6^6 ^^^"^ l^ful (jekQC f /\Co^'^ GRUB MUDGE AND CO. PS 635 .Z9 |H669 Copy 1 A COMEDY / BY LUCAS HIKST, ESQ., AUTHOR OF " SUDDEN REFORMATION," " THE FALL OP ELESIE," " THE SACK OF ROME," " DISMAL SWAMP," ETC. ETC. TOGETHER WITH THE STAGE DIRECTIONS, CAST OF CHARACTERS, COSTUMES, ETC. (As played at the Chestnut Street Theatre.) SECOND EDITION: REVISED AND CORRECTED: TOGETHER WITH A PREFACE BY THE AUTHOR. PHILADELPHIA: STOKES AND BROTHER, 209 Chestnut Street. 1853. Tf>43^ ,^1 mi Entered according to Act of Congress, in the year 1852, by LUCAS HIRST, in the Office of the Clerk of the District Court of the United States in and for the Eastern District of Pennsylyania. PHILADELPHIA: T, K. AND P. a. COLLINS, PEINTEKS. EDITORIAL INTRODUCTION. It seldom occurs in the history of dramatic literature that we find gentlemen who are engaged in the active and laborious duties of professional life, enjoying sufficient leisure to put forth produc- tions of that description. The name of T. Noon Talfourd, at once a learned jurist and the distiiiguished author of "Ion," is perhaps the most remarkable instance of the kind which now occurs to us. The comedy contained in these pages is an humbler instance, of a similar character. The author of these pages is not a playwright by profession ; but he evidently possesses a rich vein of comicality and wit, which, bm-sting through the shackles of legal associations, and of graver studies, has glittered forth in the sparkling and brilliant coruscations which lie scattered, in frequent and rich pro- fusion, throughout the following production. Upon a careful examination of this play we were convinced that its publication would redound to the author's credit, and we have, therefore, urged him to consent to its immediate appearance, in its present form. In 1850, the play was put upon the stage, at the . Chestnut Street Theatre in this city ; and, as we learn, though hastily gotten up, and badly cast, it was received with strong marks of popu- lar admiration ; that it occupied the first place of the evening's per- . formance, and that it took the audience by surprise, in consequence of the many striking and humorous novelties which it contains. The reader will here meet with passages of polished language and of brilliant sentiment. There are many powerful hits at the weaknesses of mercantile life, and many exposures of the meanness, the heart- less selfishness, and the disgraceful perfidy which characterize, too often, the conduct and the intercourse of men. We are convinced that the literary and moral merits of this comedy will gain in popular approbation, till it becomes one of the standard and permanent favorites of the comical muse. When pro- IV EDITORIAL INTRODUCTION. perly put upon the stage, as it surely deserves to be, it will appear to great advantage, and will by no means be considered as a still- born or an abortive production. We believe that it is now submitted to the public in its original state ; and, unless we are very much mistaken in our estimate of intellectual merit, this comedy fur- nishes, in its leading characters, an untrodden arena, and an un- appropriated domain, wherein the highest comic genius need not disdain to put forth its noblest and proudest exertions, and in which it may heighten the lustre of its most brilliant laurels ! In a word, the reader will here find, beyond all question, a very comical comedy ! It would be out of place to illustrate the peculiar merits of this comedy, by quoting any particular passages which possess superior merit. We will remark, however, that the leading cha- racters are full of interest — are boldly drawn, and are highly original. Of the comcedicB personm, we observe that Charles Snap- per is a young, penniless, and worthless spendthrift about town, who lives according to the modern maxim of ''going it on shape and talent." His part is full of action, and he carries the piece through by a novel expedient, which is gradually and beaiitifuUy unravelled as the play progresses. "" Mr. Grub Mudge is the principal spoke in the histrionic wheel ; he is the leading and most essential character in the piece, and is a very excellent representative of a large and important class of every commercial community, who possess among their number per- sons of very opposite principles and practices. He is one of the better sort among them ; and those who resemble him, and imitate his wholesome virtues, deserve the respect of every one. S. Philadelpha: Dec. 10, 1852. PEEFACE. The speedy demand that has been made for a second edition of Grub Mudge & Co., warrants the author, while complying with the request, in advancing a few remarks in justification of his play, inasmuch as it has been the subject of wholesale personal vitupera- tion. The scene lies in London, and there remains until its close. Any one who has had the slightest knowledge of theatrical pro- ductions, will find that the author intended that the merit of this play should rather be pleasing than striking ; or, in other words, that the busy