822 B93 \ Sau Digitized by the Internet Archive In 2021 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/faustmargueriteeOOburn AUS? AND MARGUERITE. An entirely new Original Trabestie, IN ONE ACT. BY I’, GC. BURNAND, Esa., (Member of the Dramatic Authors’ Socicty,) AUTHOR OP Alonzo the Brave; or, Faust and the Fair Imogene, Villikinz and his Dinah, Lord Lovel and Lady Nancy Bell, Romance under Difficulties, In fora Lloliday, Dido, King of the Merrows, Deerfoot, Fair Rosamend, Robin Hood; or, ‘The Foresters Fete, Acis and Galatea, Ixion; ; or, the Man at the Wheel; The "Deal Boatman, Patient Penelope ; or, the Return of Ulysses, Madame Berliot’s Ball; or, the Chalet in the Valley, Venus and Adonis; or, The Iwo Rivals and the Small Boar, Rumplestiltskin ; or, the Woman at the Wheel. t AND PART AUTHOR OF B, B., Volunteer Ball, Turkish Bath, Carte de Visite, The Isle of St, fropez, Easy Shavi ing, &c, LUNUVUN: NEW YORK: SAMUEL FRENCH, LTp., T HENRY FRENCH, PUBLISHERS, PUBLISHER, ~ 8 9, STRA N die 96, WEST 22np STREET. TORONTO: | 8. B. 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Ao —Suyooyjy Oy,_—Suljyurg Aoyv oinzord vB ‘poonpot [OqoIG—, AOSSOXG ,, VYIAV]Y OUVE ‘SNIVINOQOW ZLYVH HHL NI ANOWYVH HO WAVO-AT Nas [ JuetUN}IOXxA, OFVIEdG puvry —uondns1ojuy—ousog oaory Wij | IVq-Moug B 10 IVq-soo(y V YNOYIAL Yono.1Tyy Suroy—syoltg AvpnSo1y puv avpnsoy —pud-s,[JeAy OF FSIA Y—powvar volar wouooog Jo loqtunu v jo oouvavodde g[Quyavuloy—T[oAvijg 10 *Ud]O}g “ysor] Univ, PLB. Sho T \OoOMabceh bb Wew irr a] c en, x¢ Ca FAUST AND MARGUERITE. ————_—. —— ——————————— = Scene First.—Faust’s Chamber of: Orrery and Liitle Back Parlour of the Apothecary’s Shop. Waaner discovered pounding with a pestle § mortar, L. c. Music, “* Nix my Dolly.’ Waener. In mixing these here draughts one must be cautious ; _ How nasty, or as bigwigs call it, nauseous. Old Doctor Faust’s gone out—I hope he'll stop, And I’m left all alone to mind the shop. | _ When I grow up—say twenty or before, [ll write “‘ Dispensing Chemist” o’er my door; And as I never could learn much at college, I will at once dispense with any knowledge, - And if at first I should make some mishaps, And give right med’cines, but to wrong chaps, Some arsenic here—a little strychnine there, Yet will I take my fees, and talk so fair, Till old maids say, ‘ Well, it must be confest, Whate’er he did, he did it for the best.” (knock, r.) Come in! : Enter VALENTINE, R. VALENT. Oh, sir! 3 WAGNER. A p’liceman been and cracked his Head in a seufile? This is first-rate practice. Vatent. Rash boy, beware! Keep off! what would you do ? . I want your master, Dr. Faust, not you. G FAUST AND MARGUERITEL [S0."4: Duet, ‘ Nix my Dolly.” To fill up a pill box, I was born; My name it is Wagner, all forlorn Shake away ! Here in my hinfancy I come From the Hinfant Horphan Hasylum. Nix my Dolly, pills take away. Now we are but wasting our time in play, Your wound must be dressed in the proper way. VALENT. Get away! : ’Tis a toothache—I’ve got not a crack on the wig. Siesen. Then I'll have it out, if it’s ever so big. Six so jolly shall come away ! (dances at him with dentist's pincers—V ALENTINE avoids him, is rushing from the door, when enter Faust, x. door, who is knocked into an arm chair, L. ©.) Faust. What means this noise? boy, answer—no evasion. Waaner. We were but having, sir, a consultation— A conference. Faust. Indeed! I hope you-two Will settle more than conferences do. What is’t ? a toothache ? Vatent. I’m so wretched! (like picture in advertisement) Faust. Bah! (gives him a box of pills) VaLent. (gives Faust a shilling) Cured in an instant by one box—ha, ha! (crosses to R.) Faust. By one box—you'll buy two or three, my man. Vatent. I'll advertise you everywhere I can. A pillar of the state you are; I will Consider you next to Sir Robert Pill. Wacner. I'll hang his photograph, with frame complete, Next to the portrait of fair Marguerite. Faust. Who’s she? : VALENT. My sister—lovely as can be. Need I observe that she resembles me ? The cast of features is the same, sir. T'ausr. Why, Your cast of feature’s chiefly in the eye. Se. 1.] FAUST AND MARGUERITE. of Waaner. Her cyes like his, chat both look slanting ways, so? (¢métates) Her cheek like his!—’tis like his cheek to say so. Faust. Proceed. WAGNER. The stars than her two eyes are dimmer} I love to hymn her praises. Faust. Go on—hymn her. Waaner. Ican’t. Good night. (they both shake his hands) Faust. (aside) My hand—my heart they wring. (aloud) Warble her praises. VALENT. Warlliig Wag’ner, sing. Song.—‘‘ Jenny Jones.” WAGNER. Bewitchin’ Miss Gretchen Resides in a ketehen; She’s such a well-set chin, And rose lips above, And cold meat she’ll fetch in For me, from the kitchen, So sweet—any bones is the thing as I love, Oh! than this young creature, They call Marguerifa, There is not a neater, When dressed out in mauve. Bewitchin’ Miss Gretchen To me, from the kitchen, Will pitch any bones as she knows that I love. Faust. - Oh, you must be stretchin’ A point about Gretchen ; She can’t be as sich in Description you’ve guy. WAGNER. Though all of it’s true, sir, I don’t want with you, sir, To pick any bones ’bout the girl that I love, I’d make a fool Cross gutter fly, Who said she was ‘Not utterly “ As beautiful as a butterfly, » And as fair as a queen.” $ FAUST AND MARGUERITE. (Sc. 1. Chorus.