<p><i>Char.</i> To tell me I'm a beggar. Why, tell it now. I that can bear the +ruin of those dearer to me, the ruin of a sister and her infant, can bear that +too.</p> + +<p><i>Bev.</i> No more of this—You wring my heart.</p> + +<p><i>Char.</i> Would that the misery were all your own! But innocence must +suffer. Unthinking rioter! whose home was heaven to him: an angel dwelt there, +and a little cherub, that crowned his days with blessings—How has he +lost this heaven, to league with devils!</p> + +<p><i>Bev.</i> Forbear, I say; reproaches come too late; they search, but cure +not. And for the fortune you demand, we'll talk to-morrow on't; our tempers +may be milder.</p> + +<p><i>Char.</i> Or if 'tis gone, why, farewel all. I claimed it for a sister. +She holds my heart in hers; and every pang She feels, tears it in pieces—But +I'll upbraid no more. What heaven permits, it may ordain; and sorrow then is +sinful. Yet that the husband! father! brother! should be its instrument of +vengeance!—'Tis grievous to know that.</p> + +<p><i>Bev.</i> If you're my sister, spare the remembrance—It wounds too +deeply. To-morrow shall clear all; and when the worst is known, it may be +better than your fears. Comfort my wife; and for the pains of absence, I'll +make atonement. The world may yet go well with us.</p> + +<p><i>Char.</i> See where she comes!—Look chearfully upon her. +Affections, such as hers, are prying; and lend those eyes that read the +soul.</p> + + +<div class = "scene">SCENE VII.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>, +and <span class = "charname">Lewson</span>.</div> + +<p><i>Mrs. Bev.</i> My life!</p> + +<p><i>Bev.</i> My love! How fares it? I have been a truant husband.</p> +<span class = "pagenum">446</span> + +<p><i>Mrs. Bev.</i> But we meet now, and that heals all. Doubts and alarms I +have had; but in this dear embrace I bury and forget them. My friend here +(<i>pointing to Lewson</i>) has been indeed a friend. Charlotte, 'tis You must +thank him: your brother's thanks and mine are of too little value.</p> + +<p><i>Bev.</i> Yet what we have, we'll pay. I thank, you, Sir, and am obliged. +I would say more, but that your goodness to the wife, upbraids the husband's +follies. Had I been wise, She had not trespassed on your bounty.</p> + +<p><i>Lew.</i> Nor has she trespassed. The little I have done, acceptance +over-pays.</p> + +<p><i>Char.</i> So friendship thinks—</p> + +<p><i>Mrs. Bev.</i> And doubles obligations, by striving to conceal them—We'll +talk another time on't. You are too thoughtful, love.</p> + +<p><i>Bev.</i> No; I have reason for these thoughts.</p> + +<p><i>Char.</i> And hatred for the cause. Would you had that too!</p> + +<p><i>Bev.</i> I have. The cause was avarice.</p> + +<p><i>Char.</i> And who the tempter?</p> + +<p><i>Bev.</i> A ruined friend. Ruined by too much kindness,</p> + +<p><i>Lew.</i> Ay, worse than ruined; stabbed in his fame; mortally stabbed. +Riches can't cure him.</p> + +<p><i>Bev.</i> Or if they could, those I have drained him of. Something of +this he hinted in the morning—that Lewson had suspicions of him—Why +these suspicions?</p> +<div class = "stagedir">[<i>Angrily.</i></div> + +<p><i>Lew.</i> At school we knew this Stukely. A cunning plodding boy he was, +sordid and cruel. Slow at his talk, but quick at shifts and tricking. He +schemed out mischief, that others might be punished; and would tell his tale +with so much art, that for the lash he merited, rewards +<span class = "pagenum">447</span> +and praise were given him. Shew me a boy with such a mind, and time that +ripens manhood in him, shall ripen vice too. I'll prove him, and lay him open +t'you. Till then be warned. I know him, and therefore shun him.</p> + +<p><i>Bev.</i> As I would those that wrong him. You are too busy, Sir.</p> + +<p><i>Mrs. Bev.</i> No, not too busy—Mistaken perhaps—That had +been milder.</p> + +<p><i>Lew.</i> No matter, madam. I can bear this, and praise the heart that +prompts it. Pity such friendship should be so placed!</p> + +<p><i>Bev.</i> Again, Sir!—But I'll bear too. You wrong him, Lewson, and +will be sorry for't.</p> + +<p><i>Char.</i> Ay, when 'tis proved he wrongs him. The world is full of +hypocrites.</p> + +<p><i>Bev.</i> And Stukely one—So you'd infer, I think. I'll hear no +more of this—My heart akes for him—I have undone him.</p> + +<p><i>Lew.</i> The world says otherwise.</p> + +<p><i>Bev.</i> The world is false then. I have business with you, love. (<i>To +Mrs. Beverley.</i>) We'll leave them to their rancour.</p> +<div class = "stagedir">[<i>Going.</i></div> + +<p><i>Char.</i> No. We shall find room within for't. Come this way, Sir.</p> +<div class = "stagedir">[<i>To Lewson.</i></div> + +<p><i>Lew.</i> Another time my friend will thank me; that time is hastening +too.</p> +<div class = "stagedir">[<i>Exit with Charlotte.</i></div> + +<p><i>Bev.</i> They hurt me beyond bearing. Is Stukely false? Then honesty has +left us!</p> + +'Twere sinning against heaven to think so. + +<p><i>Mrs. Bev.</i> I never doubted him.</p> + +<p><i>Bev.</i> No; You are charity. Meekness and ever-during patience live in +that heart, and love that knows no change—Why did I ruin you?</p> + +<span class = "pagenum">448</span> + +<p><i>Mrs. Bev.</i> You have not ruined me. I have no wants when You are +present, nor wishes in your absence, but to be blest with your return. Be but +resigned to what has happened, and I am rich beyond the dreams of avarice.</p> + +<p><i>Bev.</i> My generous girl!—But memory will be busy; still crowding +on my thoughts, to sour the present by the past. I have another pang +too.</p> + +<p><i>Mrs. Bev.</i> Tell it, and let me cure it.</p> + +<p><i>Bev.</i> That friend, that generous friend, whose fame they have +traduced—I have undone Him too. While he had means, he lent me largely; +and now a prison must be his portion.</p> + +<p><i>Mrs. Bev.</i> No; I hope otherwise.</p> + +<p><i>Bev.</i> To hope must be to act. The charitable wish feeds not the +hungry. Something must be done.</p> + +<p><i>Mrs. Bev.</i> What?</p> + +<p><i>Bev.</i> In bitterness of heart he told me, just now he told me, I had +undone him. Could I hear that, and think of happiness? No; I have disclaimed +it, while He is miserable.</p> + +<p><i>Mrs. Bev.</i> The world may mend with us, and then we may be grateful. +There's comfort in that hope.</p> + +<p><i>Bev.</i> Ay; 'tis the sick man's cordial, his promised cure; while in +preparing it, the patient dies.—What now?</p> + + +<div class = "scene">SCENE VIII.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lucy</span>.</div> + +<p><i>Lucy.</i> A letter, Sir.</p> +<div class = "stagedir">[<i>Delivers it, and exit.</i></div> + +<p><i>Bev.</i> The hand is Stukely's.</p> +<div class = "stagedir">[<i>Opens, and reads it to himself.</i></div> + +<p><i>Mrs. Bev.</i> And brings good news—at least I'll hope so—What +says he, love?</p> + +<span class = "pagenum">449</span><span class = "folionum">Mmm</span> + +<p><i>Bev.</i> Why, this—too much for patience. Yet he directs me to +conceal it from you.</p> +<div class = "stagedir">[<i>Reads.</i></div> +<blockquote> +<i>Let your haste to see me be the only proof of your esteem for me. I have +determined, since we parted, to bid adieu to England; chusing rather to +forsake my country, than to owe my freedom in it to the means we talked of. +Keep this a secret at home, and hasten to the ruined</i> +</blockquote> +<div class = "indent"><span class = "smallcaps">R. Stukely</span></div> +<p>Ruined by friendship! I must relieve, or follow him.</p> + +<p><i>Mrs. Bev.</i> Follow him, did you say? Then I am lost indeed!</p> + +<p><i>Bev.</i> O this infernal vice! how has it sunk me! A vice, whose highest +joy was poor to my domestic happiness. Yet how have I pursued it! Turned all +my comforts to bitterest pangs! and all Thy smiles to tears. Damned, damned +infatuation!</p> + +<p><i>Mrs. Bev.</i> Be cool, my life! What are the means the letter talks of? +Have You, have I those means? Tell me, and ease me. I have no life while You +are wretched.</p> + +<p><i>Bev.</i> No, no; it must not be. 'Tis I alone have sinned; 'tis I alone +must suffer. You shall reserve those means, to keep my child and his wronged +mother from want and wretchedness.</p> + +<p><i>Mrs. Bev.</i> What means?</p> + +<p><i>Bev.</i> I came to rob you of them; but cannot—dare not; those +jewels are your sole support—I should be more than monster to request +them.</p> + +<p><i>Mrs. Bev.</i> My jewels! Trifles, not worth the speaking of, if weighed +against a husband's peace; but let them purchase That, and the world's wealth +is of less value.</p> + +<span class = "pagenum">450</span> +<p><i>Bev.</i> Amazing goodness! How little do I seem before such virtues!</p> + +<p><i>Mrs. Bev.</i> No more, my love. I kept them till occasion called to use +them; now is the occasion, and I'll resign them chearfully.</p> + +<p><i>Bev.</i> Why, we'll be rich in love then—But this excess of +kindness melts me. Yet for a friend one would do much. He has denied Me +nothing.</p> + +<p><i>Mrs. Bev.</i> Come to my closet—But let him manage wisely. We have +no more to give him.</p> + +<p><i>Bev.</i> Where learnt my love this excellence? 'Tis heaven's own +teaching; that heaven, which to an angel's form, has given a mind more lovely. +I am unworthy of you, but will deserve you better.</p> + +<div class = "verse"> +Henceforth my follies and neglects shall cease,<br> +And all to come be penitence and peace;<br> +Vice shall no more attract me with her charms,<br> +Nor pleasure reach me, but in these dear arms. +</div> +<div class = "stagedir">[<i>Exeunt.</i></div> + +<span class = "pagenum">451</span><span class = "folionum">Mmm2</span> + +<div class = "act"><a name = "Game_III">ACT III.</a></div> + +<div class = "scenedesc"><span class = "charname">SCENE I. +<ins class = "correction" title = +"text reads 'Stukeley's'">Stukely's</ins></span> lodgings.</div> + +<div class = "scenedesc">Enter <span class = "charname">Stukely</span>, and +<span class = "charname">Bates</span>.</div> + +<div class = "firstspkr">STUKELY.</div> +<p><span class = "firstletter">S</span>O runs the world, Bates. Fools are the +natural prey of knaves; nature designed them so, when she made lambs for +wolves. The laws that fear and policy have framed, nature disclaims: she knows +but two; and those are force and cunning. The nobler law is force; but then +there's danger in't; while cunning, like a skilful miner, works safely and +unseen.</p> + +<p><i>Bat.</i> And therefore wisely. Force must have nerves and sinews; +cunning wants neither. The dwarf that has it, shall trip the giant's heels +up.</p> + +<p><i>Stu.</i> And bind him to the ground. Why, we'll erect a shrine for +nature, and be her oracles. Conscience is weakness; fear made, and fear +maintains it. The dread of shame, inward reproaches, and fictitious burnings, +swell out the phantom. Nature knows none of this; Her laws are freedom.</p> + +<p><i>Bat.</i> Sound doctrine, and well delivered!</p> + +<p><i>Stu.</i> We are sincere too, and practice what we teach. Let the grave +pedant say as much—But now to business. The jewels are disposed of; and +Beverley again worth money. He waits to count his gold out, and then comes +hither. If my design succeeds, this night we finish with +<span class = "pagenum">452</span> +him. Go to your lodgings, and be busy. You understand conveyances, and can +make ruin sure.</p> + +<p><i>Bat.</i> Better stop here. The sale of this reversion may be talked of; +there's danger in't.</p> + +<p><i>Stu.</i> No; 'tis the mark I aim at. We'll thrive, and laugh. You are +the purchaser, and there's the payment. (<i>Giving a pocket book.</i>) He +thinks you rich; and so you shall be. Enquire for titles, and deal hardly; +'twill look like honesty.</p> + +<p><i>Bat.</i> How if he suspects us?</p> + +<p><i>Stu.</i> Leave it to Me. I study hearts, and when to work upon them. Go +to your lodgings; and if we come, be busy over papers. Talk of a thoughtless +age, of gaming and extravagance, you have a face for't.</p> + +<p><i>Bat.</i> A feeling too that would avoid it. We push too far; but I have +cautioned you. If it ends ill, you'll think of me; and so adieu.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> This fellow sins by halves; his fears are conscience</p> +to him. I'll turn these fears to use. Rogues that dread shame, will still be +greater rogues to hide their guilt—This shall be thought of. Lewson +grows troublesome—we must get rid of him—he knows too much. I have +a tale for Beverley; part of it truth too. He shall call Lewson to account. If +it succeeds, 'tis well; if not, we must try other means—But here he +comes—I must dissemble. + + +<div class = "scene">SCENE II.</div> + +<div class = "scenedesc">Enter <span class = "charname">Beverley</span>.</div> + +Look to the door there! (<i>In a seeming fright.</i>)—My friend!—I +thought of other visitors. + +<p><i>Bev.</i> No: these shall guard you from them. (<i>Offering +<span class = "pagenum">453</span> +notes)</i> Take them, and use them cautiously. The world deals hardly by +us.</p> + +<p><i>Stu.</i> And shall I leave you destitute? No: Your wants are greatest. +Another climate may treat me kinder. The shelter of to-night takes me from +this.</p> + +<p><i>Bev.</i> Let these be your support then. Yet is there need of parting? I +may have means again; we'll share them, and live wisely.</p> + +<p><i>Stu.