activity of the plot and design would, without diffi- culty, carry off all other imperfections ; and be overlooked by a more rigid scrutiny into its merits. During its performance the audience is kept constantly alive ; and, as the principal intent of comedy is to entertain and afford the care-tired mind a few hours of dissipation, a piece consisting of a number of lively, busy scenes, intermingled with light easy conversation and characters, vfhich, if not glaring, are at least not unnatural, will frequently answer that purpose more effectually than a comedy of more complete and labored regularity. Yet this play is not entirely devoid of merit with respect to character, since that of Mr. Grub Mudge is well drawn, and may be considered as a just portrait of a merchant of the present age. Snapper is a fair impersonation of a young modern go-ahead, living by his wits, and ready to catch at straws as an auxiliary to fortune. And how many by such means have been successful. Tilbury, the aspiring clerk, is a part worthy of admiration, because of the active part he shortly takes, although bemoaning at first the hard fate that had placed him there. The truth is, he becomes a very important personage without being conscious of it. When he was placed in the house of Grub Mudge & Co., he was put there like most young men of fortune are, of the higher order of society (whose fathers, throwing aside foolish pride and prejudice), to enjoy the profits and extend the limits of that commerce which is the staple basis of the nation. Cicero has said that the same people should not be at once the lords and factors of the earth : "Nolo eandem populum imperatorem et portitorem esse terrarum." And this opinion might be consonant to the principles of the Eoman government, but that great statesman did not live in the enjoyment of that liberty which now sustains, extends, and ennobles com- merce. Delia Mudge is a character thrown in as a means of inspiring the ambition of Snapper, and by which Mudge' s reputation and that of the house are sustained. I did not intend to make "sowjos," or so far insult our worthy- merchants, in whom the life of our existence is kept up, by placing them in that category. And had the critics had half an eye, they would have divined my object in putting them ia the position I 1^ Yl PREFACE. have. Snapper manages to play upon tlie unguarded credulity of the merchants, and hence effects his purpose. The introduction of the words, ^^ Doctors' Commons,'''' was for the purpose of giving a tone to the play ; it is also synonymous with a law court, and has reference thereto, in the sense used, it being a place where civil matters are heard. In one or two places I have used it as a play upon words ; and by a reference to the regular place where such matters are heard; and where employed, the words are understood. Another objection made to this play is, that Mr, Mudge, in his dialogue, says that certain goods were marked paid; this is of freqtient occurrence in mercantile life. Again, that the idea of the queen borrowing money in the manner stated in the play, is objected to as absurd. In this objection my critics have not displayed much reading. Had they just turned to the most modern of dramatic authors, Bulwer, they would have found the following passage : — Id Sec. The affairs of England, sire, most urgent ; Charles the First has lost a battle That decides one-half his realm. Craves money, sire, and succor. Louis. Pie shall have both. Eh, Baradas ? In other words, the queen means the government. But the great point in dramatic representations is, to throw every material point that has any link in the unravelment of the plot immediately before the audience, on the stage, and not tell them of it. Now, here it was more than necessary, as it is employed as a means of decoying the merchants by the artifice. Where the characters are real, the incidents interesting, the catastrophe pleasing, and the language pure, spirited, and natural, the play will then meet with fair patronage. The great point here, is to show the absurdity of suspicion. But there is a class of men in this city who are so barren of intellect that they find no entertainment or knowledge in themselves or any one else. They, however, have acquired a knowledge of the use of the most absurd figures that I ever recollect to have seen on paper ; and these are the yac/c-asses that write for the papers. True criticism is the ap- plication of the pen to the paper, as the artist to the canvas, when he marks out with his pencil the several applications of taste and good sense ; and to distinguish what is faulty, and what is worthy of admiration ; and in such a discrimination, the critic must keep up the natural, pure flow, without descending, where his mind fails, to the very lowest vulgarisms in order to make his figure happy. The remarks on Grub Mudge & Co., I am sorry to find, savor of such a low emanation that the critic's breed cannot be mis- taken. Hence, they "turn awry and lose the name of action." We are