The Grecian Daughter: ''Tis his to give the law, mine to obey''

By Arthur Murphy

Henry Jones was born at Beaulieu, near Drogheda, County Louth, Ireland in 1721.

His working life began when he was apprenticed to a bricklayer. Jones, however, was keen to better himself and studied hard in his private time. He fashioned some complimentary verses, addressed to the corporation of Drogheda and together with some lines ‘On Mr. Pope's Death’, managed to attract the attention of Lord-chief-justice Singleton, who lived at Beaulieu.

In 1745 he obtained employment at the parliament house at Dublin. Jones, used the position to promote his literary talents and celebrated the arrival of Lord Chesterfield as lord-lieutenant of Ireland in a poem that was then presented to Chesterfield by Singleton.

Chesterfield asked Jones to accompany him on his return to London in 1748. There, he and his friends helped Jones to publish, by subscription, ‘Poems on Several Occasions’ in 1749, which delivered a handsome profit for the young poet.

Jones is though more noted as a dramatist and that, primarily, is due to his tragedy, ‘The Earl of Essex’ which he completed in 1752. Chesterfield introduced both the play and Jones to Colley Cibber, the Poet Laureate, who then introduced Jones to the manager of Covent Garden Theatre. Cibber would later attempt to secure the laureateship for Jones after his own death.

‘The Earl of Essex’, after being revised by Chesterfield and Cibber, was premiered at Covent Garden on 21st Feb. 1753, and played for seventeen sold-out nights. It was a triumph, and was equally well received in Dublin and then later in the provinces. It brought Jones over £500, a large sum even by today’s standards. The play was printed soon after its production, and eventually sold through four editions.

The success, unfortunately, was to be the ruin of Jones. His drunken habits, indolence, raw manners, and harshly arrogant temper appalled most of his patrons who soon withdrew their support. However, he seemed adept at keeping on good terms with Chesterfield for some years longer, but at length even he gave up on the relationship when Jones borrowed money from his servant.

Jones did continue to write and had made progress on a tragedy entitled 'Harold,' and, on that thin security, managed to raise money as an advance from booksellers.

He was rather more successful in his revelries with the acting profession. Jones continued to be on friendly terms with many of the leading actors although in his often drunk state he would harangue the more minor actors as 'parrots', but he repaid them with puffs and panegyrics. His charm and ease with a few lines were valuable commodities.

Whenever he was an inmate of sponging-houses he contrived to flatter any bailiff’s daughter or wife with verses on their beauty or talents, and, in the process, secured himself more comfortable quarters than he perhaps deserved.

Henry Jones died in the parish workhouse in April 1770.

After his death, Reddish, the actor of Drury Lane, acquired Jones's manuscripts, which included 'Harold' and three acts of an unfinished tragedy, 'The Cave of Idra.' This was completed by Paul Hiffernan, and re-titled 'The Heroine of the Cave,' was produced for Reddish's benefit on 25th March 1774.

• Language: English
• Publisher: Stage Door
• Release date: Jun 12, 2019
• ISBN: 9781787806443

Book preview

The Grecian Daughter by Arthur Murphy

A TRAGEDY, IN FIVE ACTS. AS PERFORMED AT THE THEATRE ROYAL, COVENT GARDEN

Arthur Murphy was born on 27th December 1727 at Cloonyquin, County Roscommon, Ireland, the son of Richard Murphy and Jane French.

After studying at Saint-Omer in France, where he was particularly interested in the Greek and Latin classics, he went on to pursue a number of career strands: as actor, barrister, journalist, translator, writer and as a playwright. He would also write under the pseudonym of ‘Charles Ranger’.

Between 1752 and 1754 he edited the Gray's Inn Journal. During this time he also translated works by the Roman historian, Tacitus, which were well regarded.

As a playwright he was a constant and prolific writer though, in the main, his reputation rests on only a small number of works.

As a barrister Murphy, whilst representing the Donaldson v. Becket appeal to the House of Lords in 1774, is thought to have first offered the term ‘wilful misconstruction’ in a case against the perpetual possession of copyright.

In addition to his plays and translations he wrote three biographies: in 1792 ‘An Essay on the Life and Genius of Samuel Johnson’, followed in 1762 by ‘Fielding's Works’ and finally in 1801 ‘Life of David Garrick’.

Somewhat bizarrely he was appointed Commissioner of Bankruptcy in 1803.

Arthur Murphy died on 18th June 1805 at Knightsbridge, and was buried in Hammersmith, London.

Index of Contents

REMARKS by Mrs Inchbald

DRAMATIS PERSONÆ

SCENE:—Syracuse.

THE GRECIAN DAUGHTER

ACT THE FIRST

SCENE I

ACT THE SECOND

SCENE I. A wild romantic Scene amidst overhanging Rocks; a Cavern on one side

SCENE II. The Inside of the Cavern

ACT THE THIRD

SCENE I. A Rampart near the Harbour

SCENE II. A Temple, with a Monument in the Middle

ACT THE FOURTH

SCENE I

SCENE II. The Inside of the Temple

ACT THE FIFTH

SCENE I

SCENE II. The Citadel

SCENE III. The Inside of the Temple

ARTHUR MURPHY – A CONCISE BIBLIOGRAPHY

REMARKS by Mrs Inchbald

This tragedy has been so rapturously applauded on the stage, and so severely criticised in the closet, that it is a task of peculiar difficulty to speak either of its beauties or its defects, with any degree of certainty. To conciliate both the auditor and the reader, both the favourable and the unfavourable critic, the Grecian Daughter demands a set of Remarks for each side of the question—and the good-natured side shall have precedence.

This play had, on its first appearance, the most brilliant success, and still holds a place in the list of dramas performed during every season. There is a splendour of decoration, a glow of martial action, events of such deep interest, and, above all, a moral of such excellent tendency, which concludes the performance, that its attraction can readily be accounted for, without the slightest imputation upon the judgment of the public.

Perhaps, of all the events recorded in history, that filial piety, on which the fable of this play is founded, may be classed among the most affecting—yet it was one the most hazardous for a dramatist to adopt; for nothing less than complete skill could have given to this singular occurrence effectual force, joined to becoming delicacy. In this arduous effort Mr. Murphy has evinced the most exact judgment, and the nicest execution.

If this tragedy has not the smooth flowing verse of Otway, Thomson, or Rowe, it possesses, in energy and fire, charms more theatrical; nor does the heroic so wholly engross every scene, but that it yields, at times, to melting pathos.

Another praise due to this production is, that wonderful events take place by the most natural agency. Incidents arise progressively from each other, till the last great incident of all, fills every mind with enthusiasm in the cause of virtue and justice—in the joy of an empire made free by the overthrow of its tyrant.

It is hardly possible to read this tragedy of the Grecian Daughter, without laughing as well as crying.