</i> No. I should tempt you on. Habit is nature in me; ruin can't +cure it. Even now I would be gaming. Taught by experience as I am, and knowing +this poor sum is all that's left us, I am for venturing still. And say I am to +blame; yet will this little supply our wants? No; we must put it out to usury. +Whether 'tis madness in me, or some resistless impulse of good fortune, I yet +am ignorant; but—</p> + +<p><i>Bev.</i> Take it, and succeed then. I'll try no more.</p> + +<p><i>Stu.</i> 'Tis surely impulse; it pleads so strongly—But You are +cold—we'll e'en part here then. And for this last reserve, keep it for +better uses; I'll have none on't. I thank you though, and will seek fortune +singly—One thing I had forgot—</p> + +<p><i>Bev.</i> What is it?</p> + +<p><i>Stu.</i> Perhaps, 'twere best forgotten. But I am open in my nature, and +zealous for the honour of my friend—Lewson speaks freely of you.</p> + +<p><i>Bev.</i> Of You I know he does.</p> + +<p><i>Stu.</i> I can forgive him for't; but for my friend I'm angry.</p> + +<p><i>Bev.</i> What says he of me?</p> + +<p><i>Stu.</i> That Charlotte's fortune is embezzled. He talks on't loudly.</p> + +<span class = "pagenum">454</span> +<p><i>Bev.</i> He shall be silenced then—How heard you of it?</p> + +<p><i>Stu.</i> From many. He questioned Bates about it. You must account with +him, he says.</p> + +<p><i>Bev.</i> Or He with Me—and soon too.</p> + +<p><i>Stu.</i> Speak mildly to him. Cautions are best.</p> + +<p><i>Bev.</i> I'll think on't—But whither go you?</p> + +<p><i>Stu.</i> From poverty and prisons—No matter whither. If fortune +changes you may hear from me.</p> + +<p><i>Bev.</i> May these be prosperous then. (<i>Offering the notes, which he +refuses</i>) Nay, they are yours; I have sworn it, and will have nothing. Take +them and use them.</p> + +<p><i>Stu.</i> Singly I will not. My cares are for my friend; for his lost +fortune, and ruined family. All separate interests I disclaim. Together we +have fallen; together we must rise. My heart, my honour, both will have it +so.</p> + +<p><i>Bev.</i> I am weary of being fooled.</p> + +<p><i>Stu.</i> And so am I. Here let us part then. These bodings of good-fortune +shall be stifled; I'll call them folly, and forget them. This one embrace, and +then farewel.</p> +<div class = "stagedir">[<i>Offering to embrace.</i></div> + +<p><i>Bev.</i> No; stay a moment—How my poor heart's distracted! I have +these bodings too; but whether caught from You, or prompted by my good or evil +genius, I know not—The trial shall determine—And yet, my +wife—</p> + +<p><i>Stu.</i> Ay, ay, she'll chide.</p> + +<p><i>Bev.</i> No; My chidings are all here.</p> +<div class = "stagedir">[<i>Pointing to his heart.</i></div> + +<p><i>Stu.</i> I'll not persuade you.</p> + +<p><i>Bev.</i> I <i>am</i> persuaded; by reason too; the strongest reason—necessity. +Oh! could I once regain the height I have fallen from, heaven should forsake +me in my latest hour, if I again mixed in these scenes, or sacrificed the +husband's peace, his joy and best affections to avarice and infamy!</p> + +<span class = "pagenum">455</span> +<p><i>Stu.</i> I have resolved like You; and since our motives are so honest, +why should we fear success?</p> + +<p><i>Bev.</i> Come on then. Where shall we meet?</p> + +<i>Stu</i>, At Wilson's—Yet if it hurts you, leave me: I have misled you +often. + +<p><i>Bev.</i> We have misled each other—But come! Fortune is fickle, +and may be tired with plaguing us. There let us rest our hopes.</p> + +<p><i>Stu.</i> Yet think a little.</p> + +<p><i>Bev.</i> I cannot—Thinking but distracts me.</p> + +<div class = "verse"> +When desperation leads, all thoughts are vain;<br> +Reason would lose, what rashness may obtain. +</div> +<div class = "stagedir">[<i>Exeunt.</i></div> + +<br> +<div class = "scenedesc"><span class = "charname">SCENE III</span>. <span +class = "charname">Beverley's</span> lodgings.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>, +and <span class = "charname">Charlotte</span>.</div> + +<p><i>Char.</i> 'Twas all a scheme, a mean one; unworthy of my brother.</p> + +<p><i>Mrs. Bev.</i> No, I am sure it was not. Stukely is honest too; I know he +is. This madness has undone them both.</p> + +<p><i>Char.</i> My brother irrecoverably. You are too spiritless a wife—A +mournful tale, mixt with a few kind words, will steal away your soul. The +world's too subtle for such goodness. Had I been by, he should have asked your +life sooner than those jewels.</p> + +<p><i>Mrs. Bev.</i> He should have had it then. (<i>Warmly</i>) I live but to +oblige him. She who can love, and is beloved like Me, will do as much. Men +have done more for mistresses, and women for a base deluder. And shall a wife +do less? Your chidings hurt me, Charlotte.</p> + +<span class = "pagenum">456</span> +<p><i>Char.</i> And come too late; they might have saved you else. How could +he use you so?</p> + +<p><i>Mrs. Bev.</i> 'Twas friendship did it. His heart was breaking for a +friend.</p> + +<p><i>Char.</i> The friend that has betrayed him.</p> + +<p><i>Mrs. Bev.</i> Prithee don't think so.</p> + +<p><i>Char.</i> To-morrow he accounts with Me.</p> + +<p><i>Mrs. Bev.</i> And fairly: I will not doubt it.</p> + +<p><i>Char.</i> Unless a friend has wanted—I have no patience—Sister! +sister! we are bound to curse this friend.</p> + +<p><i>Mrs. Bev.</i> My Beverley speaks nobly of him.</p> + +<p><i>Char.</i> And Lewson truly—But I displease you with this +talk—To-morrow will instruct us.</p> + +<p><i>Mrs. Bev.</i> Stay till it comes then. I would not think so hardly.</p> + +<p><i>Char.</i> Nor I, but from conviction. Yet we have hope of better days. +My uncle is infirm, and of an age that threatens hourly. Or if he lives, You +never have offended him; and for distresses so unmerited, he will have +pity.</p> + +<p><i>Mrs. Bev.</i> I know it, and am chearful. We have no more to lose; and +for what's gone, if it brings prudence home, the purchase is well made,</p> + +<p><i>Char.</i> My Lewson will be kind too. While he and I have life and +means, You shall divide with us—And see, he's here.</p> + + +<div class = "scene">SCENE IV.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lewson</span>.</div> + +<p>We were just speaking of you.</p> + +<p><i>Lew.</i> 'Tis best to interrupt you then. Few characters will bear a +scrutiny; and where the bad out-weighs the good, he's safest that's least +talked of. What say you, madam?</p> +<div class = "stagedir">[<i>To Charlotte.</i></div> + +<span class = "pagenum">457</span><span class = "folionum">Nnn</span> + +<p><i>Char.</i> That I hate scandal, though a woman; therefore talk seldom of +you.</p> + +<p><i>Mrs. Bev.</i> Or, with more truth, that, though a woman, she loves to +praise; therefore talks always of you. I'll leave you to decide it.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Lew.</i> How good and amiable! I came to talk in private with you; of +matters that concern you.</p> + +<p><i>Char.</i> What matters?</p> + +<p><i>Lew.</i> First answer me sincerely to what I ask.</p> + +<p><i>Char.</i> I will—But you alarm me.</p> + +<p><i>Lew.</i> I am too grave, perhaps; but be assured of this, I have no news +that troubles Me, and therefore should not You.</p> + +<p><i>Char.</i> I am easy then. Propose your question. </p> + +<p><i>Lew.</i> 'Tis now a tedious twelve-month, since with an open and kind +heart, you said you loved me.</p> + +<p><i>Char.</i> So tedious, did you say?</p> + +<p><i>Lew.</i> And when in consequence of such sweet words, I pressed for +marriage, you gave a voluntary promise, that you would live for Me.</p> + +<p><i>Char.</i> You think me changed then?</p> +<div class = "stagedir">[<i>Angrily.</i></div> + +<p><i>Lew.</i> I did not say so. A thousand times I have pressed for the +performance of this promise; but private cares, a brother's and a sister's +ruin, were reasons for delaying it.</p> + +<p><i>Char.</i> I had no other reasons—Where will this end?</p> + +<p><i>Lew.</i> It shall end presently.</p> + +<p><i>Char.</i> Go on, Sir.</p> + +<p><i>Lew.</i> A promise, such as this, given freely, not extorted, the world +thinks binding; but I think otherwise.</p> + +<p><i>Char.</i> And would release me from it?</p> + +<p><i>Lew.</i> You are too impatient, madam.</p> + +<p><i>Char.</i> Cool, Sir—quite cool—Pray go on.</p> + +<span class = "pagenum">458</span> +<p><i>Lew.</i> Time, and a near acquaintance with my faults, may have brought +change: if it be so; or, for a moment, if you have wished this promise were +unmade, here I acquit you of it. This is my question then; and with such +plainness as I ask it, I shall entreat an answer. Have you repented of this +promise?</p> + +<p><i>Char.</i> Stay, Sir. The man that can <i>suspect</i> me, shall +<i>find</i> me changed. Why am I doubted?</p> + +<p><i>Lew.</i> My doubts are of myself. I have my faults, and You have +observation. If from my temper, my words or actions, you have conceived a +thought against me, or even a wish for separation, all that has passed is +nothing.</p> + +<p><i>Char.</i> You startle me—But tell me—I must be answered +first. Is it from honour you speak this? or do you wish me changed?</p> + +<p><i>Lew.</i> Heaven knows I do not. Life and my Charlotte are so connected, +that to lose one, were loss of both. Yet for a promise, though given in love, +and meant for binding; if time, or accident, or reason should change opinion, +with Me that promise has no force.</p> + +<p><i>Char.</i> Why, now I'll answer you. Your doubts are prophecies—I +am really changed.</p> + +<p><i>Lew.</i> Indeed!</p> + +<p><i>Char.</i> I could torment You now, as You have Me; but 'tis not in my +nature. That I am changed I own; for what at first was inclination, is now +grown reason in me; and from that reason, had I the world—nay, were I +poorer than the poorest, and You too wanting bread; with but a hovel to invite +me to—I would be yours, and happy.</p> + +<p><i>Lew.</i> My kindest Charlotte! (<i>Seizing her hand</i>) Thanks are too +poor for this, and words too weak! But if we love so, why should our union be +delayed?</p> + +<span class = "pagenum">459</span><span class = "folionum">Nnn2</span> + +<p><i>Char.</i> For happier times. The present are too wretched.</p> + +<p><i>Lew.</i> I may have reasons, that press it now.</p> + +<p><i>Char.</i> What reasons?</p> + +<p><i>Lew.</i> The strongest reasons; unanswerable ones.</p> + +<p><i>Char.</i> Be quick and name them.</p> + +<p><i>Lew.</i> No, madam; I am bound in honour to make conditions first; I am +bound by inclination too. This sweet profusion of kind words pains while it +pleases. I dread the losing you.</p> + +<p><i>Char.</i> Astonishment! What mean you?</p> + +<p><i>Lew.</i> First promise, that to-morrow, or the next day, you will be +mine for ever.</p> + +<p><i>Char.</i> I do—though misery should succeed.</p> + +<p><i>Lew.</i> Thus then I seize you! and with you every joy on this side +heaven!</p> +<div class = "stagedir">[<i>Embracing her.</i></div> + +<p><i>Char.</i> And thus I seal my promise. (<i>Returning his embrace.</i>) +Now, Sir, your secret?</p> + +<p><i>Lew.</i> Your fortune's lost.</p> + +<p><i>Char.</i> My fortune lost!—I'll study to be humble then. But was +my promise claimed for this? How nobly generous! Where learnt you this sad +news?</p> + +<p><i>Lew.</i> From Bates, Stukely's prime agent. I have obliged him, and he's +grateful. He told it me in friendship, to warn me from my Charlotte.</p> + +<p><i>Char.</i> 'Twas honest in him; and I'll esteem him for't.</p> + +<p><i>Lew.</i> He knows much more than he has told.</p> + +<p><i>Char.</i> For Me it is enough. And for your generous love, I thank you +from my soul. If you'd oblige me more, give me a little time.</p> + +<p><i>Lew.</i> Why time? It robs us of our happiness.</p> + +<p><i>Char.</i> I have a task to learn first. The little pride this fortune +gave me, must be subdued. Once we were equal; +<span class = "pagenum">460</span> +and might have met obliging and obliged. But now 'tis otherwise; and for a +life of obligations, I have not learnt to bear it.</p> + +<p><i>Lew.</i> Mine is that life. You are too noble.</p> + +<p><i>Char.</i> Leave me to think on't.</p> + +<p><i>Lew.</i> To-morrow then you'll fix my happiness?</p> + +<p><i>Char.</i> All that I can, I will.</p> + +<p><i>Lew.</i> It must be so; we live but for each other. Keep what you know a +secret; and when we meet to-morrow, more may be known. Farewell.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Char.</i> My poor, poor sister! how would this wound her! But I'll +conceal it, and speak comfort to her.</p> +<div class = "stagedir">[<i>Exit</i>.</div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE V</span>. changes to a +room in the gaming-house.</div> + +<div class = "scenedesc">Enter <span class = "charname">Beverley</span>, and +<span class = "charname">Stukely</span>.</div> + +<p><i>Bev.</i> Whither would you lead me?</p> +<div class = "stagedir">[<i>Angrily.</i></div> + +<p><i>Stu.</i> Where we may vent our curses.</p> + +<p><i>Bev.</i> Ay, on yourself, and those damned counsels that have destroyed +me. A thousand fiends were in that bosom, and all let loose to tempt +me—I had resisted else.</p> + +<p><i>Stu.</i> Go on, Sir. I have deserved this from you.</p> + +<p><i>Bev.</i> And curses everlasting. Time is too scanty for them.</p> + +<p><i>Stu.</i> What have I done?</p> + +<p><i>Bev.