informed by Aristotle, that unity of action in dramatic composition is only necessary to judge of the excellence of the per- formance ; because, what may be found fault with in the bureau, will appear perfectly proper and consistent on the stage. I have a number of plays before me that were condemned before they ap- peared, many of which are now considei'ed admirable productions. PREFACE. Vll An author, it is true, will compose in such a manner as will be agreeable to the feelings of his readers ; yet, at the same time, there may be loose objections found by those who are disposed to be malignant, and attack the man and not his writings. We are told that Homer was acquainted with no system, yet he composed what all posterity has admired. He, however, is excused on the ground that no human genius is perfect. But small critics in everything will pick a flaw, seize an unguarded straggling outpost, and imagine themselves in possession of the reins of his author ; in other words, they steal a goose and give the giblets in alms. Accustomed to reading one author, they plumb everything by it. Down comes the rule and compass, and away they set to butchering the angles ; and, after taking the length, breadth, height, and depth — swear it wants the color, expression, grace, purity, learn- ing, air, taste, and the grand contour of Shakspeare ! And because we did not live in that age, or follow him, we are to be told that we'll go down, down ! Drunkards, by Scripture we are informed, go down, and that authors go up. Poor, dear man ; he read his Bible far otherwise than we have. We have said that in comedy there is nothing that renders it liable to censure, if there be a pro- per unity of action and subjects, and that the unities of time and place be as much as possible preserved, properly linked together, and the stage not evacuated until its close. The critic would have had me introduce vulgar, low expression, only to be found in his office ; and where his low genius fails to afford him mean similes, he gives the whole of passages, leaving the public to infer what it is impossible for him to convey. In those passages pointed out by the critic, I now propose to prove them justly consonant in all, not only on the stage, but in the closet. After the Erato skips the most pointed parts of this play, he alights on page 24 ; and to this I shall now direct my attention. Time may be said, figuratively, to tread, or pass, or it may sweep over us like the waves, unheeded, until "the hour's fate" of our destiny comes, when it is too late to recall what has passed; we do not "see or heed it," and hence we are compelled to meet it. And even in that sad hour, we dream of things we hope to enjoy, while destiny is closely thickening around us. Then it may be considered passed, and " so the joys that ne'er will come again." We may also watch the burning of a lamp, and so com- pare it to destiny. It is a simile from the Bible, aptly applied. The soliloquy, also says, "yet in the midst of all this warning, man fells man, and trifles with his rights ;" and then referring to what has transpired in the pla}^ he saj^s, "reflect," or, in other words, circulate the report of man's misfortune, and " all revel" in it; or, that which "adversity" brings and enjoys it. The Duke de la Rochefoucault has somewhere expressed the same idea, though in difterent language: "There is something not unpleasing in the misfortunes of our best friends." On page 25 "audacity" may "flash," or appear, or be assumed, or be exercised over man's judgment, and his weak or "melient foibles;" and "assume a virtue" that "audacity" (man) wears when others will (still having a reference to what has occurred in this play) believe the report, or hang upon the breath (man) that Vlll PREFACE. has circulated it, not thinking from whom and from whence it came ; which will be soon mistaken for " wisdom, wealth, and power," and so secure him *'all virtue and protection !" By taking this view, and reflecting on what has been previously said and done in this play, the passage is perfectly consistent and proper. And so, Mr. Critic, return to the abode of Agapemenon, *< Where great Pan, who with upcast eyes, Then sighed for earth to lay his lair — That wing'd as swift as seraph flies, He would his spreading couch were there !" On page 26, Scene IV., Tilbury soliloquizes on the subject of Fortune. He speaks of how "she enriches her votaries," or those who follow her; that she "flutters up and down, till at last her merit (fortune) gives where least it is expected." An occurrence which takes place every day. Again, speaking metaphorically, " She jests — she raves — she wills — She woos — yet seldom stays To reap the harvest of her seed." Now she may — she will lay out the plan of fortune in our minds, which may be called " seed," yet not stay; or it (fortune) may fail to bring us what we expected from the experiment. " Mine was made of toys and impudence." Refer to what Tilbury did, and you will find this line faultless. "The most trifling scheme