— Polly Perkins.” As beautiful as a butterfly, And as fair as a queen, Like the pretty, pretty Polly Perens Of Paddington Green. Trio and Chorus (both tunes). She’s as beautiful as a butterfly, And as fair as a queen, Is pretty, pretty Polly Perkins Of Paddington Green. Waaner waltzes off, u., VALENTINE, R., Faust falls into chair L. of ©. table. Faust. Would I were young again; that boy’s words fire me! . And oh! the charms of Marguerite inspire me! Soothe me, my books! My nerves are quite unstrung. Come, bright thoughts. (takes up book) “ Night ' Thoughts!’ Would that I were Young. [ll write my life! No! Down the pen I cast. Alas! one cannot right a mis-spent past. Oh, Grant and Speke! ye should have paused awhile, T’ invent.some sauce to make us juve-nile. I’ve studied magic, and ’tis known to me, Under which thimble hides the little pea ; Of magic’s course I’ve gone through every part, The magic course precedes the magic art, But somehow all goes wrong—tricks I can’t force, The magic cart’s before the magic horse. (Faust prepares to go to bea I'll go to bed—out, out, brief candle. ( pauses) Hark ! ~~ (Dog barks, .) If that dog is all night a going to bark, It’s no good trying to sleep. “Be quiet, will you! If you were mine, you nasty brute, ’'d kill you. At it again—the ill-conditioned pup! Why don’t you take him in, and lock him up. At last-- (about to go to bed—a bark) No; of this row I'll be a queller. Come here, oid fellow, then. Come long, old feller. | | —— ——s —— isc. 1.}. FAUST AND MARGUERITE., 9! (goes to window and speaks scothingly with a kiije behind hin—a hideous Pooper capers tn) Lie down, you varmint! Bless us, what a fiishtl Come, little man, then—looks as if hie’d bite. Even this dog is young. Alas! I never Shall see his age. (Dog runs away with counter- pane, gc.) Oh, this is worse than ever. I wish that in his early life they’d drown’d him, And now he’s got a book of inine—confound him! Don’t paw it over—me, he meant to tell That I am to pore over it as well. (Dog presents book, and marks the place) What's this ?—“ Receipt for Raising Spirits. One Small glass of brandy—take it—drink—'tis done.” Music, *' Good St. Anthony,” played during speech. What next ?- What! Euclid’s clements—run o’er’em, Summon the genius of Pons Asinoium. Triangles, angles, names that make one wroth in use, Rhombus and rhomboid, square of the hy potheneuse, Hi diddle, diddle, cow jumps o’er the sun, The little dog, too, laughs to sec the fun— - The spoon and dish elope! I quake with feart The chairs and tables dance—help, help! ‘(the music of “ Good St. Anthony” gets gradually wilder and wilder until every piece of furniture in the room is moving in time, while the Dog is dancing to the tune, at last with one crack and a flash the Poovte disappears, and Merits: TOPHELES suddenly appears, sitting quielly in an arm chair, u., while Faust is standing, R—- Tableau) Mepuis. I’m here! Faust. The dog! (looking round) Mepulis. "Twas I! Faust. , Oh, I have been a noodle! I thought the very deuce was in the poodle! Why are you here? Mepuis. You took me in. I'aust. That’s true. Mepuis. And tit for tat, I’m here to take in you, 10 FAUST AND MARGUERITE, [RE tbe Faust. Your name, I think, 1s —— Mepuis. ‘ Yes, precisely. Faust. (puzzled) ; Ifum! I mean you're calle Mepuis. Yes, I am called, and come. What do you want? Nay, do not look so tragie, Can I assist you to some nat’ral magic ? V’]l shew you how they doctor London porter, And what strange things inhabit pure Thames water! (the chimney ts illuminated, and exhibils after the Sashion of the Polytechnic lecture room, a drop of Thames water filled with hideous creatures) T’ll shew you the best way, and there are many, Of spending thousands when you’ve not a penny ; T’ll tell you how, if it will ease your troubles, To make a floating capital of bubbles; How to coin money as an unbribed-voter, Or bring out paying projects as promoter. How to get up yourself, without onc dump, any New-self: enriching-ruin-others company. Shall we start one together? ’twould be nice; You shall be chairman, I will be the Vice. P’raps you want money ; Iccturers, they say, On orrery have honorary pay. Don’t grumble! Oxford does but give, I hear, Her Greek professor forty pounds a year. Learn double entry of accounts—that’s hooking ’em Strictly on one page; on another, cooking ’em. Of speculation’s barque yourself avail, And learn to rég the market for a sale ! How to do Pepper’s Ghost—Tll tell you—View it; Then don’t pay Pepper—that’s the way to do it! Come, strike a bargain; don’t stand shilly shally— I’ll be your servant, confidential valet ; I'll serve you fairly, even in rascality ; Joking apart, I have in good reality, Doctor, for you a sneaking partiality. Faust. Oh, why the dickens foe you did I send? Meputs. Dickens, precisely—I'm the ‘‘ Mutual Iriend ” I’ll serve you in and out of doors; J’aust. No doubt ; You'll serve me in, and then you'll serve me out. Se. 1.] FAUST AND MARGUERITE. 