</i> What the arch-devil of old did—soothed with false hopes, +for certain ruin.</p> + +<p><i>Stu.</i> Myself unhurt; nay, pleased at your destruction—So your +words mean. Why, tell it to the world: I am too poor to find a friend +in't.</p> + +<span class = "pagenum">461</span> +<p><i>Bev.</i> A friend! What's he? I had a friend.</p> + +<p><i>Stu.</i> And have one still.</p> + +<p><i>Bev.</i> Ay; I'll tell you of this friend. He found me happiest of the +happy; fortune and honour crowned me; and love and peace lived in my heart. +One spark of folly lurked there; That too he found; and by deceitful breath, +blew it to flames that have consumed me. This friend were You to Me.</p> + +<p><i>Stu.</i> A little more perhaps—The friend who gave his all to save +you; and not succeeding, chose ruin with you. But no matter—I have +undone you, and am a villain.</p> + +<p><i>Bev.</i> No; I think not. The villains are within.</p> + +<p><i>Stu.</i> What villains?</p> + +<p><i>Bev.</i> Dawson and the rest—We have been dupes to sharpers.</p> + +<p><i>Stu.</i> How know you this? I have had doubts, as well as You; yet still +as fortune changed, I blushed at my own thoughts. But You have proofs, +perhaps?</p> + +<p><i>Bev.</i> Ay, damned ones. Repeated losses: night after night, and no +reverse. Chance has no hand in this.</p> + +<p><i>Stu.</i> I think more charitably; yet I am peevish in my nature, and apt +to doubt. The world speaks fairly of this Dawson; so does it of the rest. We +have watched them closely too. But 'tis a right usurped by losers, to think +the winners knaves. We'll have more manhood in us.</p> + +<p><i>Bev.</i> I know not what to think. This night has stung me to the +quick—blasted my reputation too. I have bound my honour to these vipers; +played meanly upon credit, till I tired them; and now they shun me, to rifle +one another. What's to be done?</p> + +<p><i>Stu.</i> Nothing. My counsels have been fatal.</p> + +<p><i>Bev.</i> By heaven! I'll not survive this shame—Traitor! +'tis +<span class = "pagenum">462</span> +You have brought it on me. (<i>Taking hold of him.</i>) Shew me the means to +save me, or I'll commit a murder here, and next upon myself.</p> + +<p><i>Stu.</i> Why, do it then, and rid me of ingratitude.</p> + +<p><i>Bev.</i> Prithee, forgive this language—I speak I know not what. +Rage and despair are in my heart, and hurry me to madness. My home is horror +to me—I'll not return to't. Speak quickly; tell me, if in this wreck of +fortune, one hope remains? Name it, and be my oracle.</p> + +<p><i>Stu.</i> To vent your curses on—You have bestowed them liberally. +Take your own counsel: and should a desperate hope present itself, 'twill suit +your desperate fortune. I'll not advise you.</p> + +<p><i>Bev.</i> What hope? By heaven! I'll catch at it, however desperate. I am +so sunk in misery, it cannot lay me lower.</p> + +<p><i>Stu.</i> You have an uncle.</p> + +<p><i>Bev.</i> Ay. What of Him?</p> + +<p><i>Stu.</i> Old men live long by temperance; while their heirs starve on +expectation.</p> + +<p><i>Bev.</i> What mean you?</p> + +<p><i>Stu.</i> That the reversion's yours; and will bring money to pay debts +with—nay, more; it may retrieve what's past.</p> + +<p><i>Bev.</i> Or leave my child a beggar.</p> + +<p><i>Stu.</i> And what's his father? A dishonourable one; engaged for sums, +he cannot pay. That should be thought of.</p> + +<p><i>Bev.</i> It is my shame; the poison that inflames me. Where shall we go? +To whom? I am impatient till all's lost.</p> + +<p><i>Stu.</i> All may be yours again. Your man is Bates. He has large funds +at his command, and will deal justly by you.</p> + +<span class = "pagenum">463</span> +<p><i>Bev.</i> I am resolved—Tell them, within, we'll meet them +presently; and with full purses too—Come, follow me.</p> + +<p><i>Stu.</i> No. I'll have no hand in this; nor do I counsel it. Use your +discretion, and act from that. You'll find me at my lodgings.</p> + +<p><i>Bev. Succeed what will, this night I'll dare the worst—<br> + 'Tis loss of fear, to be compleatly curs'd.</i> +</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> Why, lose it then for ever. Fear is the mind's worst evil; and +'tis a friendly office to drive it from the bosom. Thus far has fortune +crowned me—Yet Beverley is rich; rich in his wife's best treasure; her +honour and affections. I would supplant him there too. But 'tis the curse of +thinking minds, to raise up difficulties. Fools only conquer women: fearless +of dangers which they see not, they press on boldly, and by persisting, +prosper. Yet may a tale of art do much. Charlotte is sometimes absent. The +seeds of jealousy are sown already: If I mistake not, they have taken root +too. Now is the time to ripen them, and reap the harvest. The softest of her +sex, if wronged in love, or thinking that she's wronged, becomes a tygress in +revenge. I'll instantly to Beverley's—No matter for the danger—When +beauty leads us on, 'tis indiscretion to reflect, and cowardice to doubt.</p> +<div class = "stagedir">[<i>Exit.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE VI</span>. changes to +<span class = "charname">Beverley's</span> lodgings.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>, +and <span class = "charname">Lucy</span>.</div> + +<p><i>Mrs. Bev.</i> Did Charlotte tell you any thing?</p> + +<p><i>Lucy</i>. No, madam.</p> + +<p><i>Mrs. Bev.</i> She looked confused methought; said she had business with +her Lewson; which, when I pressed to know, tears only were her answer. +</p> + +<span class = "pagenum">464</span> +<p><i>Lucy.</i> She seemed in haste too: yet her return may bring you +comfort.</p> + +<p><i>Mrs. Bev.</i> No, my kind girl; I was not born for't. But why do I +distress thee? Thy sympathizing heart bleeds for the ills of others. What pity +that thy mistress can't reward thee! But there's a power above, that sees, and +will remember all. Prithee, sooth me with the song thou sung'st last night: it +suits this change of fortune; and there's a melancholy in't that pleases +me.</p> + +<p><i>Lucy</i>. I fear it hurts you, madam. Your goodness too draws tears from +me: but I'll dry them, and obey you.</p> + +<div class = "songindent">SONG.</div> + +<div class = "verse2"> +When Damon languish'd at my feet,<br> +And I believ'd him true,</div> +<div class = "verse2"> +The moments of delight how sweet!<br> +But ah! how swift they flew!</div> +<div class = "verse2"> +The sunny hill, the flow'ry vale,<br> +The garden and the grove,</div> +<div class = "verse2"> +Have echoed to his ardent tale,<br> +And vows of endless love. +</div> + +<div class = "songindent">II.</div> + +<div class = "verse2"> +The conquest gain'd, he left his prize,<br> +He left her to complain;</div> +<div class = "verse2"> +To talk of joy with weeping eyes,<br> +And measure time by pain.</div> +<div class = "verse2"> +But heav'n will take the mourner's part,<br> +In pity to despair;</div> +<div class = "verse2"> +And the last sigh that rends the heart,<br> +Shall waft the spirit there. +</div> +<span class = "pagenum">465</span><span class = "folionum">Ooo</span> + +<p><i>Mrs. Bev.</i> I thank thee, Lucy; I thank heaven too my griefs are none +of these. Yet Stukely deals in hints—He talks of rumours—I'll urge +him to speak plainly—Hark?—There's some one entering.</p> + +<p><i>Lucy.</i> Perhaps my master, madam.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Mrs. Bev.</i> Let him be well too, and I am satisfied. (<i>Goes to the +door, and listens.</i>) No; 'tis another's voice; his had been music to me. +Who is it, Lucy?</p> + + +<div class = "scene">SCENE VII.</div> + +<div class = "scenedesc">Re-enter <span class = "charname">Lucy</span> with +<span class = "charname">Stukely</span>.</div> + +<p><i>Lucy.</i> Mr. Stukely, madam.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> To meet you thus alone, madam, was what I wished. Unseasonable +visits, when friendship warrants them, need no excuse; therefore I make +none.</p> + +<p><i>Mrs. Bev.</i> What mean you, Sir? And where's your friend?</p> + +<p><i>Stu.</i> Men may have secrets, madam, which their best friends are not +admitted to. We parted in the morning, not soon to meet again.</p> + +<p><i>Mrs. Bev.</i> You mean to leave us then? To leave your country too? I am +no stranger to your reasons, and pity your misfortunes.</p> + +<p><i>Stu.</i> Your pity has undone you. Could Beverley do this? That letter +was a false one; a mean contrivance, to rob you of your jewels. I wrote it +not.</p> + +<p><i>Mrs. Bev.</i> Impossible! Whence came it then?</p> + +<p><i>Stu.</i> Wronged as I am, madam, I must speak plainly—</p> + +<p><i>Mrs. Bev.</i> Do so, and ease me. Your hints have troubled me. Reports, +you say, are stirring—Reports of whom? You wished me not to credit them. +What, Sir, are these reports?</p> + +<span class = "pagenum">466</span> +<p><i>Stu.</i> I thought them slander, madam; and cautioned you in friendship; +left from officious tongues the tale had reached you, with double aggravation.</p> + +<p><i>Mrs. Bev.</i> Proceed, Sir.</p> + +<p><i>Stu.</i> It is a debt due to my fame, due to an injured wife too—We +both are injured.</p> + +<p><i>Mrs. Bev.</i> How injured? and who has injured us?</p> + +<p><i>Stu.</i> My friend, your husband.</p> + +<p><i>Mrs. Bev.</i> You would resent for both then? But know, Sir, My injuries +are my own, and do not need a champion.</p> + +<p><i>Stu.</i> Be not too hasty, madam. I come not in resentment, but for +acquittance. You thought me poor; and to the feigned distresses of a friend +gave up your jewels.</p> + +<p><i>Mrs. Bev.</i> I gave them to a husband.</p> + +<p><i>Stu.</i> Who gave them to a—</p> + +<p><i>Mrs. Bev.</i> What? Whom did he give them to?</p> + +<p><i>Stu.</i> A mistress.</p> + +<p><i>Mrs. Bev.</i> No; on my life he did not.</p> + +<p><i>Stu.</i> Himself confessed it, with curses on her avarice.</p> + +<p><i>Mrs. Bev.</i> I'll not believe it. He has no mistress—or if he +has, why is it told to Me?</p> + +<p><i>Stu.</i> To guard you against insults. He told me, that to move you to +compliance, he forged that letter, pretending I was ruined; ruined by Him too. +The fraud succeeded; and what a trusting wife bestowed in pity, was lavished +on a wanton.</p> + +<p><i>Mrs. Bev.</i> Then I am lost indeed; and my afflictions are too powerful +for me. His follies I have borne without upbraiding, and saw the approach of +poverty without a tear. My affections, my strong affections supported me +through every trial.</p> + +<p><i>Stu.</i> Be patient, madam.</p> + +<span class = "pagenum">467</span><span class = "folionum">Ooo2</span> + +<p><i>Mrs. Bev.</i> Patient! The barbarous man! And does he think my +tenderness of heart is his security for wounding it? But he shall find that +injuries such as these, can arm my weakness for vengeance and redress.</p> + +<p><i>Stu.</i> Ha! then I may succeed. (<i>Aside.</i>) Redress is in your +power.</p> + +<p><i>Mrs. Bev.</i> What redress?</p> + +<p><i>Stu.</i> Forgive me, madam, if in my zeal to serve you, I hazard your +displeasure. Think of your wretched state. Already want surrounds you. Is it +in patience to bear That? To see your helpless little one robbed of his +birth-right? A sister too, with unavailing tears, lamenting her lost fortune? +No comfort left you, but ineffectual pity from the Few, out-weighed by insults +from the Many?</p> + +<p><i>Mrs. Bev.</i> Am I so lost a creature? Well, Sir, my redress?</p> + +<p><i>Stu.</i> To be resolved is to secure it. The marriage vow, once +violated, is in the sight of heaven dissolved—Start not, but hear me! +'Tis now the summer of your youth; time has not cropt the roses from your +cheek, though sorrow long has washed them. Then use your beauty wisely; and, +freed by injuries, fly from the cruellest of men, for shelter with the +kindest.</p> + +<p><i>Mrs. Bev.</i> And who is He?</p> + +<p><i>Stu.</i> A friend to the unfortunate; a bold one too; who while the +storm is bursting on your brow, and lightening flashing from your eyes, dares +tell you that he loves you.</p> + +<p><i>Mrs. Bev.</i> Would that these eyes had heaven's own lightening! that +with a look, thus I might blast thee! Am I then fallen so low? Has poverty so +humbled me, that I should listen to a hellish offer, and sell my soul for +bread? +<span class = "pagenum">468</span> +O, villain! villain!—But now I know thee, and thank thee for the +knowledge.</p> + +<p><i>Stu.</i> If you are wife, you shall have cause to thank me.</p> + +<p><i>Mrs. Bev.</i> An injured husband too shall thank thee.</p> + +<p><i>Stu.</i> Yet know, proud woman, I have a heart as stubborn as your own; +as haughty and imperious: and as it loves, so can it hate.</p> + +<p><i>Mrs. Bev.</i> Mean, despicable villain! I scorn thee, and thy threats. +Was it for this that Beverley was false? That his too credulous wife should in +despair and vengeance give up her honour to a wretch? But he shall know it, +and vengeance shall be his.</p> + +<p><i>Stu.</i> Why send him for defiance then. Tell him I love his wife; but +that a worthless husband forbids our union. I'll make a widow of you, and +court you honourably.</p> + +<p><i>Mrs. Bev.</i> O, coward! coward! thy soul will shrink at him. Yet in the +thought of what may happen, I feel a woman's fears. Keep thy own secret, and +begone. Who's there?</p> + + +<div class = "scene">SCENE VIII.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lucy</span>.