PRESERVATION; OR, THE Hovel of the Rocks: A PLAY.
PRESERVATION; OR, THE HOVEL OF THE ROCKS. A PLAY, IN FIVE ACTS; INTERSPERSED WITH PART OF LILLO's DRAMA, IN THREE ACTS, CALLED "FATAL CURIOSITY."
BY J. B. WILLIAMSON, DIRECTOR OF THE THEATRE IN CHARLESTON.
Performed in LONDON, and at BOSTON (Massachusetts) with the most flattering Success.
[COPY-RIGHT SECURED ACCORDING TO LAW.]
CHARLESTON: PRINTED BY T. C. COX, NO. 137, TRADD STREET, ONE DOOR FROM THE [...]AY. M.DCCC.
Prefatory Address.
ENGAGED, professionally, for a number of years in the direction of theatres, an intimate acquaintance with dramatic authors, early as well as modern, was an unavoidable consequence: the plays of Lillo, preeminently claim attention; the pure ethics, the striking example, the powerful sympathy, inculcated and excited in them, together with the sublime and nervous simplicity of his language, and pathos of his characters, rank him high as a dramatist: an elegant French Critic quotes some scenes of Lillo's George Barnwell, as "a standard of dramatic writing." To the mutations of manners, in part, and to the improved state of the English stage, are ascribable, that extreme sensibility, and refinement of taste, which condemn the plays of this author to the closet: to purge the passions by scenes of terror and agony, is no longer held as an essential of the Tragic Muse! The Play of "Fatal Curiosity" has been frequently exhibited under the direction of that excellent critic, the [Page vi] late Mr. Colman; but the sombre tints of the subject, the undivided interest of the incidents, chaining the mind to the heart-rending catastrophe, (after repeated efforts, on the part of the public, to relish the bold, but terrific colouring of Lillo) returned it to the shelf; sealed up from future representations, by faintings, groans, and every other possible expression of agony, in the audience.
Impressed with its merit, and sedulously pursuing every research for the public amusement, I took the Play to pieces, and interwove with it an episodical plot; with a view, by dividing the attention, without weakening the interest of the original, to relieve the incidents; and the course of events opening a probable medium for changing the catastrophe, I adopted, it:—In the performance it has answered my most sanguine expectations.
If the admirers of Lillo, in his majestic terrors, will forgive the freedom I have used; if the public can reap one additiona gratification at the theatre from my labours, my object is completely attained. I write not for applause; my [Page vii] end is not fame: Lost, alas! is that talent, for which I was covetous of praise—mute is the voice, which, from the rapturous applause of theatres, caught not the estimation of its own value, half so much, as from the reflected expression of my gratitude.—Peace, gentle Shade! yet, sweetly embalmed in the memory of an enlightened public.
The Characters, and all the retained Passages from LILLO, throughout the Play, are marked ['] with the note of quotation.
DRAMATIS PERSONAE.
- 'OLD WILMOT,
- Mr. WILLIAMSON.
- 'YOUNG WILMOT,
- Mr. CHALMERS.
- 'RANDAL,
- Mr. TAYLOR.
- 'CHARLOTTE,
- Mrs. PLACIDE.
- 'AGNES,
- Mrs. JONES.
- 'MARIA,
- Mrs. CHAMBERS.
- ARNOLD,
- Mr. MARSHALL
- MALIGN,
- Mr. TURNBULL.
- FLINT,
- Mr. PRIGMORE.
- BOY,
- Mrs. MARSHALL.
TIME—Twenty-four Hours.
PRESERVATION: OR THE HOVEL OF THE ROCKS.
ACT I.
SCENE. A View of the BEACH from amongst the ROCKS, towards day-close; clouded horizon; sea in motion; distant thunder, and some lightning.
SCENE II.
A view of the Sea running very high and breaking. Several Guns are irregularly fired. A Vessel is seen dismasted and beating in the storm. She strikes on a Rock and sinks. Thunder and lightning.