11 Meru. No, ll be true I swear! Faust. Who you believes ? Mepuis. Come, Doctor, sure there’s honour among thieves: If you will not your present wishes say, Why, being busy, I must go! Faust. No, stay ! Mepnis. Of all my clients, you have well deserved Precedence; so we'll say, Faust come Faust served. Faust. I will—I won't. ~ Mepuis. © We've not much time before us. Faust. An old man’s song. (apologetically) * Mepuis. I'll be an old man’s chorus. Duet.— Old Man’s Chorus.” (F aust.) Faust. I’m an old man, just eighty-six. Mepruis. Just cighty-six, just eighty-six. Faust. But with young men Id like to mix, Born. Fol lol de riddle liddle li do! Meputs. You wish to be But twenty-three, And go with me For a youtliful spree. Faust. That’s exactly what I would be Merurs. What you would be, what, &e. Faust. If con-ve-ni ent. Mepuis. (bowing) Sir, to you. Boru. Fol lol de riddle liddle li do! Merruis. I'll raise your temp’rature, don’t be afraid Just now you're eighty-six, and in the shade. If you will choose this document to sign, Why I am yours, and, doctor, you’ll be mine. You hesitate—for work to make you warm, Before you see the deed, glance at the form. (Mustec—chimney opens—vision of MarGurriteE in the kitchen sweeping) Chorus of Sprrits without, “ Fair, fair, with golden hair.” Fair, fair, with golden hair, Cleanly the kitchen she’s keeping ; Fair, fair, it is but fair, That you should pay for your pecping. (the vision fades away) 12 FAUST AND MARQUERITE: efScake I’aust. Gone Meruis. Up the Rid realli s guide for "Ss route. Faust. Would I were there! MepuHis. Yes, you might press your soot. Faust. Pll sign the deed that Marguerite seeures ; If-e’er I tire of my youth, I’m yours. (ségns the paper) Mepruis. You write a pretty hand, but somewhat cramped. You see, of course, the paper’s duly stainped. Now must I summon, to give you a rich treat, A witch from Bond-street. Faust. * She should come from Wych-street. (the Witcu or Bonp-streEt suddenly appears, with her boxes of unguents, ointments, enamel, and cosmetiques) Meprnis. Ma’am, make his eyes with bella donna twinkle, Teach him to hide the crow’s feet—that’s a wrinkle. (aust ts now being touched up by the Witcu) She'll make you “beautiful for ever. Faust. Aye, Make me zmmortal. Mepuis. No; her patrons dye. Now in a minute you'll quite youthful look. Faust. Did not this wondrous witch once write a book ? Meputs. For giving youth to hags, ’twas an apology— Faust. Hast read it? MEpuis. No; I don’t like hag-i-ology. (the Wirci pr esents Faust with a small botile) That magic liquor must at once be quaffed, Thebond- you’veswallowed, swallow, too, the draught. (music—Fausr drinks—the Wire disappears— Taust is changed into a youth) Faust. To Marguerite, Mepuls. | Fly through the air. Taust. I'll do it. Mepruis. The band shall play the air,and we’ll gothrough it. Duet, “ Sicura la Vittoria’ (Falstaff) Faust. Since you’re—ha, lia! A conjuror, Let’s ride through air to meet her, I’ve sighed and cried, Nigh died, so guide Be. 2.) FAUST AND MARGUERITE. 13 Me to-my Marguerita. I go so lightly, Sprightly, | Full of juvenilitee—he! (laughing) He, he, he, he, he, he, he, he! Mepuis. (aside) He, he, he, he, he, he, he, he! (aloud) ‘l'o you V’ll show The way to go, By stopping at no station, A train we'll catch In the Despatch Pneumatic speculation. Go in a jiffey through the air, Where’er you want to be. He, he, he, he, he, he, he, he! ‘Born. He, he, he, he, he, he, he, he! Faust. Secure—ha, ha! My Margh-rita, Mrpuis. Seek your—ha, ha! Your Margh’rita. &e. Ke. Boru. oh! r } o Away we'll go! One moment—olh ! (they stand as if prepar ing to fiy out of the window as scene closes) Scene Srconp.—Room in Dame Martha's House ; door in flat. Enter Sivper, c. door, cleaning boots, pensively. N.B.—He 7s very corpulent. Steven. Too big or net too big? that is the question; Whither ’tis better to feel indigestion, To which Pin nightly subject alter supper, Riding to sleep upon a nightmare’s erupper. To sleep—perchance to dream—ay, there’s the rub, Or to give up at once all kinds of grub; My beer, iny sugar, pastry, my potatoes, And once aguin. behold my long-lost great toes ; B 14 FAUST AND MARGUERITE. (Se. 2. Then walk about, from puffing free and panting. Shall I, or shall I not go in for Banting? Perhaps Marguerite would love me were I thinner. Yes, ’tis a struggle—Marguerite or dinner ! (a crack heard in his dress) There goes a crack—my dress will all be torn. (trying to look over his shoulder) She comes! would I could see where it has gone. Enter Marguerite, L. C., with dress tucked up, carrying brush, dust pan, Sc. Mare. I’ve dusted all the carpets and the chairs, And finished sweeping tea leaves off the stairs. There’s more to do—-I can’t but spose T must. (gcing) Siepen. [ll dust ’em for you. | Mara. Well, you do. (giving duster) Thou dust. Steset. Oh, Marguerite! Oh, fairest Marguerite | In theory behold me at your feet. Mara. If you went down, you never could get back. Sirpe.. I'll try—Oh, goodness! (crack) there’s another erack | Mara. Oh! pray don’t wheeze like that, my nerves it tries. Siepen. I was sighing. Mara. Yes, you’ve got enough of size. X Go, fat boy, go. v4 ~ SIEBEL. My presence seems to bore you. Talking of presence, I’ve got something for you. Mara. For me?