</div> + +<p>Your absence, Sir, would please me.</p> + +<p><i>Stu.</i> I'll not offend you, madam.</p> +<div class = "stagedir">[<i>Exit with Lucy.</i></div> + +<p><i>Mrs. Bev.</i> Why opens not the earth to swallow such a monster? Be +conscience then his punisher, till heaven in mercy gives him penitence, or +dooms him in its justice.</p> + +<span class = "pagenum">469</span> +<div class = "scene">SCENE IX.</div> + +<div class = "scenedesc">Re-enter <span class = "charname">Lucy</span>.</div> + +<p>Come to my chamber, Lucy; I have a tale to tell thee, shall make thee weep +for thy poor mistress.</p> + +<div class = "verse"> +Yet heav'n the guiltless sufferer regards,<br> +And whom it most afflicts, it most rewards. +</div> +<div class = "stagedir">[<i>Exeunt.</i></div> +<span class = "pagenum">470</span> + + + +<div class = "act"><a name = "Game_IV">ACT IV.</a></div> + +<div class = "scenedesc"><span class = "charname">SCENE, Beverley's</span> +lodgings.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley, +Charlotte</span>, and <span class = "charname">Lewson</span>.</div> + +<div class = "firstspkr">CHARLOTTE.</div> +<p><span class = "firstletter">T</span>HE smooth-tongued hypocrite!</p> + +<p><i>Lew.</i> But we have found him, and will requite him. Be chearful, +madam; (<i>To Mrs. Beverley</i>) and for the insults of this ruffian, you +shall have ample retribution.</p> + +<p><i>Mrs. Bev.</i> But not by violence—Remember you have sworn it: I +had been silent else.</p> + +<p><i>Lew.</i> You need not doubt me; I shall be cool as patience.</p> + +<p><i>Mrs. Bev.</i> See him to-morrow then.</p> + +<p><i>Lew.</i> And why not now? By heaven, the veriest worm that crawls is +made of braver spirit than this Stukely. Yet for my promise, I'll deal gently +with him. I mean to watch his looks: from those, and from his answers to my +charge, much may be learnt. Next I'll to Bates, and sift him to the bottom. If +I fail there, the gang is numerous, and for a bribe will each betray the +other. Good night; I'll lose no time.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Mrs. Bev.</i> These boisterous spirits! how they wound me! But reasoning +is in vain. Come, Charlotte; we'll to our usual watch. The night grows +late.</p> + +<span class = "pagenum">471</span> +<p><i>Char.</i> I am fearful of events; yet pleased—To-morrow may +relieve us.</p> +<div class = "stagedir">[<i>Going.</i></div> + + +<div class = "scene">SCENE II.</div> + +<div class = "scenedesc">Enter <span class = "charname">Jarvis</span>.</div> + +<p><i>Char.</i> How now, good Jarvis?</p> + +<p><i>Jar.</i> I have heard ill news, madam.</p> + +<p><i>Mrs. Bev.</i> What news? Speak quickly.</p> + +<p><i>Jar.</i> Men are not what they seem. I fear me, Mr. Stukely is +dishonest.</p> + +<p><i>Char.</i> We know it, Jarvis. But what's your news?</p> + +<p><i>Jar.</i> That there's an action against my master, at his friend's +suit.</p> + +<p><i>Mrs. Bev.</i> O, villain! villain! 'twas this he threatened then. Run to +that den of robbers, Wilson's—Your master may be there. Entreat him +home, good Jarvis. Say I have business with him—But tell him not of +Stukely—It may provoke him to revenge—Haste! haste! good +Jarvis.</p> +<div class = "stagedir">[<i>Exit Jarvis.</i></div> + +<p><i>Char.</i> This minister of hell! O, I could tear him piece-meal!</p> + +<p><i>Mrs. Bev.</i> I am sick of such a world. Yet heaven is just; and in its +own good time, will hurl destruction on such monsters.</p> +<div class = "stagedir">[<i>Exeunt.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE III</span>. changes to +<span class = "charname">Stukely's</span> lodgings.</div> + +<div class = "scenedesc">Enter <span class = "charname">Stukely</span>, and +<span class = "charname">Bates</span>, meeting.</div> + +<p><i>Bates.</i> Where have you been?</p> + +<p><i>Stu.</i> Fooling my time away: playing my tricks, like a tame monkey, to +entertain a woman—No matter where— +<span class = "pagenum">472</span> +I have been vext and disappointed. Tell me of Beverley. How bore he his last +shock?</p> + +<p><i>Bates.</i> Like one (so Dawson says) whose senses had been numbed by +misery. When all was lost, he fixed his eyes upon the ground, and stood some +time, with folded arms, stupid and motionless. Then snatching his sword, that +hung against the wainscot, he sat him down; and with a look of fixt attention, +drew figures on the floor. At last he started up, looked wild, and trembled; +and like a woman, seized with her sex's fits, laughed out aloud, while the +tears trickled down his face—so left the room.</p> + +<p><i>Stu.</i> Why, this was madness.</p> + +<p><i>Bates.</i> The madness of despair.</p> + +<p><i>Stu.</i> We must confine him then. A prison would do well. (<i>A +knocking at the door.</i>) Hark! that knocking may be his. Go that way down. +(<i>Exit Bates.</i>) Who's there?</p> + + +<div class = "scene">SCENE IV.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lewson</span>.</div> + +<p><i>Lew.</i> An enemy. An open and avowed one.</p> + +<p><i>Stu.</i> Why am I thus broke in upon? This house is mine, Sir; and +should protect me from insult and ill-manners.</p> + +<p><i>Lew.</i> Guilt has no place of sanctuary; wherever found, 'tis virtue's +lawful game. The fox's hold, and tyger's den, are no security against the +hunter.</p> + +<p><i>Stu.</i> Your business, Sir?</p> + +<p><i>Lew.</i> To tell you that I know you—Why this confusion? That look +of guilt and terror? Is Beverley awake? Or has his wife told tales? The man +that dares like You, +<span class = "pagenum">473</span><span class = "folionum">Ppp</span> +should have a soul to justify his deeds, and courage to confront accusers. Not +with a coward's fear to shrink beneath reproof.</p> + +<p><i>Stu.</i> Who waits there?</p> +<div class = "stagedir">[<i>Aloud, and in confusion.</i></div> + +<p><i>Lew.</i> By heaven, he dies that interrupts us. (<i>Shutting the +door.</i>) You should have weighed your strength, Sir; and then, instead of +climbing to high fortune, the world had marked you for what you are, a little +paultry villain.</p> + +<p><i>Stu.</i> You think I fear you.</p> + +<p><i>Lew.</i> I know you fear me. This is to prove it. (<i>Pulls him by the +sleeve.</i>) You wanted privacy! A lady's presence took up your attention! Now +we are alone, Sir.—Why, what a wretch! (<i>Flings him from him.</i>) The +vilest insect in creation will turn when trampled on; yet has this Thing +undone a man—by cunning and mean arts undone him. But we have found you, +Sir; traced you through all your labyrinths. If you would save yourself, fall +to confession: no mercy will be shewn else.</p> + +<p><i>Stu.</i> First prove me what you think me. Till then, your threatenings +are in vain. And for this insult, vengeance may yet be mine.</p> + +<p><i>Lew.</i> Infamous coward! Why, take it now then— (<i>Draws, and +Stukely retires.</i>) Alas! I pity thee. Yet that a wretch like this should +overcome a Beverley! it fills me with astonishment! A wretch, so mean of soul, +that even desperation cannot animate him to look upon an enemy. You should not +thus have soared, Sir, unless, like others of your black profession, you had a +sword to keep the fools in awe, your villainy has ruined.</p> + +<p><i>Stu.</i> Villainy! 'Twere best to curb this licence of your tongue; for +know, Sir, while there are laws, this outrage on my reputation will not be +borne with.</p> + +<span class = "pagenum">474</span> +<p><i>Lew.</i> Laws! Dar'st Thou seek shelter from the laws? those laws, which +thou and thy infernal crew live in the constant violation of? Talk'st thou of +reputation too? when under friendship's sacred name, thou hast betrayed, +robbed, and destroyed?</p> + +<p><i>Stu.</i> Ay, rail at gaming; 'tis a rich topic, and affords noble +declamation. Go, preach against it in the city: you'll find a congregation in +every tavern. If they should laugh at you, fly to my lord, and sermonize it +there: he'll thank you and reform.</p> + +<p><i>Lew.</i> And will example sanctify a vice? No, wretch; the custom of my +lord, or of the Cit that apes him, cannot excuse a breach of law, or make the +gamester's calling reputable.</p> + +<p><i>Stu.</i> Rail on, I say. But is this zeal for beggared Beverley? Is it +for Him that I am treated thus? No; He and His might all have groaned in +prison, had but the sister's fortune escaped the wreck, to have rewarded the +disinterested love of honest Mr. Lewson.</p> + +<p><i>Lew.</i> How I detest thee for the thought! But thou art lost to every +human feeling. Yet let me tell thee, and may it wring thy heart! that though +my friend is ruined by thy snares, thou hast unknowingly been kind to +Me.</p> + +<p><i>Stu.</i> Have I? It was indeed unknowingly.</p> + +<p><i>Lew.</i> Thou hast assisted me in love; given me the merit that I +wanted; since but for Thee, my Charlotte had not known 'twas her dear self I +sighed for, and not her fortune.</p> + +<p><i>Stu.</i> Thank me, and take her then.</p> + +<p><i>Lew.</i> And as a brother to poor Beverley, I will pursue the robber +that has seized him, and snatch him from his gripe.</p> + +<p><i>Stu.</i> Then know, imprudent man, he <i>is</i> within my gripe; +<span class = "pagenum">475</span><span class = "folionum">Ppp2</span> +and should my friendship for him be slandered once again, the hand that has +supplied him, shall fall and crush him.</p> + +<p><i>Lew.</i> Why, now there's spirit in thee! This is indeed to be a +villain! But I shall reach thee yet. Fly where thou wilt, my vengeance shall +pursue thee—and Beverley shall yet be saved, be saved from thee, thou +monster; nor owe his rescue to his wife's dishonour.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> (<i>Pausing</i>) Then ruin has enclosed me. Curse on my coward +heart! I would be bravely villainous; but 'tis my nature to shrink at danger, +and he has found me. Yet fear brings caution, and That security. More mischief +must be done, to hide the past. Look to yourself, officious Lewson—there +may be danger stirring—How now, Bates?</p> + + +<div class = "scene">SCENE V.</div> + +<div class = "scenedesc">Enter <span class = "charname">Bates</span>.</div> + +<p><i>Bates.</i> What is the matter? 'Twas Lewson, and not Beverley, that left +you. I heard him loud: you seem alarmed too.</p> + +<p><i>Stu.</i> Ay, and with reason. We are discovered.</p> + +<p><i>Bates.</i> I feared as much, and therefore cautioned you; but You were +peremptory.</p> + +<p><i>Stu.</i> Thus fools talk ever; spending their idle breath on what is +past; and trembling at the future. We must be active. Beverley, at worst, is +but suspicious; but Lewson's genius, and his hate to Me, will lay all open. +Means must be found to stop him.</p> + +<p><i>Bates.</i> What means?</p> + +<p><i>Stu.</i> Dispatch him—Nay, start not—Desperate occasions +call for desperate deeds. We live but by his death.</p> + +<p><i>Bates.</i> You cannot mean it?</p> + +<span class = "pagenum">476</span> +<p><i>Stu.</i> I do, by heaven.</p> + +<p><i>Bates.</i> Good night then.</p> +<div class = "stagedir">[<i>Going.</i></div> + +<p><i>Stu.</i> Stay. I must be heard, then answered. Perhaps the motion was +too sudden; and human nature starts at murder, though strong necessity compels +it. I have thought long of this; and my first feelings were like yours; a +foolish conscience awed me, which soon I conquered. The man that would undo +me, nature cries out, undo. Brutes know their foes by instinct; and where +superior force is given, they use it for destruction. Shall man do less? +Lewson pursues us to our ruin; and shall we, with the means to crush him, fly +from our hunter, or turn and tear him? 'Tis folly even to hesitate.</p> + +<p><i>Bates.</i> He has obliged me, and I dare not.</p> + +<p><i>Stu.</i> Why, live to shame then, to beggary and punishment. You would +be privy to the deed, yet want the soul to act it. Nay more; had my designs +been levelled at his fortune, you had stept in the foremost. And what is life +without its comforts? Those you would rob him of; and by a lingering death, +add cruelty to murder. Henceforth adieu to half-made villains—there's +danger in them. What you have got is your's; keep it, and hide with it: I'll +deal my future bounty to those who merit it.</p> + +<p><i>Bates.</i> What's the reward?</p> + +<p><i>Stu.</i> Equal division of our gains. I swear it, and will be just.</p> + +<p><i>Bates.</i> Think of the means then.</p> + +<p><i>Stu.</i> He's gone to Beverley's— Wait for him in the street—'tis +a dark night, and fit for mischief. A dagger would be useful.</p> + +<p><i>Bates.</i> He sleeps no more.</p> + +<p><i>Stu.</i> Consider the reward! When the deed's done, I have farther +business with you. Send Dawson to me.</p> + +<span class = "pagenum">477</span> +<p><i>Bates.</i> Think it already done—and so farewel.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> Why, farewel Lewson then; and farewel to my fears. This night +secures me. I'll wait the event within.</p> +<div class = "stagedir">[<i>Exit.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE VI</span>. changes to +the street. Stage darkened.</div> + +<div class = "scenedesc">Enter <span class = "charname">Beverley</span>.</div> + +<p><i>Bev.