that you can forge," or suggest in a "moment," by "accident," or that flies before you, i. e., in your imagination ; or, in other words, when you behold a certain thing, which you think, if quickly seized, caught, and shrewdly managed, or that your natural ambition or activity of mind will prompt you to try, will " oft respond prophetic," because you prophetize it will, to your will. We often say we prophesy that such and such will come to pass ; and so these lines mean to convey, that, by your ingenuity, artifice, and the applying a certain something to use (mechanical, if you please), it may, I prophesy it will, respond in future ; or, "prophetic" to your will. By the energy and impudence of Tilbury, he becomes one of the first houses ; and, in the concluding portions of his soliloquy, he tells you how he met with his fortune, and actually explains the aforegoing passage entire, and to the satisfaction of even a casual and unreflecting reader. When the Editorialist said that this play was original in plot, he spoke a verity, and meant that as it is here laid out it was novel ; not that the same ground had not been gone over before — but the manner of its development was original, A story in a play may turn on "financial difSculties," and yet be travelled over in a way far diff"erent from that represented in any previous production. The critic, notwithstanding his objections to certain ideas in this play, seems to have committed a great blunder in having confounded Newgate with the Prison in White Cross Street ; the latter of which is the only regular apartment where debtors are confined ; but the prisoners may by habeas corpus be removed to the King's Bench PREFACE. IX Prison, where better accommodations are afforded. In order to avoid further objection (although I think in the sense used before it was correct), I have altered the words ''Doctors' Commons" to that of the Prison in White Cross Street. The critic's mention of the word "pellucid," not a little staggered me (knowing his preten- sions to college-scrubbings) — as that word strictly refers to features, or material matter, and not letters. The use of the word "Dia- phragm" is just as inelegant, inappropriate, and vulgar, as the words "go it while you're young," as dignified by the critic's application of them. The college Birch seems to have inspired this Oak with an unlimited command over the use of words and countries, only known to him in his dreams. Hence, he might well say, "we should probably have to look in vain for a worthy comparison for it" — for the bare mention of " Thebes" and the "Pyramids" would raise his "special wonder" 'mid the clouded fumes of indigestion, rising o'er his burnished head ! Whether his feelings arose from over potations, or this enterprise, he has not informed us — more probably, from the bundle of books under his arm (and not in his head), as a clown bears a bauble, of which he knoweth not of; or as the player did the pilfered verse — in his fuddling cap ! — W^hen strange eruptions Diseased by nature's phlegm, Oftentimes breaks forth, Unruly to command ! Mention has been made of the extravagant manner in which the Editorialist has been pleased to remark on passages that "lie scattered throughout" this play. To this I would answer, that an editor is never considered guilty of an indecorum in praising his principal. How far he has erred in his estimate of those passages, he leaves it to those fittest to judge — the piiblic. This play was written by one of themselves, and whatever merit it possesses will depend entirely upon their continued encouragement. It has been said, great things were expected from the leisure of a man who "turned aside" from the scene of professional life, and retired to employ his mind in an occupation far different from that of his existelice. I did not write for profit or reward, or with au intention of taxing the press — but for amusement, and to oblige a friend who had "bantered" me, I have, therefore, nothing to con- gratulate myself upon, unless it be the malice of a hypocrite. Wrapt in the midst of my business, I did not expect to put forth a work overladen and strained with new ideas, to explain or direct the operations of others. I have, however, illustrated and enforced morality and justice; delineated the characters and passions of mankind, because I thought the merchants here required it, and I am content. I shall conclude my preface, for the benefit of the critics, with the following happy quotation, which I think Isocrates makes in one of his orations to the Sophists : " That it is far more easy to maintain a wrong cause, and to support paradoxical opinions to the satisfaction of a common auditory, than to establish a doubt- ful truth by solid and conclusive arguments." LUCAS HIRST. CAST OF CHARACTERS, AND COSTUMES, AS PERFORMED AT THE CHESTNUT STREET THEATRE, IN 1850. GRUB MUDGE, a London Merchant. Full black; short knee breeches; white cravat; cane Mr. Ellsler. TILBURY, AN ASPIRING Clerk. Plain light suit. Afterwards, straps, standing-collar, and polished boots *' Richardson. SNAPPER, A MAN ABOUT TOWN. Cross-barred pants (fashionable); blue dress-coat and gilt buttons ; cravat ; polished boots, and small cane *' Baker. GRABEM, ONE OF the knowin' ones. Gray suit " Young. BILLINGTON. Short nankin pants, long straps ; umbrella, spectacles, and overcoat . . . . " G. Stone. PEPPER. Black pants; white cravat; long dress coat " Bayley. CROWQUILL. White pants; black dress coat; umbrella; specs ..." Henry. BULL. Plain suit, dark " Lewis. JOHNS. Nankin suit, cane, and long cravat . " Savage. GUNNELL. EuU black suit ; white cravat . " Worrell. SPINDLE. Nankin suit; umbrella ....