—from you!—what can it be? SIEBEL. : So, spe fly, It’s in my pocket somewhere—no, that’s toffy. Oh, here it—no—bull’s eyes—hardbake— stop, Here’s something—an acidulated drop— A barley sugar stick, unpaid for. Mana. Quick You're running up a pretty sugar’s tick, Srepen. Ha! in my hat, where they’ve kept fresh for hours I’ve got for you a bunch of perfumed flowers. Maru. Dear Siebel, I will guard these flowery pets, And in a vial let these violets Remain. SIEBEL. D’ye love me? Sc. 2.] FAUST AND MARGUERITE. b5, Mana. Can you doubt? STEBEL. Alack! Say that you do. Marc. I do. (laughs aside) SIEBEL. (about to attempt clasping her in his arms—a seam goes) Another crack! Your Siebel isn’t so bad looking. Marka. Oh! You're called Ste-bel, but you are not Si-beau, Dame Marrna. (without, c.) Siebel! Mara. Dame Martha’s voice! she’s coming. SIEBEL. Hush! If she’s a com(b)ing, we had better brush. (they both busy themselves) Dame. (without) Siebel! oh, drat that boy, where is he got to? Sure to be doing what I’ve told him not to! (as Dame enters, S1eBEL is cleaning boots, R. of door, and sidling up to Marcurerire— Mar- GUERITE 7s dusting L. of door—as Dame enters MarGueERiITEe comes down with hand brush on her hand, and Sivven catches her on the chin with his brush—she stands, and shaking her umbrella at him) Dame. And which my free opinion say, I must; | Of all wus boys, he is the werry wust, An idle warmint never doing nuffin’, But spending all his blessed day in stuffin’. You eat much more than boys should at your age, You're like Scott’s demon dwarf—“ a gobblin’ page.” I'll stop your dinner, then you'll sure get lanker. Srever. Oh, Goody, please to moderate your rancour, Dame. Your rancour; boy, your tongue is far too free, Best weigh your anchor, ere you talk to me. (to Srever, who is leaning against wing listlessly) Don’t lean like that. Mare. (laughing) That’s funny. Dame, (sharpli) What d’ye mean ? Mara. He shews that he can be both fat and lean, ° 16 FAUST AND MARGUERITE. [Se. 2. Dame, (fo Sizpen) Don’t laugh at me, you aggravating | e 2 flunkey, You do more mischief than a chattering monkey. He breaks my crockery, cracks every jug, Smashes my cups—I’d like to spoil his mug, He’s broken of decanters the best pairs, And with my glasses tumbled down the stairs. At such mishaps I well may be a grumbler— All my wine glasses broken by one tumbler ! Mare. Oh, he’s a woeful boy! Dame. (recollecting another item) The silver!—lawks You've iost my fiddle spoons, you cunning forks ! My cup rims he so chips, you scarce can sip away, Mare. Oh, he’s a savage! Dame. Savage! an O-chip-away. SirpeL. But, ma’am—— Dame. Oh, don’t butt me—I’m in a rage! As the song says, ‘ Look out, my little page.” Go, dress, and look more like the usual “ Jeames.” Your seams want sewing, too. SIEBEL. Yes, so it seems. Exit SIEBEL, L. Dame. A girl like you to wed most people free is; But ought to look above such men as he 1s, Marry above you, not into a low set. I’ve suffered, and expertentia docet. Mara. Does it, indeed ! Dame. I wedded a small tailor, Who took it in his head to be a sailor. He went on, Dored by me, nor cared about me, Till he took ship, and went on board without me. My gricf, when all the cruel neighbours gibed, Can better be imagined than described. I’m told he crossed the main—he’s lost! now there, Let him re-cross the main, V1] comb his hazr ! Mare. I more than two strings to my bow can bring, And more than two beaux I’ve caught in my string. Dame, I have watched an angler as he sat, Sedatcly fishing for a tittlebat, : (Which emblems be the summum of his wishes, A minnow is the minnow-muim of: fishes.) ht nitewess 2h : | pm Barz. | FAUST AND MARQUERITE. | 17 “To catch,” he reasoned, ‘‘ one, however small, Is better far than catching none at all.’ Dame. But your contented angler in the lurch Leaves all his tittlebats for good-sized perch ; And, if the angler knows what he’s about, He will desert his perch for salmon-trout. Mare. I’m but a simple child. Dame. Then why this tone? Marg. Last night I dreamt I was in here alone, And, guided by a most mysterious power, Without a light—it was the midnight hour—- I sought this cupboard, therein found a basket, And there within it lay a handsome casket. (discovers the casket) Dame. What lucky stars! Mara. Within it, see are placed— Dame. Diamonds! (MeEpntsToPpuEeLes appears at window at back, watching) Mare. Real diamonds. Yes, they're thorough-paced, 2“ To Marguerite.” Dame. (aside) I saw a stranger buying em. Marc. These formyarm. ‘There can’t be harm in trying : | em. A necklace! where’s a glass for close inspection, I cannot wear them without some reflection, Whence do they come? (Mrernistrorue es disappears) Dane. Can’t offer a suggestion. Mara. A brooch! To whom, then, can I broach the question ? A fashionable belt, just fit to gird one. And, oh! I see a ring. (bell rings) Dame. . Yes, and I heard one, Come in. Enter Merutsroruees, in cloak and hat, ¢. Merits. (politely bowing) I trust I am not in the way. - Dame. (aside) The handsome gentleman I saw to-day. (aloud) What is it? Mepruts. Madan, think it not hypocrisy . That I am bashful with the aristocracy ; 18 - FAUST AND MARGUERITE. "[Se.'2. For to that class belongs this lady, such is The dress and bearing of a dainty duchess. Mare. (aside) He takes me for a lady. (aloud) Vm not ~ such, man. Meruis. (bowing) If you are not a duchess, I’m a Dutchman. To Mrs. Martha Sewherdleim— Dame. That’s me. Mepuis. (aside to her) To speak before your sister, am I free ? Dame. (aside to him) My sister! Oh, you flatter me. Mepruis. (aside) Pll try. Dame. Pray speak ; but first, how came you in, sir? MEPHIS. I, Seeing your villa near, felt bound to. say, Whenever there’s a Willer there's a way. And so, as to the road, I had a doubt, And sceing that a cover was held out, (holds out behind him a letter, which MARGUERITE takes) I popped in here without much hesitation. Mane. Ah! (utters a cry of surprise, and nearly drops the note) DAME. What was that ? Mara. (losing her presence of mind’) A note— Merus. (pleasantly explaining) Of exclamation! (they go up together) Mare. (reading) “ When the sweet nightingale succeeds the starling, ‘’Meet me this evening in the garden, darling.” Oh, Marguerite, your heart 1s beating fast, I knew a real gent would turn up at last. (gets, R.) Mepis. (u. c.) ’Tis true your husband’s dead and gone. Dame. (1.) . Alack! Mara. Don’t ery. Mepis. (aside) She wouldn't, if 'twould bring him, back. (to Maraurrire, aside) You'll come? : Mara. (aside tohim) Than this room I ean- not go farther, Unless I’m taken out by old Dame Martha. | : Mevuts. (aside toMantua), Yow ltakealitthe, walk to-night? Sc, 2.] FAUST AND MARGUERITE. “19 DAME. You flutter me. Mepuis. You’re so well-bred. Dame. Well-bred / Oh, sir, you butter me! Mepuis. In beauty’s hearing truth, there is no Aika Dame. Again you use the butler- -boat, your lard-ship. _ Meruts. Yes, when the sun, preparing for his rest, Takes off his coat, while setting in his vest, We'll in the gloaming meet. Dame. (romantically) The gloaming! Oh, How beautiful! Mara. What does it mean? MepnHis. Don’t know; Most modern poetry’ s considered poor, Unless the meaning’s thoroughly obscure. At eight o’clock you'll in your garden wait. Mare. At eight? , Dame. (to Mepuis.) At eight, we'll have a téte- d-téte. Trio.— Ballet tune” (Venus and Adonis.) Mepuis. _ I’m sorry to say that I must go, I’m sorry to hear that you say so. But mind, to-night We meet. Mara. and Dame. All right ! Depend upon it, we'll try to. Mara. I'll come with a whoop—I’ll come with a call. Mepruis. We’ll be beside the garden wall. Dame. Oh, do not get over, or you'll fall; Depend upon it, he don’t try to. Marta. - Mepuis, Martha! Martha! : Tell me, are there : Broken bottles on the wall ? : Oh, you would not, And I should not Like to hurt myself at all. Exit MeruisTOPHELes, ¢., Dame and MArcurnite, R. 1 E. 20 FAUST AND MARGUERITE. [So. 3. Scene Tuirp.—-Sunset; L., a high Garden Wall enclosing Dame Martha’s House, part of it is just seen above the wall, well-barred door in wall, R. ; Country. Music.—At the opening of the scene, a tableau, ., DAME Mantua is looking sweetly at MnrutsTorneLes, pushing Marauerite nto door in wall—MancueriteE ts kissing her hand to Faust, who is being led away, R., by MeruisTorpHELes. As music ceases, all the characters disappear quickly, and the door in wall is barred to, with a noise of heavy belts, L.—LEnter Wagner with basket of physic, and hand bill. Wacner. Lost, stolen, strayed or missing, just one weck ago, | The Doctor Faust—well, here is, so to speak, a go. On that dread night, [ heard a noise not louder Then the mere fizzing of a scidlitz powder ; I rushed and looked in, the fizz was strange to me, But his familiar phiz I couldn't sce; “ Appearance quecr”’-—description might be clearer, Besides his disappearance was much quecrer. What mean these martial sounds? J hear a drum. The rhyme to that word is of course, they come. Enter VAtENTINE and the A Division, cautiously, R. 1 § 2 E. Vatent. Halt! Wacner. How d’ye do? How fine each far from puny form — Vatent. The A division in their bran new uniform, Waaner. Why, may I ask, is all this foree drawn out? Vauent. There are suspicious characters about. (all make very mysterious signals) Waaner. The most suspicious characters, ’tis clear, Are VALENT. Where ? WAGNER. Why, not a hundred miles frome here. VaLent. From information we've received, there eame — Waaner. Two strangers, one of