</i> How like an out-cast do I wander! Loaded with every curse, that +drives the soul to desperation! The midnight robber, as he walks his rounds, +sees by the glimmering lamp my frantic looks, and dreads to meet me. Whither +am I going? My home lies there; all that is dear on earth it holds too; yet +are the gates of death more welcome to me. I'll enter it no more—Who +passes there? Tis Lewson. He meets me in a gloomy hour; and memory tells me, +he has been meddling with my fame.</p> + + +<div class = "scene">SCENE VII.</div> + +<div class = "scenedesc">Enter <span class = "charname">Lewson</span>.</div> + +<p><i>Lew.</i> Beverley! Well met. I have been busy in your affairs.</p> + +<p><i>Bev.</i> So I have heard, Sir; and now must thank you for't.</p> + +<p><i>Lew.</i> To-morrow I may deserve your thanks. Late as it is, I go to +Bates. Discoveries are making that an arch villain trembles at.</p> + +<p><i>Bev.</i> Discoveries are made, Sir, that You shall tremble at. Where is +this boasted spirit? this high demeanour, that was to call me to account? You +say I have wronged +<span class = "pagenum">478</span> +my sister—Now say as much. But first be ready for defence, as I am for +resentment.</p> +<div class = "stagedir">[<i>Draws.</i></div> + +<p><i>Lew.</i> What mean you? I understand you not.</p> + +<p><i>Bev.</i> The coward's stale acquittance. Who, when he spreads foul +calumny abroad, and dreads just vengeance on him, cries out, what mean you, I +understand you not.</p> + +<p><i>Lew.</i> Coward, and calumny! Whence are these words? But I forgive, and +pity you.</p> + +<p><i>Bev.</i> Your pity had been kinder to my fame. But you have traduced it; +told a vile story to the public ear, that I have wronged my sister.</p> + +<p><i>Lew.</i> 'Tis false. Shew me the man that dares accuse me.</p> + +<p><i>Bev.</i> I thought you brave, and of a soul superior to low malice; but +I have found you, and will have vengeance. This is no place for argument.</p> + +<p><i>Lew.</i> Nor shall it be for violence. Imprudent man! who in revenge for +fancied injuries, would pierce the heart that loves him! But honest friendship +acts from itself, unmoved by slander, or ingratitude. The life you thirst for, +shall be employed to serve you.</p> + +<p><i>Bev.</i> 'Tis thus you would compound then! First do a wrong beyond +forgiveness; and to redress it, load me with kindness unsolicited. I'll not +receive it. Your zeal is troublesbme.</p> + +<p><i>Lew.</i> No matter. It shall be useful.</p> + +<p><i>Bev.</i> It will not be accepted.</p> + +<p><i>Lew.</i> It must. You know me not.</p> + +<p><i>Bev.</i> Yes; for the slanderer of my fame: who under shew of friendship, +arraigns me of injustice; buzzing in every ear foul breach of trust, and +family dishonour.</p> + +<p><i>Lew.</i> Have I done this? Who told you so?</p> + +<span class = "pagenum">479</span> +<p><i>Bev.</i> The world. 'Tis talked of everywhere. It pleased you to add +threats too: you were to call me to account —Why, do it now then; I +shall be proud of such an arbiter.</p> + +<p><i>Lew.</i> Put up your sword, and know me better. I never injured you. The +base suggestion comes from Stukely: I see him and his aims.</p> + +<p><i>Bev.</i> What aims? I'll not conceal it; <i>'twas</i> Stukely that +accused you.</p> + +<p><i>Lew.</i> To rid him of an enemy: perhaps of two. He fears discovery, and +frames a tale of falsehood, to ground revenge and murder on.</p> + +<p><i>Bev.</i> I must have proof of this.</p> + +<p><i>Lew.</i> Wait till to-morrow then.</p> + +<p><i>Bev.</i> I will.</p> + +<p><i>Lew.</i> Good night. I go to serve you. Forget what's past, as I do; and +chear your family with smiles. To-morrow may confirm them, and make all +happy.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Bev.</i> (<i>Pausing</i>) How vile, and how absurd is man! His boasted +honour is but another name for pride; which easier bears the consciousness of +guilt, than the world's just reproofs. But 'tis the fashion of the times; and +in defence of falsehood and false honour, men die martyrs. I knew not that my +nature was so bad.</p> +<div class = "stagedir">[<i>Stands musing.</i></div> + + +<div class = "scene">SCENE VIII.</div> + +<div class = "scenedesc">Enter <span class = "charname">Bates</span>, and +<span class = "charname">Jarvis</span>.</div> + +<p><i>Jar.</i> This way the noise was—and yonder's my poor master.</p> + +<p><i>Bates.</i> I heard him at high words with Lewson. The cause I know +not.</p> + +<span class = "pagenum">480</span> +<p><i>Jar.</i> I heard him too. Misfortunes vex him.</p> + +<p><i>Bates.</i> Go to him, and lead him home—But he comes this +way—I'll not be seen by him.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Bev.</i> (<i>Starting.</i>) What fellow's that? (<i>Seeing Jarvis</i>). +Art thou a murderer, friend? Come, lead the way; I have a hand as mischievous +as thine; a heart as desperate too—Jarvis!—To bed, old man, the +cold will chill thee.</p> + +<p><i>Jar.</i> Why are you wandering at this late hour?—Your sword drawn +too!—For heav'n's sake sheath it, Sir; the sight distracts Me.</p> + +<p><i>Bev.</i> Whose voice was that?</p> +<div class = "stagedir">[<i>Wildly.</i></div> + +<p><i>Jar.</i> 'Twas mine, Sir. Let me intreat you to give the sword to +me.</p> + +<p><i>Bev.</i> Ay, take it; quickly take it—Perhaps I am not so curst, +but heav'n may have sent thee at this moment to snatch me from perdition.</p> + +<p><i>Jar.</i> Then I am blest.</p> + +<p><i>Bev.</i> Continue so, and leave me. My sorrows are contagious. No one is +blest that's near me.</p> + +<p><i>Jar.</i> I came to seek you, Sir.</p> + +<p><i>Bev.</i> And now thou hast found me, leave me. My thoughts are wild, and +will not be disturbed.</p> + +<p><i>Jar.</i> Such thoughts are best disturbed.</p> + +<p><i>Bev.</i> I tell thee that they will not. Who sent thee hither?</p> + +<p><i>Jar.</i> My weeping mistress.</p> + +<p><i>Bev.</i> Am I so meek a husband then? that a commanding wife prescribes +my hours, and sends to chide me for my absence? Tell her, I'll not return.</p> + +<p><i>Jar.</i> Those words would kill her.</p> + +<p><i>Bev.</i> Kill her! Would they not be kind then? But she shall live to +curse me—I have deserved it of her. Does she not hate me, Jarvis?</p> + +<span class = "pagenum">481</span><span class = "folionum">Qqq</span> + +<p><i>Jar.</i> Alas, Sir! Forget your griefs, and let me lead you to her. The +streets are dangerous.</p> + +<p><i>Bev.</i> Be wise, and leave me then. The night's black horrors are +suited to my thoughts. These stones shall be my resting-place. (<i>Lies +down.</i>) Here shall my soul brood o'er its miseries; till with the fiends of +hell, and guilty of the earth, I start and tremble at the morning's light.</p> + +<p><i>Jar.</i> For pity's sake, Sir!—Upon my knees I beg you to quit +this place, and these sad thoughts. Let patience, not despair, possess you. +Rise, I beseech you. There's not a moment of your absence, that my poor +mistress does not groan for.</p> + +<p><i>Bev.</i> Have I undone her, and is she still so kind? (<i>Starting +up</i>) It is too much—My brain can't hold it—O, Jarvis! Jarvis! +how desperate is that wretch's state, which only death or madness can +relieve!</p> + +<p><i>Jar.</i> Appease his mind, good heaven! and give him resignation! Alas, +Sir, could beings in the other world perceive the events of this, how would +your parents' blessed spirits grieve for you, even in heaven! Let me conjure +you by Their honoured memories; by the sweet innocence of your yet helpless +child, and by the ceaseless sorrows of my poor mistress, to rouze your +manhood, and struggle with these griefs.</p> + +<p><i>Bev.</i> Thou virtuous, good old man! thy tears and thy entreaties have +reached my heart, through all its miseries. O! had I listened to Thy honest +warnings, no earthly blessing had been wanting to me! I was so happy, that +even a wish for more than I possessed, was arrogant presumption. But I have +warred against the power that blest me, and now am sentenced to the hell I +merit.</p> + +<p><i>Jar.</i> Be but resigned, Sir, and happiness may yet be yours.</p> + +<span class = "pagenum">482</span> +<p><i>Bev.</i> Prithee be honest, and do not flatter misery.</p> + +<p><i>Jar.</i> I do not, Sir—Hark! I hear voices—Come this way; we +may reach home un-noticed.</p> + +<p><i>Bev.</i> Well, lead me then—Un-noticed did'st thou say? Alas! I +dread no looks, but of those wretches I have made at home.</p> +<div class = "stagedir">[<i>Exeunt.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE IX</span>. changes to +<span class = "charname">Stukely's</span>.</div> + +<div class = "scenedesc">Enter <span class = "charname">Stukely</span>, and +<span class = "charname">Dawson</span>.</div> + +<p><i>Stu.</i> Come hither, Dawson. My limbs are on the rack, and my soul +shivers in me, till this night's business be complete. Tell me thy thoughts: +is Bates determined? or does he waver?</p> + +<p><i>Daw.</i> At first he seemed irresolute; wished the employment had been +mine; and muttered curses on his coward hand, that trembled at the deed.</p> + +<p><i>Stu.</i> And did he leave you so?</p> + +<p><i>Daw.</i> No. We walked together; and sheltered by the darkness, saw +Beverley and Lewson in warm debate. But soon they cooled; and then I left +them, to hasten hither; but not till 'twas resolved Lewson should die.</p> + +<p><i>Stu.</i> Thy words have given me life. That quarrel too was fortunate; +for if my hopes deceive me not, it promises a grave to Beverley.</p> + +<p><i>Daw.</i> You misconceive me. Lewson and he were friends.</p> + +<p><i>Stu.</i> But My prolific brain shall make them enemies. If Lewson falls, +he falls by Beverley: an upright jury shall decree it. Ask me no questions, +but do as I direct. This writ (<i>Takes out a pocket book</i>) for some days +past, I have treasured here, till a convenient time called for its use. That +time is come. Take it, and give it to an officer. It must be served this +instant.</p> +<div class = "stagedir">[<i>Gives a paper.</i></div> + +<span class = "pagenum">483</span><span class = "folionum">Qqq2</span> + +<p><i>Daw.</i> On Beverley?</p> + +<p><i>Stu.</i> Look at it. 'Tis for the sums that I have lent him.</p> + +<p><i>Daw.</i> Must he to prison then?</p> + +<p><i>Stu.</i> I asked obedience; not replies. This night a jail must be his +lodging. 'Tis probable he's not gone home yet. Wait at his door, and see it +executed.</p> + +<p><i>Daw.</i> Upon a beggar? He has no means of payment.</p> + +<p><i>Stu.</i> Dull and insensible! If Lewson dies, who was it killed him? +Why, he that was seen quarrelling with him; and I that knew of Beverley's +intents, arrested him in friendship—A little late, perhaps; but 'twas a +virtuous act, and men will thank me for it. Now, Sir, you understand +me?</p> + +<p><i>Daw.</i> Most perfectly; and will about it.</p> + +<p><i>Stu.</i> Haste then; and when 'tis done, come back and tell me.</p> + +<p><i>Daw.</i> 'Till then farewel.</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Stu.</i> Now tell thy tale, fond wife! And, Lewson, if again thou can'st +insult me, I'll kneel and own thee for my master.</p> + +<div class = "verse"> +Not av'rice now, but vengeance fires my breast<br> +And one short hour must make me curst, or blest. +</div> +<div class = "stagedir">[<i>Exit.</i></div> + +<span class = "pagenum">484</span> + + + +<div class = "act"><a name = "Game_V">ACT V.</a></div> + +<div class = "scenedesc">SCENE I. Enter <span class = "charname">Stukely, +Bates</span>, and <span class = "charname">Dawson</span>.</div> + +<div class = "firstspkr">BATES.</div> +<p><span class = "firstletter">P</span>OOR Lewson! But I told you enough last +night. The thoughts of him are horrible to me.</p> + +<p><i>Stu.</i> In the street, did you say? And no one near him?</p> + +<p><i>Bates.</i> By his own door; he was leading me to his house. I pretended +business with him, and stabbed him to the heart, while he was reaching at the +bell.</p> + +<p><i>Stu.</i> And did he fall so suddenly?</p> + +<p><i>Bates.</i> The repetition pleases you, I see. I told you, he fell +without a groan.</p> + +<p><i>Stu.</i> What heard you of him this morning?</p> + +<p><i>Bates.</i> That the watch found him in their rounds, and alarmed the +servants. I mingled with the crowd just now, and saw him dead in his own +house. The sight terrified me.</p> + +<p><i>Stu.</i> Away with terrors, till his ghost rise and accuse us. We have +no living enemy to fear—unless 'tis Beverley; and him we have lodged +safe in prison.</p> + +<p><i>Bates.</i> Must He be murdered too?</p> + +<p><i>Stu.</i> No; I have a scheme to make the law his murderer. At what hour +did Lewson fall?</p> + +<p><i>Bates.</i> The clock struck twelve, just as I turned to leave him. 'Twas +a melancholy bell, I thought, tolling for his death.</p> + +<p><i>Stu.</i> The time was lucky for us. Beverley was arrested at one, you +say?</p> +<div class = "stagedir">[<i>To Dawson.</i></div> + +<span class = "pagenum">485</span> + +<p><i>Daw.</i> Exactly.</p> + +<p><i>Stu.</i> Good. We'll talk of this presently. The women were with him, I +think?</p> + +<p><i>Daw.</i> And old Jarvis. I would have told you of them last night, but +your thoughts were too busy. 'Tis well you have a heart of stone, the tale +would melt it else.</p> + +<p><i>Stu.</i> Out with it then.</p> + +<p><i>Daw.</i> I traced him to his lodgings; and pretending pity for his +misfortunes, kept the door open, while the officers seized him. 'Twas a damned +deed—but no matter—I followed my instructions.</p> + +<p><i>Stu.</i> And what said he?