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    Inkle and Yarico An opera, in three acts
    Inkle and Yarico An opera, in three acts
    Inkle and Yarico An opera, in three acts
    Ebook121 pages1 hour

    Inkle and Yarico An opera, in three acts

    By Mrs. Inchbald and George Colman

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    Inkle and Yarico An opera, in three acts

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      Book preview

      Inkle and Yarico An opera, in three acts - Mrs. Inchbald

      The Project Gutenberg EBook of Inkle and Yarico, by George Colman

      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.net

      Title: Inkle and Yarico

      An opera, in three acts

      Author: George Colman

      Commentator: Mrs. Inchbald

      Release Date: July 5, 2011 [EBook #36621]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK INKLE AND YARICO ***

      Produced by Steven desJardins, David Garcia and the Online

      Distributed Proofreading Team at http://www.pgdp.net

      INKLE AND YARICO

      INKLE—BY HEAVENS! A WOMAN!

      ACT I. SCENE III.

      PAINTED BY HOWARD. PUBLISHD BY LONGMAN & CO. ENGRAVD BY HEATH.

      INKLE AND YARICO;

      AN OPERA,

      IN THREE ACTS;

      AS PERFORMED AT THE THEATRES ROYAL

      COVENT GARDEN, AND HAYMARKET.

      BY

      GEORGE COLMAN, the younger;

      PRINTED, UNDER THE AUTHORITY OF THE MANAGERS,

      FROM THE PROMPT BOOK.

      WITH REMARKS

      BY MRS. INCHBALD.

      LONDON:

      PRINTED FOR LONGMAN, HURST, REES, AND ORME,

      PATERNOSTER ROW.

      T. Davison, Whitefriars,

      London.

      REMARKS.

      This is a drama, which might remove from Mr. Wilberforce his aversion to theatrical exhibitions, and convince him, that the teaching of moral duty is not confined to particular spots of ground; for, in those places, of all others, the doctrine is most effectually inculcated, where exhortation is the most required—the resorts of the gay, the idle, and the dissipated.

      This opera was written, when the author was very young; and, should he live to be very old, he will have reason to be proud of it to his latest day—for it is one of those plays which is independent of time, of place, or of circumstance, for its value. It was popular before the subject of the abolition of the slave trade was popular. It has the peculiar honour of preceding that great question. It was the bright forerunner of alleviation to the hardships of slavery.

      The trivial faults of this opera are—too much play on words (as it is called) by Trudge; and some classical allusions by other characters, in whose education such knowledge could not be an ingredient.

      A fault more important, is—that the scene at the commencement of the opera, instead of Africa, is placed in America. It would undoubtedly have been a quick passage, to have crossed a fourth part of the western globe, during the interval between the first and second acts; still, as the hero and heroine of the drama were compelled to go to sea—imagination, with but little more exertion, might have given them a fair wind as well from the coast whence slaves are really brought, as from a shore where no such traffic is held 1.

      As an opera, Inkle and Yarico has the singular merit not to be protected, though aided, by the power of music: the characters are so forcibly drawn, that even those performers who sing, and study that art alone, can render every part effectual: and singers and actors of future times, like those of the past, and of the present, will find every character exactly suited to their talents.

      This opera has been performed in every London theatre, and in every theatre of the kingdom, with the same degree of splendid success. It would have been wonderful had its reception been otherwise; for the subject is a most interesting one, and in the treatment of it, the author has shewn taste, judgment—virtue.

      1 (return)

      No doubt the author would have ingenuity to argue away this objection—but that, which requires argument for its support in a dramatic work, is a subject for complaint. As slaves are imported from Africa, and never from America, the audience, in the two last acts of this play, feel as if they had been in the wrong quarter of the globe during the first act. Inkle could certainly steal a native from America, and sell her in Barbadoes, but this is not so consonant with that nice imitation of the order of things as to rank above criticism.

      PERSONS REPRESENTED.

      SCENE,—First on the Main of America: Afterwards in Barbadoes.

      INKLE AND YARICO.

      ACT THE FIRST.

      SCENE I.

      An American Forest.

      Medium. [ Without. ] Hilli ho! ho!

      Trudge. [ Without. ] Hip! hollo! ho!—Hip!——

      Enter Medium and Trudge.

      Med. Pshaw! it's only wasting time and breath. Bawling won't persuade him to budge a bit faster, and, whatever weight it may have in some places, bawling, it seems, don't go for argument here. Plague on't! we are now in the wilds of America.

      Trudge. Hip, hillio—ho—hi!——

      Med. Hold your tongue, you blockhead, or——

      Trudge. Lord! sir, if my master makes no more haste, we shall all be put to sword by the knives of the natives. I'm told they take off heads like hats, and hang 'em on pegs, in their parlours. Mercy on us! My head aches with the very thoughts of it. Hollo! Mr. Inkle! master; hollo!

      Med. [ Stops his mouth. ] Head aches! Zounds, so does mine, with your confounded bawling. It's enough to bring all the natives about us; and we shall be stripped and plundered in a minute.

      Trudge. Aye; stripping is the first thing that would happen to us; for they seem to be woefully off for a wardrobe. I

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