them a little lame. Vatent, I said so. (all wag their heads) Well, what brought them here ? : } eae Sc. 3.] FAUST AND MARGUERITE, 21 WAGNER. Upon A coach, Vatent. There has been something going on, Into Dame Martha’s house they’re going to break ; My sister Marguerite they mean to take. Waener. lirst, there’s the wall, the garden plot—they can’t. VALENT. Such is their garden plof, and such their plant. We will stop here—you, if you’ve courage got, Will go inside and watch. WAGNER. I’d rather not. Enter S1eseu at door ¢., at back, locking it up for the night, Sreser. There ! Vatent. Here! (leads him down by the ear) To-night in your house an audacious Attempt of burglary there’ll be. Sresew. (drops candle) Good gracious ! VaLent. Two men. SIEBEL. ~ Oh, lor! I’m strong enough to mar one, Two to one door—’tis two to one, and bar one. VALENT. Stoop low down, by the wall; tread—soft as felt. Sreseu. Oh, that this too—too solid flesh would melt! It’s such a time, you see, sir, since I’ve knelt; _P’raps I can do it with an easy belt. (crack) Vatent. What’s that ? SIEBEL. You see, my clothes have got a knack Of, when I’m stooping, going with a crack. Vautent. Hush! to our places! you'll upset the scheme, If once the villain hear you start a seam. Trio and Air, ‘I would that my love.” (Mendelesohn.) Sreset. I would that my coat would silently Go in a single seam. Oh, it eases, eases, when I sneezes, Even in the sweetest dream ! Oh, it eases, eases, when I sneezes, And it goes in a single seam, A single seam, A single seam, And it goes into, Into A single seam, 22 FAUST AND MARGUERITE. (Sc, 3. (Exeunt all, cautiously — VALENTINE, R. U. E., WAGNER, L., SIEBEL, L., through door, which %s barred and bolted after him) Enter 8. 2 &., Faust, he tries the door, C. Faust. In vain I try; there’s no way in, I see. Enter MEPHISTOPHELES, Rk. 2 E., laughing. Mepuis. No, doctor, you won’t do it without me. Faust. Isn’t she charming? what a waist she’s got! Mepuis. Mere taste; A thinks she has—D thinks she’s not. I laugh to think how happy you'd have been, If this young Gretchen you had never seen. You'd not have asked for waists—depend upon’t, The proverb’s right, where there’s no waist, no want. Faust. Methinks she’s gently born—what moves your mirth ? Mepnis. These worldling worms are all of gentle birth, Faust. Let us within; to jump the wall I dare. Mepnis. No, look before you leap. Hey, presto! (Music—Short hurry—the wall spreads out, crosses the stage suddenly, and they find themselves in the garden—Scene set as in Romeo and Juliet, Balcony Scene) There ! Enter Dawe Marrua, from house, door t., fascinatingly got up. : Dame. Now is the very witching time of night, When in an antique cap one looks a fright ; And go, to meet my lover, I have dressed In what I’m used to call my Sunday best, This is a proper time to wear it—yes, It always was my go-to-meeting dress. Mepuis. There’s an absurd old party ! (Dame coughs) What a cough ! Faust. Don’t mimic her. MEPHIS. No, no, I’ll take her off. (advances) Dame. Tis he! Oh, how I love those dulcet tones! Dear Mister—— Oh, what is your name? Meputs, Eh ?-—J ones, Sc. 3.] FAUST AND MARGUERITE, 23 Dame. Your friend, who met us walking in the street ; His name is Henry—he told Marguerite. A fine young man for her—tall, handsome, supple. A sweet sight, Mr. Jones, is such a couple. Meruis. Oh, very, very! Dame. You, sir, I dare say, Have done no little mischief in your day, Mon cher ami. Meruis. Eh—oh! (astde) ’tis plain that she Wants rather more than a fair share o’ me. Dame. Adieu! you'll find me sweet and soft, that’s poz, As softest zephyr, dear, as ever was. Exit, R. Mepuis. More for a beard than kissing was her face meant. Faust. See, there’s a light; my love is in the casement. Meruis. Then serenade her, do not gape upon her, With some new song bring but the prima donna, Faust. Our prima donna’s gone to, I guess, Make herself primmer, and to don her dress. She comes ! MEruis. Tune up, look sharp !—no, that’s C flat. The mandoline; come, man, don’t lean like that. Faust. My peerless Peri! eyes like stars! Mepuis. You think ? Just watch the shell, you'll see the Peri wink. Serenade.—‘ Where the Bee sucks.” (adapted) Twinkle, twinkle, little star, (whzstle) May I wonder what you are; (whistles) Up above the world so high, Come out on your balcony. Boru. Twinkle, &e. Faust. She comes, she speaks, it is my Marguerite Enter MARGuERITE on balcony, u. Marc. We don’t encourage music in the street; They’ve gone, and for the quiet there will be, I thank my benefactor, Bass, M.P. Faust. Oh, that I were a glove upon that hand, That I might touch that cheek. Mepuis. I understand ; You want to be a child. 