</p> + +<p><i>Daw.</i> He upbraided me with treachery, called You a villain, +acknowledged the sums you had lent him, and submitted to his fortune.</p> + +<p><i>Stu.</i> And the women—</p> + +<p><i>Daw.</i> For a few minutes astonishment kept them silent. They looked +wildly at one another, while the tears streamed down their cheeks. But rage +and fury soon gave them words; and then, in the very bitterness of despair, +they cursed me, and the monster that had employed me.</p> + +<p><i>Stu.</i> And you bore it with philosophy?</p> + +<p><i>Daw.</i> Till the scene changed, and then I melted. I ordered the +officers to take away their prisoner. The women shrieked, and would have +followed him; but We forbad them. 'Twas then they fell upon their knees, the +wife fainting, the sister raving, and both, with all the eloquence of misery, +endeavouring to soften us. I never felt compassion till that moment; and had +the officers been moved like Me, we had left the business undone, and fled +with curses on ourselves. But their hearts were steeled by +<span class = "pagenum">486</span> +custom: the tears of beauty, and the pangs of affection, were beneath their +pity. They tore him from their arms, and lodged him in prison, with only +Jarvis to comfort him.</p> + +<p><i>Stu.</i> There let him lie, till we have farther business with him. And +for You, Sir, let me hear no more of your compassion. A fellow nursed in +villainy, and employed from childhood in the business of hell, should have no +dealings with compassion.</p> + +<p><i>Daw.</i> Say you so, Sir? You should have named the devil that tempted +me.</p> + +<p><i>Stu.</i> 'Tis false. I found you a villain; therefore employed +you—But no more of this—We have embarked too far in mischief to +recede. Lewson is dead; and we are all principals in his murder. Think of +that. There's time enough for pity, when ourselves are out of danger. Beverley +still lives, though in a jail. His ruin will sit heavy on him; and discoveries +may be made to undo us all. Something must be done, and speedily. You saw him +quarrelling with Lewson in the street last night?</p> +<div class = "stagedir">[<i>To Bates.</i></div> + +<p><i>Bates.</i> I did; his steward, Jarvis, saw him too.</p> + +<p><i>Stu.</i> And shall attest it. Here's matter to work upon. An unwilling +evidence carries weight with him. Something of my design I have hinted t'you +before. Beverley must be the author of this murder; and We the parties to +convict him. But how to proceed, will require time and thought—Come +along with Me; the room within is fitter for privacy. But no compassion, +Sir—(<i>To Dawson</i>) We want leisure for't—This way.</p> +<div class = "stagedir">[<i>Exeunt.</i></div> + +<span class = "pagenum">487</span> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE II</span>. changes to +<span class = "charname">Beverley's</span> lodgings.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>, +and <span class = "charname">Charlotte</span>.</div> + +<p><i>Mrs. Bev.</i> No news of Lewson yet?</p> + +<p><i>Char.</i> None. He went out early, and knows not what has happened.</p> + +<p><i>Mrs. Bev.</i> The clock strikes eight—I'll wait no longer.</p> + +<p><i>Char.</i> Stay but till Jarvis comes. He has sent twice to stop us till +we see him.</p> + +<p><i>Mrs. Bev.</i> I have no life in this separation. O! what a night was +last night! I would not pass another such, to purchase worlds by it. My poor +Beverley too! What must He have felt!—The very thought distracts me! To +have him torn at midnight from me! A loathsome prison his habitation! A cold +damp room his lodging! The bleak winds, perhaps, blowing upon his pillow! No +fond wife to lull him to his rest! and no reflections but to wound and tear +him!—'Tis too horrible! I wanted love for him, or they had not forced +him from me. They should have parted soul and body first. I was too tame.</p> + +<p><i>Char.</i> You must not talk so. All that we could we did; and Jarvis did +the rest. The faithful creature will give him comfort. Why does he delay +coming?</p> + +<p><i>Mrs. Bev.</i> And there's another fear. His poor master may be claiming +the last kind office from him—His heart perhaps is breaking.</p> + +<p><i>Char.</i> See where he comes!—His looks are chearful too.</p> + +<span class = "pagenum">488</span> + + +<div class = "scene">SCENE III.</div> + +<div class = "scenedesc">Enter <span class = "charname">Jarvis</span>.</div> + +<p><i>Mrs. Bev.</i> Are tears then chearful? Alas, he weeps! Speak to him +Charlotte: I have no tongue to ask him questions.</p> + +<p><i>Char.</i> How does your master, Jarvis?</p> + +<p><i>Jar.</i> I am old and foolish, madam; and tears will come before my +words—But don't You weep. (<i>To Mrs. Beverley.</i>) I have a tale of +joy for you.</p> + +<p><i>Mrs. Bev.</i> What tale? Say but he's well, and I have joy enough.</p> + +<p><i>Jar.</i> His mind too shall be well; all shalt be well—I have news +for him that shall make his poor heart bound again!—Fie upon old age! +how childish it makes me! I have a tale of joy for you, and my tears drown +it.</p> + +<p><i>Char.</i> Shed them in showers then, and make haste to tell it.</p> + +<p><i>Mrs. Bev.</i> What is it, Jarvis?</p> + +<p><i>Jar.</i> Yet why should I rejoice when a good man dies? Your uncle, +madam, died yesterday.</p> + +<p><i>Mrs. Bev.</i> My uncle!—O heavens!</p> + +<p><i>Char.</i> How heard you of his death?</p> + +<p><i>Jar.</i> His steward came express, madam: I met him in the street, +enquiring for your lodgings. I should not rejoice, perhaps; but he was old, +and my poor master a prisoner—Now he shall live again—O, 'tis a +brave fortune! and 'twas death to me to see him a prisoner.</p> + +<p><i>Char.</i> Where left you the steward?</p> + +<p><i>Jar.</i> I would not bring him hither, to be a witness of your +distresses—and besides, I wanted once before I die, to be the messenger +of joy t'you. My good master will be a man again.</p> + +<span class = "pagenum">489</span><span class = "folionum">Rrr</span> + +<p><i>Mrs. Bev.</i> Haste, haste then; and let us fly to him!—We are +delaying our own happiness.</p> + +<p><i>Jar.</i> I had forgot a coach, madam; and Lucy has ordered one.</p> + +<p><i>Mrs. Bev.</i> Where was the need of that? The news has given me +wings.</p> + +<p><i>Char.</i> I have no joy, till my poor brother shares it with me. How did +he pass the night, Jarvis?</p> + +<p><i>Jar.</i> Why now, madam, I can tell you. Like a man dreaming of death +and horrors. When they led him to his cell—for 'twas a poor apartment +for my master—he flung himself upon a wretched bed, and lay speechless +till day-break. A sigh now and then, and a few tears that followed those +sighs, were all that told me he was alive. I spoke to him, but he would not +hear me; and when I persisted, he raised his hand at me, and knit his brow +so—I thought he would have struck me.</p> + +<p><i>Mrs. Bev.</i> O miserable! But what said he, Jarvis? Or was he silent +all night?</p> + +<p><i>Jar.</i> At day-break he started from the bed, and looking wildly at me, +asked who I was. I told him, and bid him be of comfort—Begone, old +wretch, says he—I have sworn never to know comfort—My wife! my +child! my sister! I have undone them all, and will know no comfort—Then +letting go his hold, and falling upon his knees, he imprecated curses on +himself.</p> + +<p><i>Mrs. Bev.</i> This is too horrible!—But you did not leave him +so?</p> + +<p><i>Char.</i> No, I am sure he did not.</p> + +<p><i>Jar.</i> I had not the heart, madam. By degrees I brought him to +himself. A shower of tears came to his relief; and then he called me his +kindest friend, and begged forgiveness +<span class = "pagenum">490</span> +of me like a child—I was a child too, when he begged forgiveness of me; +my heart throbbed so, I could not speak to him. He turned from me for a minute +or two, and suppressing a few bitter sighs, enquired after his wretched +family—Wretched was his word, madam—Asked how you bore the misery +of last night—If you had goodness enough to see him in prison—And +then begged me to hasten to you. I told him he must be more himself first—He +promised me he would; and, bating a few sullen intervals, he became composed +and easy. And then I left him; but not without an attendant; a servant in the +prison, whom I hired to wait upon him. 'Tis an hour since we parted: I was +prevented in my haste, to be the messenger of joy t'you.</p> + +<p><i>Mrs. Bev.</i> What a tale is this?—But we have staid too +long—A coach is needless.</p> + +<p><i>Char.</i> Hark! I hear one at the door.</p> + +<p><i>Jar.</i> And Lucy comes to tell us—We'll away this moment.</p> + +<p><i>Mrs. Bev.</i> To comfort him, or die with him.</p> +<div class = "stagedir">[<i>Exeunt.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE IV</span>. changes to +<span class = "charname">Stukely</span>'s lodgings.</div> + +<div class = "scenedesc">Enter <span class = "charname">Stukely, Bates</span>, +and <span class = "charname">Dawson</span>.</div> + +<p><i>Stu.</i> Here's presumptive evidence at least: or if we want more, why, +we must swear more. But all unwillingly: we gain credit by reluctance. I have +told you how to proceed. Beverley must die. We hunt him in view now, and must +not slacken in the chace. 'Tis either death for Him, or shame and punishment +for Us. Think of that, and remember your instructions. You, Bates, must to the +prison immediately: I would be there but a few minutes +<span class = "pagenum">491</span><span class = "folionum">Qqq2</span> +before you. And you, Dawson, must follow in a few minutes after. So here we +divide—But answer me; are you resolved upon this business like +men?</p> + +<p><i>Bates.</i> Like villains rather—But you may depend upon us.</p> + +<p><i>Stu.</i> Like what we are then—You make no answer, Dawson—Compassion, +I suppose, has seized you.</p> + +<p><i>Daw.</i> No; I have disclaimed it. My answer is Bates's—You may +depend upon me.</p> + +<p><i>Stu.</i> Consider the reward! Riches and security! I have sworn to +divide with you to the last shilling. So here we separate, till we meet in +prison. Remember your instructions, and be men.</p> +<div class = "stagedir">[<i>Exeunt.</i></div> + + +<br> +<div class = "scenedesc"><span class = "charname">SCENE V</span>. changes to a +prison.</div> + +<div class = "scenedesc"><span class = "charname">Beverley</span> is +discovered sitting. After a short pause, he starts up, and comes forward.</div> + +<p><i>Bev.</i> Why, there's an end then. I have judged deliberately, and the +result is death. How the self-murderer's account may stand, I know not. But +this I know; the load of hateful life oppresses me too much. The horrors of my +soul are more than I can bear—(<i>Offers to kneel</i>) Father of +mercy!—I cannot pray—Despair has laid his iron hand upon me, and +sealed me for perdition—Conscience! conscience! thy clamours are too +loud—Here's that shall silence them. (<i>Takes a vial out of his pocket, +and looks at it.</i>) Thou art most friendly to the miserable. Come then, thou +cordial for sick minds! come to my heart! (<i>Drinks</i>) O, that the grave +would bury memory as well as body! For if the soul sees and feels the +sufferings of those dear ones it leaves behind, +the <span class = "smallcaps">Everlasting</span> +has no vengeance to torment +<span class = "pagenum">492</span> +it deeper—I'll think no more on't—Reflection comes too late. Once +there was a time for't—but now 'tis past—Who's there?</p> + + +<div class = "scene">SCENE VI.</div> + +<div class = "scenedesc">Enter <span class = "charname">Jarvis</span>.</div> + +<p><i>Jar.</i> One that hoped to see you with better looks. Why do you turn so +from me? I have brought comfort with me—And see who comes to give it +welcome!</p> + +<p><i>Bev.</i> My wife and sister! Why, 'tis but one pang more then, and +farewel world.</p> +<div class = "stagedir">[<i>Aside.</i></div> + + +<div class = "scene">SCENE VII.</div> + +<div class = "scenedesc">Enter Mrs. <span class = "charname">Beverley</span>, +and <span class = "charname">Charlotte</span>.</div> + +<p><i>Mrs. Bev.</i> Where is he? (<i>Runs and embraces him</i>) O, I have him! +I have him! And now they shall never part us more! I have news, love, to make +you happy for ever—but don't look coldly on me.</p> + +<p><i>Char.</i> How is it, brother?</p> + +<p><i>Mrs. Bev.</i> Alas! he hears us not. Speak to me, love. I have no heart +to see you thus.</p> + +<p><i>Bev.</i> Nor I to bear the sense of so much shame. This is a sad +place.</p> + +<p><i>Mrs. Bev.</i> We come to take you from it; to tell you that the world +goes well again; that providence has seen our sorrows, and sent the means to +heal them—Your uncle died yesterday.</p> + +<p><i>Bev.</i> My uncle!—No, do not say so—O! I am sick at +heart!</p> + +<p><i>Mrs. Bev.</i> Indeed!—I meant to bring you comfort.</p> + +<span class = "pagenum">493</span> +<p><i>Bev.</i> Tell me he lives then—If you would give me comfort, +tell me he lives.</p> + +<p><i>Mrs. Bev.</i> And if I did, I have no power to raise the dead. He +died yesterday.</p> + +<p><i>Bev.</i> And I am heir to him?</p> + +<p><i>Jar.</i> To his whole estate, Sir—But bear it patiently.</p> + +<p><i>Bev.</i> Well, well—(<i>Pausing</i>) Why, fame says I am rich +then?</p> + +<p><i>Mrs. Bev.</i> And truly so—Why do you look so wildly?</p> + +<p><i>Bev.</i> Do I? The news was unexpected. But has he left me all?