*' Bowling. SMALL. Gray suit " *Langdon. CAPIAS. Plain suit ........." James. CONSTABLE. Plain suit " Jones. WRITALL, A Messenger. Tight-kneed yellow breeches; crimson plush coat ; shoes, and large buckles '' Calladine. SYKES. Plain dark suit " Sparks. DYKES. " " " Bates. NEWSBOY. Ragged suit, and straw hat . . Master George. DELIA MUDGE. White dress Miss A. Eberle. GRUB MUDGE AND CO. ACT I. Scene I. — A room in the Commercial House of Grub Mudge & Co. Tilbury discovered sitting on a very Jiigh stool at desk in c. Large pen behind his ear. Pens, papers, books, &c., distributed. Maps, desks, gun above desk, L. and C. Door on l,., second entrance ; also, door in M. F., and wiJidow above, open. Til. DoomM by fate to die with the consumption ! Driv- ing this cursed quill all the days of my life ! What a stupid old block my dad was, to direct in his last will and testa- ment : "Imprimis; you John Tilbury, of Dorsetshire, must become a London merchant, or lose my entire estate : in which event, I bequeath it to the most dutiful of my family." So much for the imprimis. And there's my mother, too — Lady Tilbury, with a jointure of three thousand pounds a year — indulging in all the frivolities of the age ', whilst her devoted son John (in obedience to his father's will and that provoking imprimis) is compelled to sit from morning till night, wasting, like a ball of soap, in the accounting-house of Grub Mudge and Company. [ Writing.'} I shall never finish this " Im- primis !" pshaw ! bills of lading one should have said. Old Mudge gives one no peace. Go here ; go there ; and be sure and be back within five minutes, are the constant words. Then, away I must go ; then back again to this " Imprimis !" Here he comes ! [Enter Grub Mudge, L., in deep thought.} Fifty-five bales of South-Sea cotton, at seven and three quarters, to Cooper, Smith, & Pottington I Mudge. [c] Monetary afi'airs decidedly in the decline ; trade fluctuating; cotton low; probability of corn going up; 12 GRUB MUDGE AND CO. [AcT I. hem! What an unaccountable and mysterious piece of machinery this mercantile traffic is, to be sure ! All conjec- ture ; all theory. Here we are ! up to-day — down to-morrow. Oh, that all my affairs were amicably settled, my ships safe in harbor, and that old Grub Mudge was once more fairly seated at home, contented and free ! Alas ! this is not my fate. Tempests, winds, rocks and water, hold my destiny within their gripe ! — Tilbury, boy, hast been out to-day 't What news upon ^Change ? Til. Imprimis ! Dull enough, indeed, sir ; sad times ! Sharp talking about Billington & Co. Mudge. Zounds ! I have indorsed for that house — -and heavily. Here's sad news, indeed ! Til. Pepper & Crowcjuill, sir, hard run ; paper imprimised at two, and knock' d off at three per cent. ! Mudge. You amaze me ! Til. And, as for Bull & Johns, sir, they are teetotally im- primised ! Mudge. Mercy on us ; we shall be irretrievably ruined ! Enter Grabem and Capias, m. d. Grah. [L.] Is Mr. Mudge within? ^To Til. Til. There is Mr. Mudge, sir. Grah. (c.) [^To Mudge, Tilbury observing 7[ Mr. Mudge, we are here, in the discharge of a very unpleasant duty ; the firm of Gunnell & Small has this day failed, and paying scarcely five per cent, on their paper. You were found in- dorser to the amount of three thousand pounds ; for the which, the Spindles have placed in my hands a capias for your apprehension and confinement. Our orders are impera- tive ; therefore, pay the debt, or go with us to prison ! \_Ta. [l.] I say to you that you know not yourselves ; your value is in proportion to the length of your shadows ; in the morning you're as tall as cypress, and strut in every public place, doing mischief; at noon your diminished shadows fall about your heels ; whilst the rays of the sun last, space seems too small for such beings, which the shades of night extinguish. How well you've managed the present crisis ! you deplore the sad reverses ; is it the fault of the times ? No. 'Tis the fault of yourselves. Scene iv.] grub mudc^e and go. 35 Mud(je. \_A(Ivaii<:iii(i.] Now, gentlemen \to merchants'], sign this paper. It contains a full ackuowiedgment that you have done me wrong, and that I owe you nothing. Re- fuse, and you know me; I Avili not be trifled with. Sign it \_merchants hesitate], or to-morrow's sun will shed its lustre upon other heads than yours. Sign it, I say. ^Tliet/ si