94 FAUST AND MARGUERITE. Faust. ‘Who says I did? Meruis. Didn’t you wish just now to be a kid. Enter Dame Marrna, R. Dame. Why, do youlinger? do come where you're bidden, And in a summerhouse by roses hidden, With Martha, you your supper hot will take. Meruts. Martha! I’m led a Martha to the stake, _ Exeunt Mrrnisrorueies and Dame behind housés Faust. Listen ! Mare. Oh, Henry, Henry, wherefore ait Thou Henry ? Faust. (aside) ’Cos I was cast for the part ; She hears me not. Mara. Oh, wherefore aren’t tliou, Henery? For thus pronounced, you'd rhyme to tercentenary, And I'd have prosody’s permission plenary. To make it end a couplet after scenery. ‘¢ What's Henry to me, or me to’’—stay, I rather think that’s in another play, Or something like it. Oh, what’s in a name? Call it an eye, your nose would smell the same; Call it a lip, ’twould pain the same when hauled ; So Henry would, were he not Henry called, Possess that dear perception which he owes, In common with most mortals, to his nose. But as his name is Henry, why I shall Take on myself at once to call him Hal. (aside) I think he’s there. Faust. I take you at your word, Marg. Oh, goodness gracious! I’ve been overheard! What man art thou ? . Taust. "Tis I. Mane. The voice I know. Taust. It is your Hal down kere. Mane. | My Hal?—Hal-lo! Shoulu a policeman come! Faust. Oh, calin your fears, I haven't seen a p’lieeman—oh, for years! And, oh, there lies more peril in thine eye Mare. My eye! Faust. Than were there twenty p’licemen nigh, — ( Se. 3.] FAUST AND MARGUERITE. 295 Mara, By whose direction found you this place out? Faust. A sure guide told me, whom I could not doubt, ~ One who’s the traveller’s friend in Russia, Surrey, _ Kamschatka, Paris, Italy. Mara. Your Murray: Who guided you o’er laké and fell, Who told you all there was to tell, Ne’er missed a place, but shewed it well? Your wel Faust. Now by the blessed moon I swear, That tips with limelight all these fr uit-tree tops, Whose blossoms promise they'll be tip-top crops, I swear, as I’ve just said, you little gipsy, By yonder moon, that ¢ijs—— Mare. I fear he’s ¢ips-y. Oh, swear not by the moon, the inconstant moon ; To do that is so very like a spoon ! That circled orb you think’s the moon—it ain’t; We know ’tis but a circled orb of paint. Faust. What shall I swear by ? Mara. “ Do not swear at ally Or if thou wile swear by thy gracious self.” All by yourself, and not: before us both, You might be fined five shillings for each oath. Oh, Henry—Ha! I hear a noise within— Stay there. Exit from balcony. Faust. I think my shoes are very thin, I wish I’d had ’em made quite thick ; it’s droll, Thad two minds about a double sole. Enter MEPHISTOPHELES, L. at back and down R. I know I’m catching a most frightful cold. Mrpuis. (aside) By me — by her, you ‘ll find you’re _doubly-soled. (aloud) Now, the old woman’s bafeiye in the house, You'd best be off as quiet as a mouse. | The dews are rising. Faust. Yes, I see they do. . Mepruis. - ¥es,-and they]! play the. very dews. seith you. ~~~ So leave the dews, and say to her a-diew 72. .s C 26 FAUST AND MARGUERITE, [Sc, 3. Re-enter MARGUERITE above. Faust. See, she returns; again my fair one’s near-— My bright gazelle—my antelope ! Marga. Oh, dear! T call Dame Martha aunt, and you'd I hope, Not with the aunt, but with the mzece elope. When shall we meet again !—artichoo —whea, sir 4 Faust, Artichoo—dear, you've got the influenza, Mara. Artichoo, and—artichoo—we must part Oh! each art-ichoo rssues from the heart. Dame. (within) Gretchen! Mare. Sweet, promise when you go from here, To put your feet into hot water, dear. Mepuis. (aside) I'll promise the hot water, Faust. (aside) Cease your mocking! Mara. And, darling, tie your throat up with a stocking. Give me a keepsake, dear, to soothe my grief, Or give me quick, your pocket handkerchief. Faust. I’ve only one, I’d share it, but alack | _. The washerwoman hasn’t sent it back. Dames. Gretchen ! Marc. Anon. MEPHIS. T’ll take you off by force. Marc. Adieu! you hear how I am getting hoarse. _ (hoarsely) To-morrow morning, I’ll be such a fright. Mrpuis. “How silver sweet sounds lovers’ tongues by night.” Now, come along. Vaent. (on wall) Hallo! Mare. May I not stay with you? Stop here! but wait, and I will run away with you. (SIEBEL crossing with ladder, as stoppedby MEPHIS- TOPHELES) Faust. Oh, for a ladder. MEPHIS. Keep your eye on mo; Some electro-biology you'll see. There, you can’t move—I know you can’t. SIEBEL, I—— Sc. 3.] FAUST AND MARGUERITE, 27 MePpHis. What! You cannot move ? SIEBEL. I can’t. MEPHIs. You'd better not. ices ladder against wall of house—St1e,eEt, directly MEPHISTOPHELES back is turned, goes to wall of garden, and helps VALENTINE down— all PoLiceMEN on at back creeping slowly down) Chorus—(Sonnambula,) ‘Del villaggio.” Go a tip-toe, Go a tip a toe, ha! That’s the way to go, oh! Go a tip a toe, oh! Through music MARGUERITE appears at door, UL. Marc. Who are those horrid people here before us? Mepuis. They’ve only just stepped in to sing chorus. Marc. How very charming! MEPHISs. And to nature true; Just what policemen in real life would do, To join in the finale try you best; Open your mouth, the band will do the rest. | Finale—Final Chorus in last Act of Falstaff, Cuorus. Now then quick We will rescue Marguerite ! Mepuls, Don’t here stick ; Up the ladder I will go In the nick, Nick of the time I’ll go and meet her, This is very operatic ! One, two, three, Singing quite a grand finale, One, two, three, We don’t know what we mean, One Bob-bee Is much better than a Charley. With a tableau we must end the scene, (Faust clasps MARGUERITE round the waist, and draws his sword, like Fechter, in Bel Demonio, 28 FAUST AND MARGUERITE. [Sc. 4 about to cut his way through the GuaRrds— VALENTINE, L.