</p> + +<p><i>Jar.</i> All, all, Sir—He could not leave it from you.</p> + +<p><i>Bev.</i> I'm sorry for it.</p> + +<p><i>Char.</i> Sorry! Why sorry?</p> + +<p><i>Bev.</i> Your uncle's dead, Charlotte.</p> + +<p><i>Char.</i> Peace be with his soul then. Is it so terrible that an old man +should die?</p> + +<p><i>Bev.</i> He should have been immortal.</p> + +<p><i>Mrs. Bev.</i> Heaven knows I wished not for his death. 'Twas the will of +providence that he should die. Why are you disturbed so?</p> + +<p><i>Bev.</i> Has death no terrors in it?</p> + +<p><i>Mrs. Bev.</i> Not an old man's death. Yet if it troubles you, I wish him +living.</p> + +<p><i>Bev.</i> And I, with all my heart.</p> + +<p><i>Char.</i> Why, what's the matter?</p> + +<p><i>Bev.</i> Nothing. How heard you of his death?</p> + +<p><i>Mrs. Bev.</i> His steward came express. Would I had never known +it!</p> + +<p><i>Bev.</i> Or had heard it one day sooner—For I have a tale to tell, +shall turn you into stone; or if the power of speech, remain, you shall kneel +down and curse me.</p> + +<span class = "pagenum">494</span> +<p><i>Mrs. Bev.</i> Alas! what tale is this? And why are we to curse you? I'll +bless you for ever.</p> + +<p><i>Bev.</i> No; I have deserved no blessings. The world holds not such +another wretch. All this large fortune, this second bounty of heaven, that +might have healed our sorrows, and satisfied our utmost hopes, in a curst hour +I sold last night.</p> + +<p><i>Char.</i> Sold! How sold?</p> + +<p><i>Mrs. Bev.</i> Impossible! It cannot be!</p> + +<p><i>Bev.</i> That devil Stukely, with all hell to aid him, tempted me to the +deed. To pay false debts of honour, and to redeem past errors, I sold the +reversion—sold it for a scanty sum, and lost it among villains.</p> + +<p><i>Char.</i> Why, farewel all then.</p> + +<p><i>Bev.</i> Liberty and life. Come, kneel and curse me.</p> + +<p><i>Mrs. Bev.</i> Then hear me heaven! (<i>Kneels</i>) Look down with mercy +on his sorrows! Give softness to his looks, and quiet to his heart! Take from +his memory the sense of what is past, and cure him of despair! On Me, on Me, +if misery must be the lot of either, multiply misfortunes! I'll bear them +patiently, so He is happy! These hands shall toil for his support! These eyes +be lifted up for hourly blessings on him! And every duty of a fond and +faithful wife, be doubly done to chear and comfort him!—So hear me! so +reward me!</p> +<div class = "stagedir">[<i>Rises.</i></div> + +<p><i>Bev.</i> I would kneel too, but that offended heaven would turn my +prayers to curses. What have I to ask for? I, who have shook hands with hope? +Is it for length of days that I should kneel? No; My time is limited. Or is it +for this world's blessings upon You and Yours? To pour out my heart in wishes +for a ruined wife, a child and sister? O! no! For I have done a deed to make +you miserable.</p> + +<span class = "pagenum">494</span> +<p><i>Mrs. Bev.</i> Why miserable? Is poverty so miserable?—The real +wants of life are few: a little industry will supply them all; and chearfulness +will follow. It is the privilege of honest industry; and we'll enjoy it +fully.</p> + +<p><i>Bev.</i> Never, never! O, I have told you but in part. The irrevocable +deed is done.</p> + +<p><i>Mrs. Bev.</i> What deed? And why do you look so at me?</p> + +<p><i>Bev.</i> A deed, that dooms my soul to vengeance; that seals Your misery +here, and Mine hereafter.</p> + +<p><i>Mrs. Bev.</i> No, no; You have a heart too good for't— Alas! he +raves, Charlotte—his looks too terrify me—Speak comfort to +him—He can have done no deed of wickedness.</p> + +<p><i>Char.</i> And yet I fear the worst. What is it, brother?</p> + +<p><i>Bev.</i> A deed of horror.</p> + +<p><i>Jar.</i> Ask him no questions, madam. This last misfortune has hurt his +brain. A little time will give him patience.</p> + + +<div class = "scene">SCENE VIII.</div> + +<div class = "scenedesc">Enter <span class = "charname"><ins class = +"correction" title = "text reads 'Stukley'">Stukely</ins></span>.</div> + +<p><i>Bev.</i> Why is this villain here?</p> + +<p><i>Stu.</i> To give You liberty and safety. There's his discharge, madam. +(<i>Giving a paper to Mrs. Beverley</i>) Let him begone this moment. The +arrest last night was meant in friendship; but came too late.</p> + +<p><i>Char.</i> What mean you, Sir?</p> + +<p><i>Stu.</i> The arrest was too late, I say. I would have kept his hands +from blood, but was too late.</p> + +<p><i>Mrs. Bev.</i> His hands from blood! Whose blood?—O, wretch! +wretch!</p> + +<p><i>Stu.</i> From Lewson's blood.</p> + +<span class = "pagenum">496</span> +<p><i>Char.</i> No, villain! Yet what of Lewson? Speak quickly!</p> + +<p><i>Stu.</i> You are ignorant then! I thought I heard the murderer at +confession.</p> + +<p><i>Char.</i> What murderer? And who is murdered? Not Lewson? Say he lives, +and I'll kneel down and worship you.</p> + +<p><i>Stu.</i> In pity, so I would; but that the tongues of all cry murder. I +came in pity, not in malice; to save the brother, not kill the sister. Your +Lewson's dead.</p> + +<p><i>Char.</i> O horrible! Why, who has killed him?—And yet it cannot +be. What crime had He committed that he should die? Villain! he lives! he +lives! and shall revenge these pangs.</p> + +<p><i>Mrs. Bev.</i> Patience, sweet Charlotte!</p> + +<p><i>Char.</i> O, 'tis too much for patience!</p> + +<p><i>Mrs. Bev.</i> He comes in pity, he says. O! execrable villain! The +friend is killed then, and this the murderer?</p> + +<p><i>Bev.</i> Silence, I charge you. Proceed, Sir.</p> + +<p><i>Stu.</i> No. Justice may stop the tale—and here's an evidence.</p> + + +<div class = "scene">SCENE IX.</div> + +<div class = "scenedesc">Enter <span class = "charname">Bates</span>.</div> + +<p><i>Bates.</i> The news, I see, has reached you. But take comfort, madam. +(<i>To Charlotte</i>) There's one without, enquiring for you. Go to him, and +lose no time.</p> + +<p><i>Char.</i> O misery! misery!</p> +<div class = "stagedir">[<i>Exit.</i></div> + +<p><i>Mrs. Bev.</i> Follow her, Jarvis. If it be true that Lewson's dead, her +grief may kill her.</p> + +<p><i>Bates.</i> Jarvis must stay here, madam: I have some questions for +him.</p> + +<p><i>Stu.</i> Rather let him fly. His evidence may crush his master.</p> + +<span class = "pagenum">497</span><span class = "folionum">Sss</span> + +<p><i>Bev.</i> Why, ay; this looks like management.</p> + +<p><i>Bates.</i> He found you quarrelling with Lewson in the street last +night.</p> +<div class = "stagedir">[<i>To Beverley.</i></div> + +<p><i>Mrs. Bev.</i> No; I am sure he did not.</p> + +<p><i>Jar.</i> Or if I did—</p> + +<p><i>Mrs. Bev.</i> 'Tis false, old man—They had no quarrel; there was +no cause for quarrel.</p> + +<p><i>Bev.</i> Let him proceed, I say—O! I am sick! sick! Reach me a +chair.</p> +<div class = "stagedir">[<i>He sits down.</i></div> + +<p><i>Mrs. Bev.</i> You droop, and tremble, love—Your eyes are fixt +too—Yet You are innocent. If Lewson's dead, You killed him not.</p> + + +<div class = "scene">SCENE X.</div> + +<div class = "scenedesc">Enter <span class = "charname">Dawson</span>.</div> + +<p><i>Stu.</i> Who sent for Dawson?</p> + +<p><i>Bates.</i> 'Twas I. We have a witness too, you little think of. Without +there!</p> + +<p><i>Stu.</i> What witness?</p> + +<p><i>Bates.</i> A right one. Look at him.</p> + + +<div class = "scene">SCENE XI.</div> + +<div class = "scenedesc">Re-enter <span class = "charname">Charlotte</span>, +with <span class = "charname">Lewson</span>.</div> + +<p><i>Stu.</i> Lewson! O—villains! villains!</p> +<div class = "stagedir">[<i>To Bates and Dawson.</i></div> + +<p><i>Mrs. Bev.</i> Risen from the dead! Why, this is unexpected happiness!</p> + +<p><i>Char.</i> Or is't his ghost? (<i>To Stukely</i>) That sight would please +you, Sir.</p> + +<p><i>Jar.</i> What riddle's this?</p> + +<p><i>Bev.</i> Be quick and tell it—My minutes are but few.</p> + +<span class = "pagenum">498</span> +<p><i>Mrs. Bev.</i> Alas! why so? You shall live long and happily.</p> + +<p><i>Lew.</i> While shame and punishment shall rack that viper. (<i>Pointing +to Stukely</i>) The tale is short. I was too busy in his secrets, and +therefore doomed to die. Bates, to prevent the murder, undertook it. I kept +aloof to give it credit—</p> + +<p><i>Char.</i> And gave Me pangs unutterable.</p> + +<p><i>Lew.</i> I felt them all, and would have told you; but vengeance wanted +ripening. The villain's scheme was but half executed. The arrest by Dawson +followed the supposed murder: and now, depending on his once wicked associates, +he comes to fix the guilt on Beverley.</p> + +<p><i>Mrs. Bev.</i> O! execrable wretch!</p> + +<p><i>Bates.</i> Dawson and I are witnesses of this.</p> + +<p><i>Lew.</i> And of a thousand frauds. His friend undone by sharpers and +false dice; and Stukely sole contriver, and possessor of all.</p> + +<p><i>Daw.</i> Had he but stopt on this side murder, we had been villains +still.</p> + +<p><i>Mrs. Bev.</i> Thus heaven turns evil into good; and by permitting sin, +warns men to virtue.</p> + +<p><i>Lew.</i> Yet punishes the instrument. So shall our laws; though not with +death. But death were mercy. Shame, beggary, and imprisonment, unpitied +misery, the stings of conscience, and the curses of mankind shall make life +hateful to him—till at last, his own hand end him. How does my +friend?</p> +<div class = "stagedir">[<i>To Beverley.</i></div> + +<p><i>Bev.</i> Why, well. Who's he that asks me?</p> + +<p><i>Mrs. Bev.</i> Tis Lewson, love. Why do you look so at him?</p> + +<p><i>Bev.</i> They told me he was murdered.</p> +<div class = "stagedir">[<i>Wildly.</i></div> + +<p><i>Mrs. Bev.</i> Ay; but he lives to save us.</p> + +<p><i>Bev.</i> Lend me your hand—The room turns round.</p> + +<span class = "pagenum">499</span><span class = "folionum">Sss2</span> + +<p><i>Mrs. Bev.</i> O heaven!</p> + +<p><i>Lew.</i> This villain here, disturbs him. Remove him from his sight: and +for your lives, see that you guard him. (<i>Stukely is taken off by Dawson and +Bates</i>) How is it, Sir?</p> + +<p><i>Bev.</i> 'Tis here—and here—(<i>Pointing to his head and +heart.</i>) And now it tears me!</p> + +<p><i>Mrs. Bev.</i> You feel convulsed too—What is't disturbs you?</p> + +<p><i>Lew.</i> This sudden turn of joy perhaps. He wants rest too. Last night +was dreadful to him. His brain is giddy.</p> + +<p><i>Char.</i> Ay, never to be cured. Why, brother!—O! I fear! I +fear!</p> + +<p><i>Mrs. Bev.</i> Preserve him, heaven!—My love! my life! look at +me!—How his eyes flame!</p> + +<p><i>Bev.</i> A furnace rages in this heart—I have been too hasty.</p> + +<p><i>Mrs. Bev.</i> Indeed!—O me! O me!—Help, Jarvis! Fly, fly for +help! Your master dies else—Weep not, but fly! (<i>Exit Jarvis</i>) What +is this hasty deed?—Yet do not answer me—My fears have guessed +it.</p> + +<p><i>Bev.</i> Call back the messenger. 'Tis not in medicine's power to help +me.</p> + +<p><i>Mrs. Bev.</i> Is it then so?</p> + +<p><i>Bev.</i> Down, restless flames!—(<i>Laying his hand on his +heart</i>) down to your native hell!— there you shall rack me—O! +for a pause from pain!</p> + +<p><i>Mrs. Bev.</i> Help, Charlotte! Support him, Sir! (<i>To Lewson</i>)</p> + +<p><i>Bev.</i> What river's this? I'll plunge, and cool me! (<i>Flings himself +upon the ground.</i>) O! 'tis a sea of fire!—Lift me! lift me!</p> +<div class = "stagedir">[<i>They raise him to his chair.</i></div> + +<p><i>Mrs. Bev.</i> This is a killing fight!</p> + +<p><i>Bev.</i> (<i>Starting</i>) That pang was well. It has numbed my senses. +Where's my wife? Can you forgive me, love?</p> + +<span class = "pagenum">500</span> +<p><i>Mrs. Bev.</i> Alas! for what?</p> + +<p><i>Bev.</i> (<i>Starting again</i>) And there's another pang—Now all +is quiet. Will you forgive me?</p> + +<p><i>Mrs. Bev.</i> I will. Tell me for what?</p> + +<p><i>Bev.</i> For meanly dying.</p> + +<p><i>Mrs. Bev.</i> No—do not say it.</p> + +<p><i>Bev.</i> As truly as my soul must answer it. Had Jarvis staid this +morning, all had been well. But pressed by shame; pent in a prison; tormented +with my pangs for You; driven to despair and madness; I took the advantage of +his absence, corrupted the poor wretch he left to guard me, and—swallowed +poison.</p> + +<p><i>Mrs. Bev.</i> O! fatal deed!</p> + +<p><i>Char.</i> Dreadful and cruel!</p> + +<p><i>Bev.</i> Ay, most accursed—And now I go to my account. This rest +from pain brings death; yet 'tis heaven's kindness to me. I wished for ease, a +moment's ease, that cool repentance and contrition might soften vengeance. +Bend me, and let me kneel. (<i>They lift him from his chair, and support him +on his knees</i>) I'll pray for You too. Thou Power that mad'st me, hear me! +If for a life of frailty, and this too hasty deed of death, thy justice dooms +me, here I acquit the sentence. But if, enthroned in mercy where thou sitt'st, +thy pity has beheld me, send me a gleam of hope; that in these last and bitter +moments, my soul may taste of comfort! And for these mourners here, O! let +their lives be peaceful, and their deaths happy! Now raise me.</p> +<div class = "stagedir">[<i>They lift him to the chair.</i></div> + +<p><i>Mrs. Bev.</i> Restore him, heaven! Stretch forth thy arm omnipotent, and +snatch him from the grave! O save him! save him!</p> + +<p><i>Bev.