SCENE III. A Parlour in CHARLOTTE's House.
This storm is felt at sea: Some ship has fired Repeated signals of distress.
SCENE IV. The BEACH. Distant view of the Sea.
The wind's abated, Flint, and there's less surf! We shall go off by day-break. Where are the men?
Below upon the beach: They hauled the boat up as the gale came on; and are now getting her afloat again. It was a smoaker!
Faith was it! So much the better for us who live by it. Were any of the people sav'd, think you?
Not a soul, I warrant; I saw her upon her beam ends by the lightning—She drove stern in, and went down like a stone.
There was no boat went off at their signals!
It was impossible: The wind blew in shore, the tide was in, and the breakers roll'd mountain high! She went down at the North Point. We shall get at her at ebb. I shall not go to bed; but watch if any thing comes on shore.
That's right! And mind we have no claimants sav'd on hen-coops and spare yards—to balk our industry—no lingering wretches 'scap'd amongst the rocks. You understand me—'twill be a friendly part.
Psha! Never fear; d'ye think I'm grown too tender in your service, here on the Cornish coast to risk our lives for gain, and give it back? No, No!
And, d'ye hear? Bring me her papers, if you find them—bills of lading—they are the first to be taken care of. Besides I have a business for you concerning my long-liv'd kinsman, Wilmot.
A business! Why, what would you do further? They've nothing left!
Do you, who've help'd on their destruction, ask me that? I have enmity and interest too to spur me on. His lingering days detain the inheritance, that by young Wilmot's loss, must now be mine. Tho' he has mortgag'd his life-interest in it beyond its value, help may yet step in 'twixt him and death. He lives too long: But of this hereafter.—The wreck is our first care; we, who endure the bleak blasts of the storm, must be rewarded for our patience.
SCENE V. The inside of the HOVEL; A Lamp burning. Young WILMOT discovered lying on a rude Couch, the BOY chafing his temples.
You're amongst friends, and safe; tho' wreck'd here on the coast of Cornwal.—
ACT II.
SCENE. The ROCKS.—View of the Sea. Calm horizon. External view of the Hovel.
Be not alarm'd my dear Wilmot, that I do not return; know that your Charlotte is [Page 27] well, your parents both living, and oppress'd by no care but what your fortune will relieve them from; be perfectly at ease in this intelligence: But, your friend, your unhappy Arnold, is undone. Lucy, his best beloved; the mistress of his fate; what shall I tell thee? Is no more— perhaps she lives—but where?—I am distracted— pardon this incoherence—many years are past since the family plung'd in inextricable ruin, have left the place: My enquiries are fruitless—pity is a stranger here, they answer my impatience with a coldness that tortures me to madness. Embrace your fortune, Wilmot, while it smiles; let not my distraction damp your joy; you will find me, at the inn—but what time, I know not; for till my Lucy is found, life is for no other purpose than to seek her, if living, or, by laying it down, to follow her, if dead.
SCENE II. A room in OLD WILMOT's House.
ACT III.
SCENE. CHARLOTTE'S House.
SCENE II. Another part of the Beach—a Cave under the Rock.
SCENE III. A STREET, in Penryn.
ACT IV.
SCENE. OLD WILMOT'S House. A Saloon, and entrance into the interior apartments.
SCENE continues.
SCENE II. The BEACH, amongst the Rocks.
Come hither, young one—you must deliver up that box, it belongs to the wreck.
What purpose! Why to be taken care of, to be sure.
You! No, no, my boy! The owner wont come in a hurry to claim it—he's gone to sea again.
Ay; in the maw of a shark. So make no more words, but hand us over the box directly—or we shall use you a little roughly.—
Sav'd or not, we'll have the box—why you young robber would you plunder the wreck? Seize [Page 56] him, lads, and duck him; that he may tell no tales— but search him, first. He has more valuables about him that belong to the ship.
Let go the boy! For what? He's a thief: He has been plundering the wreck.
Come lads! We're losing time. Would we had silenc'd him!