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    The Surrender of Calais A Play, in Three Acts
    The Surrender of Calais A Play, in Three Acts
    The Surrender of Calais A Play, in Three Acts
    Ebook113 pages1 hour

    The Surrender of Calais A Play, in Three Acts

    By Mrs. Inchbald and George Colman

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    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    The Surrender of Calais A Play, in Three Acts

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      Book preview

      The Surrender of Calais A Play, in Three Acts - Mrs. Inchbald

      The Project Gutenberg EBook of The Surrender of Calais, 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.org

      Title: The Surrender of Calais

      A Play, in Three Acts

      Author: George Colman

      Commentator: Mrs. Inchbald

      Release Date: July 3, 2011 [EBook #36607]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK THE SURRENDER OF CALAIS ***

      Produced by Steven desJardins, David Garcia and the Online

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

      SURRENDER OF CALAIS

      EUSTACHE.—HERE TAKE THIS TRASH.

      ACT I. SCENE II

      PAINTED BY HOWARD PUBLISHD BY LONGMAN & CO ENGRAVD BY W POOLE

      THE

      SURRENDER OF CALAIS;

      A PLAY,

      IN THREE ACTS;

      By GEORGE COLMAN, the younger.

      AS PERFORMED AT THE

      THEATRE ROYAL, HAYMARKET.

      PRINTED UNDER THE AUTHORITY OF THE MANAGERS

      FROM THE PROMPT BOOK.

      WITH REMARKS

      BY MRS. INCHBALD.

      LONDON:

      PRINTED FOR LONGMAN, HURST, REES, AND ORNE,

      PATERNOSTER ROW.

      WILLIAM SAVAGE, PRINTER,

      LONDON

      REMARKS.

      In this drama are comprised tragedy, comedy, opera, and some degree of farce—yet so happily is the variety blended, that one scene never diminishes the interest of another, but they all combine to produce a most valuable composition.

      In the rank of excellence, the tragic parts are to be accounted foremost; and, among these, the original and admirable character of Eustache de St. Pierre stands first.

      Other characters, of the author's invention, are likewise so prominent, that Edward, our renowned conqueror of Calais, is made, perhaps, the least interesting, as well as the least amiable, warrior in this whole dramatic field of glory: and yet, such is the equitable, the unbiassed judgment of the vanquished, they profess a just, a noble, an heroic reverence, for the bravery, and other qualities, of their triumphant enemies.

      The exception to this general rule of patriotic courage in the French, is most skilfully displayed in one short speech, by a feeble and fearful citizen of the besieged town; in whom extreme terror of the besiegers is so naturally converted into malignant abhorrence, that the man who, in all Calais, is most ready to die for his king and country, is, by the aid of certain political logic from this alarmist, openly accused of disloyalty, because he will not slander, as well as fight, his foe. This speech, with some others, no less founded on the true disposition of lordly man, subdued by the humiliation of fear, would falsely imply—that the play of The Surrender of Calais was of a later date than fifteen or sixteen years past, before which period the author must have had much less knowledge of the influence of apprehension in the time of war, than experience, or rather observation, has since had the means to bestow upon him.

      It may be said, that Mr. Colman gave the virtues of justice and benignity to the valiant part of the French, merely as instruments to resound the praise of the English.—Whatever were the author's views, the virtues remain the same, and honour the possessors of them, even more than their eulogiums can do honour to the British.

      In the first act, the weak, mournful huzza, wrung from the throats of the half-famished soldiers, and that military subordination exhibited between Ribaumont and La Gloire, upon the pronunciation of the word march, are happy stage occurrences, in which the reader's fancy will not perhaps delight, for want of the performer's tones and action.—But there are other scenes so independent of the mimic art, that acting can rarely improve them—Such is the scene in the Hall, the delivery of the keys, the farewell between the father and the son, with others equally impressive. But the highest panegyric that can be pronounced on this play is—that The Surrender of Calais is considered, by every critic, as the very best of all the author's numerous and successful productions.

      DRAMATIS PERSONÆ.

      SCENE—Calais, and its Outskirts.

      THE SURRENDER OF CALAIS.

      ACT THE FIRST.

      SCENE I.

      A View of Calais, the Sea, and the English Camp.

      Enter Ribaumont and La Gloire.

      Ribau. Thus far in safety. All is hush. Our subtle air of France quickens not the temperament of the enemy. These phlegmatic English snore out the night, in as gross heaviness as when their senses stagnate in their own native fogs, where stupor lies like lead upon them,—which the muddy rogues call sleep. We have nearly passed the entrenchments;—the day breaks.—La Gloire!

      La Gloire. My commander!

      Ribau. Where did you direct our mariners to meet us, with the boat?

      La Gloire. Marry, I

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