</i> Alas! that prayer is fruitless: already death has seized me. +Yet heaven is gracious. I asked for hope, as the +<span class = "pagenum">501</span> +bright presage of forgiveness, and like a light, blazing through darkness, it +came and cheared me. 'Twas all I lived for, and now I die.</p> + +<p><i>Mrs. Bev.</i> Not yet!—Not yet!—Stay but a little, and I'll +die too.</p> + +<p><i>Bev.</i> No; live, I charge you. We have a little one: though I have +left him, You will not leave him. To Lewson's kindness I bequeath him—Is +not this Charlotte? We have lived in love, though I have wronged you—Can +you forgive me, Charlotte?</p> + +<p><i>Char.</i> Forgive you!—O, my poor brother!</p> + +<p><i>Bev.</i> Lend me your hand, love. So—raise me—No—'twill +not be—my life is finished—O! for a few short moments to tell you +how my heart bleeds for you!—That even now, thus dying as I am, dubious +and fearful of hereafter, my bosom pang is for Your miseries!—Support +her heaven!—And now I go—O, mercy! mercy!</p> +<div class = "stagedir">[<i>Dies.</i></div> + +<p><i>Lew.</i> Then all is over—How is it, madam? (<i>To Mrs. Beverley.</i>) +My poor Charlotte too!</p> + + +<div class = "scene">SCENE the last.</div> + +<div class = "scenedesc">Enter <span class = "charname">Jarvis</span>.</div> + +<p><i>Jar.</i> How does my master, madam? Here's help at hand—Am I too +late then?</p> +<div class = "stagedir">[<i>Seeing Beverley.</i></div> + +<p><i>Char.</i> Tears! tears! why fall you not? O wretched sister!—Speak +to her, Lewson—her grief is speechless.</p> + +<p><i>Lew.</i> Remove her from this sight. Go to her, Jarvis; lead and support +her. Sorrow like hers forbids complaint. Words are for lighter griefs. Some +ministring angel bring her peace! (<i>Jarvis and Charlotte lead her off.</i>) +And Thou, +<span class = "pagenum">502</span> +poor breathless corps, may thy departed soul have found the rest it prayed +for! Save but one error, and this last fatal deed, thy life was lovely. Let +frailer minds take warning; and from example learn, that want of prudence is +want of virtue.</p> + +<div class = "verse"> +Follies, if uncontroul'd, of every kind,<br> +Grow into passions, and subdue the mind;<br> +With sense and reason hold superior strife,<br> +And conquer honour, nature, fame and life. +</div> +<br> +<hr> +<br> +<span class = "pagenum">503</span> + +<h2><a name = "Game_epi">EPILOGUE.</a></h2> + +<h3>Written by a FRIEND,</h3> + +<p align = "center">And Spoken by Mrs. PRITCHARD.</p> + +<div class = "verse"> +<i>On every <span class = "smallcaps">Gamester</span> in th' Arabian nation,<br> +'Tis said, that Mahomet denounc'd damnation;<br> +But in return for wicked cards and dice,<br> +He gave them black-ey'd girls in paradise.<br> +Should he thus preach, good countrymen, to You,<br> +His converts would, I fear, be mighty few:<br> +So much your hearts are set on sordid gain,<br> +The brightest eyes around you shine in vain:<br> +Should the most heav'nly beauty bid you take her,<br> +You'd rather hold—</i>two aces and a maker.<i><br> +By your example, our poor sex drawn in,<br> +Is guilty of the same unnat'ral sin:<br> +The study now of every girl of parts<br> +Is how to win your money, not your hearts.<br> +O! in what sweet, what ravishing delights,<br> +Our beaux and belles together pass their nights!<br> +By ardent perturbations kept awake,<br> +Each views with longing eyes the other's—stake.<br> +<span class = "pagenum">504</span> +The </i>smiles<i> and </i>graces<i> are from Britain flown,<br> +Our </i>Cupid<i> is an errant sharper grown,<br> +And </i>Fortune<i> sits on </i>Cytherea<i>'s throne.<br> +In all these things, though women may be blam'd,<br> +Sure men, the wiser men, should be asham'd!<br> +And 'tis a horrid scandal, I declare,<br> +That four strange queens should rival all the fair;<br> +Four jilts, with neither beauty, wit nor parts,<br> +O shame! have got possession of their hearts;<br> +And those bold sluts, for all their queenly pride,<br> +Have play'd loose tricks, or else they're much bely'd.<br> +Cards were at first for benefits design'd,<br> +Sent to amuse, and not enslave the mind:<br> +From good to bad how easy the transition!<br> +For what was pleasure once, is now perdition.<br> +Fair ladies, then these wicked <span class = "smallcaps">Gamesters</span> shun,<br> +Whoever weds one, is, you see, undone.</i> +</div> + +<div class = "scene">FINIS.</div> +<br> +<hr> +<a name = "Game_ill2"> </a> + +<p align = "center"> +<i>Act 5.</i> <span class = "smallcaps">The Gamester.</span> +<i>Sc. 4.</i> +</p> +<p align = "center"> +<img src = "images/img52.jpg" width = "329" height = "576" +alt = "Beverley holding potion"> +</p> +<p align = "center"> +<font size = "+1"><i>M<sup>R.</sup> REDDISH as BEVERLEY.</i></font> +</p> +<p align = "center"> +Bev.<i>—Thou art most friendly to the miserable.</i> +</p> +<p align = "center"> +<font size = "-1"><i>Published Octo. 19, 1776, by T. Lowndes & Partners</i></font> +</p> + +<hr> +<hr> +<br> + +<p align = "center"><a name = "ARSpubs"><font size = "+1">THE AUGUSTAN +REPRINT SOCIETY</font></a><br> +<br> +ANNOUNCES ITS<br> +<br> +<i><font size = "+2">Publications for the Third Year (1948-1949)</font></i></p> + +<!--PG hyperlinks begin here--> + +<div class = "mynote"> +[Transcriber's Note:<br> +Many of the listed titles are or will be available from Project +Gutenberg. Where possible, a link to the e-text is given.] +</div> +<br> + +<table summary = "list of planned publications"> +<tr> +<td></td> +<td class = "ARS"> +<i>At least two</i> items will be printed from each of the +<i>three</i> following groups:<br> +<br> +</td> +</tr> +<tr> +<td class = "ARS">Series IV:</td> +<td class = "ARS"> +Men, Manners, and Critics<br> +Sir John Falstaff (pseud.), <i>The Theatre </i>(1720).<br> +Aaron Hill, <a href = "https://www.gutenberg.org/etext/15870">Preface to +<i>The Creation</i></a>; and Thomas Brereton, Preface to <i>Esther</i>.<br> +Ned Ward, Selected Tracts. +</td> +</tr> +<tr> +<td class = "ARS">Series V:</td> +<td class = "ARS"> +Drama<br> +Edward Moore, <i>The Gamester </i>(1753).<br> +Nevil Payne, <i>Fatal Jealousy </i>(1673).<br> +Mrs. Centlivre, <i>The Busie Body </i>(1709).<br> +Charles Macklin, <i>Man of the World </i>(1781). +</td> +</tr> +<tr> +<td class = "ARS">Series VI:</td> +<td class = "ARS"> +Poetry and Language<br> +John Oldmixon, <i>Reflections on Dr. Swift's Letter to Harley </i>(1712); +and Arthur Mainwaring, <i>The British Academy </i>(1712).<br> +Pierre Nicole, <i>De Epigrammate</i>.<br> +Andre Dacier, Essay on Lyric Poetry. +</td> +</tr> +</table> +<br> +<hr> +<br> +<br> +<p align = "center"><font size = "+1"><i>THE AUGUSTAN REPRINT +SOCIETY</i></font><br> +<br> +MAKES AVAILABLE<br> +<br> +<br> +<font size = "+2"><i>Inexpensive Reprints of Rare +Materials</i></font><br> +<br> +<br> +FROM<br> +<br> +ENGLISH LITERATURE OF THE<br> +SEVENTEENTH AND EIGHTEENTH CENTURIES</p> + +<div class = "indent">Students, scholars, and bibliographers of literature, +history, and philology will find the publications valuable. <i>The Johnsonian News +Letter</i> has said of them: "Excellent facsimiles, and cheap in +price, these represent the triumph of modern scientific reproduction. +Be sure to become a subscriber; and take it upon yourself to see that +your college library is on the mailing list."</div> + +<div class = "indent">The Augustan Reprint Society is a non-profit, scholarly +organization, run without overhead expense. By careful management it +is able to offer at least six publications each year at the unusually +low membership fee of $2.50 per year in the United States and Canada, +and $2.75 in Great Britain and the continent.</div> + +<div class = "indent">Libraries as well as individuals are eligible for +membership. Since the publications are issued without profit, however, no +discount can be allowed to libraries, agents, or booksellers.</div> + +<div class = "indent">New members may still obtain a complete run of the first year's +publications for $2.50, the annual membership fee.</div> + +<div class = "indent">During the first two years the publications are issued in three +series: I. Essays on Wit; II. Essays on Poetry and Language; and III. +Essays on the Stage.</div> +<br> +<table summary = "list of earlier publications"> +<tr align = "center"><td colspan = "2"><i><b>PUBLICATIONS FOR THE +FIRST YEAR (1946-1947)</b></i><br> +<br> +</td> +</tr> +<tr> +<td width = "25%" class = "ARS">MAY, 1946:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/13484">Series +I, No. 1</a>—Richard Blackmore's <i>Essay upon Wit</i> (1716), +and Addison's <i>Freeholder</i> No. 45 (1716).</td> +</tr> +<tr> +<td class = "ARS">JULY, 1946: </td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/14528">Series +II, No. 1</a>—Samuel Cobb's <i>Of Poetry</i> and <i>Discourse +on Criticism</i> (1707)</td> +</tr> +<tr> +<td class = "ARS">SEPT., 1946:</td> +<td class = "ARS">Series III, No. 1—Anon., <i>Letter to A.H. Esq.; +concerning the Stage</i> (1698), and Richard Willis' <i>Occasional +Paper</i> No. IX (1698).</td> +</tr> +<tr> +<td class = "ARS">NOV., 1946:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/14973">Series +I, No. 2</a>—Anon., <i>Essay on Wit</i> (1748), together with +Characters by Flecknoe, and Joseph Warton's <i>Adventurer</i> Nos. 127 and 133.</td> +</tr> +<tr> +<td class = "ARS">JAN., 1947:</td> +<td class = "ARS">Series II, No. 2—Samuel Wesley's <i>Epistle to a Friend +Concerning Poetry</i> (1700) and <i>Essay on Heroic Poetry</i> (1693).</td> +</tr> +<tr> +<td class = "ARS">MARCH, 1947:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/15656">Series +III, No. 2</a>—Anon., <i>Representation of the Impiety and +Immorality of the Stage</i> (1704) and anon., <i>Some Thoughts Concerning +the Stage</i> (1704).</td> +</tr> +<tr align = "center"><td colspan = "2"> + <br> + <br> +<i><b>PUBLICATIONS FOR THE SECOND YEAR (1947-1948)</b></i><br> +<br> +</td> +</tr> +<tr> +<td class = "ARS">MAY, 1947:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/14800">Series +I, No. 3</a>—John Gay's <i>The Present State of Wit</i>; and a +section on Wit from <i>The English Theophrastus</i>. With an Introduction +by Donald Bond.</td> +</tr> +<tr> +<td class = "ARS">JULY, 1947:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/14495">Series +II, No. 3</a>—Rapin's <i>De Carmine Pastorali,</i> translated by +Creech. With an Introduction by J. E. Congleton.</td> +</tr> +<tr> +<td class = "ARS">SEPT., 1947:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/14899">Series +III, No. 3</a>—T. Hanmer's (?) <i>Some Remarks on the Tragedy of +Hamlet</i>. With an Introduction by Clarence D. Thorpe.</td> +</tr> +<tr> +<td class = "ARS">NOV., 1947:</td> +<td class = "ARS"><a href = "https://www.gutenberg.org/etext/16233">Series +I, No. 4</a>—Corbyn Morris' <i>Essay towards Fixing the True +Standards of Wit,</i> etc. With an Introduction by James L. Clifford.</td> +</tr> +<tr> +<td class = "ARS">JAN., 1948:</td> +<td class = "ARS">Series II, No. 4—Thomas Purney's <i>Discourse on +the Pastoral</i>. With an Introduction by Earl Wasserman.</td> +</tr> +<tr> +<td class = "ARS">MARCH, 1948:</td> +<td class = "ARS">Series III, No. 4—Essays on the Stage, selected, +with an Introduction by Joseph Wood Krutch.</td> +</tr> +</table> +<br> +<br> +<div class = "indent">The list of publications is subject to modification in response to +requests by members. From time to time Bibliographical Notes will be +included in the issues. Each issue contains an Introduction by a +scholar of special competence in the field represented.</div> + +<div class = "indent">The Augustan Reprints are available only to members. They will +never be offered at "remainder" prices.</div> +<br> +<p align = "center"><i>GENERAL EDITORS</i><br> +<br> +<span class = "smallcaps">Richard C. Boys</span>, <i>University of +Michigan</i><br> +<span class = "smallcaps">Edward Niles Hooker</span>, <i>University of +California, Los Angeles</i><br> +<span class = "smallcaps">H. T. Swedenberg, Jr.</span>, <i>University +of California, Los Angeles</i><br> +<br> +<br> +<i>ADVISORY EDITORS</i><br> +<br> +<span class = "smallcaps">Emmett L. Avery</span>, <i>State College of +Washington</i><br> +<span class = "smallcaps">Louis I. Bredvold</span>, <i>University of +Michigan</i><br> +<span class = "smallcaps">Benjamin Boyce</span>, <i>University of +Nebraska</i><br> +<span class = "smallcaps">Cleanth Brooks</span>, <i>Louisiana State +University</i><br> +<span class = "smallcaps">James L. Clifford</span>, <i>Columbia +University</i><br> +<span class = "smallcaps">Arthur Friedman</span>, <i>University of +Chicago</i><br> +<span class = "smallcaps">Samuel H. Monk</span>, <i>University of +Minnesota</i><br> +<span class = "smallcaps">James Sutherland</span>, <i>Queen Mary +College, London</i></p> +<br> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Gamester (1753), by Edward Moore + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GAMESTER (1753) *** + +***** This file should be named 16267-h.htm or 16267-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/6/2/6/16267/ + +Produced by David Starner, Louise Hope and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/16267-h/images/img08.jpg b/16267-h/images/img08.jpg Binary files differnew file mode 100644 index 0000000..b44a185 --- /dev/null +++ b/16267-h/images/img08.jpg diff --git a/16267-h/images/img52.jpg b/16267-h/images/img52.jpg Binary files differnew file mode 100644 index 0000000..9662066 --- /dev/null +++ b/16267-h/images/img52.jpg |