—POLICEMEN stand with their slaves in aggressive attitudes —M BPHISTOPHELES runs wp the ladder, is clasped by MARTHA, who appears in her dressing gown and nightcap on the balcony—at this dread apparition the police are overcome with fear, and StEBEL, who from the top of the wall has been cheering them on, suddenly loses his balance; and falls into the water butt, whence his legs are seen kicking as scene closes) — Scene Fourtu.— Wild spot in the Hartz. Mountarns. Music,—‘ Cork Leg.’—Enter Siepet, R, 1 z., very thin, walking with WAGNER. Tis now six weeks since I refused to eat My dinner for the loss of Marguerite. After she’d gone, to feed I could not stay + My Mag’ret absent, could I peg away } Waaeyer. But you have heard—— SIEBEL, © T’ve not. : WAGNER. (shewing newspaper) ’Tis in these pages, SIEBEL. I haven’t seen a newspaper for ages. Wacyer. Legal—an interesting case —be firm— ~ Comes on for hearing early in the Term, For breach o’ promise, ‘ Margaret v. Blank,” And the Defendant is a man of rank, : zs SIEBEL. Well come : | | WAGNER. T cannot from my purpose swerve, Believe me, sir ; I do but wish to serve A fellow-creature, as SIEBEL, That's a satisfaction. Wacyer. I mean with notice in this very action, Hailo ! Enter Dame t. 1 £., followed by two BraARERS, errrying _ sort of charr- fA DAME. © A public meeting, I declare ; Motion that I do take—you leave the chair. Exeuint Bearers, L, 1 £, "Se. 4] FAUST AND MARGUERITE. 29 Which every word that young man says is true; For they are base deceivers are them two. With running after one I’m but a bag o’ bones. Oh, I’ve no patience with the cheats, the wagabones. WAGNER. Say, ma’am--— Dame. » The hook-nosed thief, he promised marriage; I’d bought my dress—a bran new muslin barridge, A. silk pelisse, in case, lest it should crease— He’s gone—this is a case for the pelisse. Wacener. Then that’s another breach of promise—pleasant. SiEBEL. In fact, a pair of breech Dame. (with dignity) Young man, /’m present, But we'll chastise the varmints. SIEBEL, Yes, we three Will swear——(about to swear) Dame. (shocked) Good meaoits ! swear! remember me! (lifting her Revenge |! Enter VALENTINE, R. 1 5, VALEN. Precisely, as the fact you mention, I’ve got a warrant for his apprehension For two offences ’gainst the sovereign’s peace, — Abduction, and assaulting the police ; His mark upon my stalwart frame he’s leaved, I smart from inflammation I received. I can arrest him, when T see his phiz. Waaner. Say, hast thou A the wrt, VALENT. Yes, here vt is. Waanenr. We’re rowing in one boat—birds of one feather, What say you, shall we lay our sculls together ? Sr1eset. I know where both of you your men can grab, Dame. Why then you'll be our steerer to the Nab. I’m faint, and cannot walk, ‘Strep. (goes to chair) ‘Nought can be fitter Than this ; we’ll be the postman for the litter, Dame, Litter ! Vamla pig? I beg, sir—— SIEBEL. ‘What? Dame. As how you'll recollect a sow I’m not. Well, I will take my seat. Now, pray keep still, No tricks, you know, o’ going down the hill. £30 FAUST AND MARGUERITE. [So.°4 Quartette.— Song and Chorus, ‘Going down Holborn Hill.” Dame. As you're taking me, I hope you'll be Particularly still. SIEBEL. Yes, we'll take care How we carry your chair, In going down the hill, Damu. Don’t move as I ride, From side to side, Or else you'll make me ill, At your work don’t boggle, You must never jiggle joggle As you're going down the hill, While going down the hill, &., &c. (DAME gets into the chair) SIEBEL. (assisting in carrying chair)Oh,please to remember The fifth of November, . Gunpowder treason and plot, I see no reason Why gunpowder treason Should ever be forgot, Dame. Oh, tell me why you sing like that, Tell me the reason why You are raising my choler. SIEBEL. Oh, hollar, boys, hollar ! For here’s another guy ! | They carry her off, rn. 1 8. (Musc.—Cave of Harmony becomes tlluminated— a sandwich advertisement Man with illuminated paper cap, on which appears ‘ Music Hall— Judge and Jury,” comes out of cave—Favust rushes out and refuses handbill) Faust. Sandwich, avaunt! the entertainment bures me; The serio-comic lady's singing awes me. Enter MEPHISTO PHELES, from caveC.—SANDWICH vanishes. Mepuis. You're dull } | . Faust. Those sounds still in my ears are ringing. I’m saddened by your modern comic singing, Sc.4.] FAUST AND MARGUERITE, 31 The music hall performance we’ve been at Was weary, stale, unmusically flat, Tobacco bad—bad spirits— MEPHIS. Oh, excuse me, I like bad spirits, and the folks amuse me. There sat the draper’s clerk who wildly loves The tenth-rate prima donna in cleaned gloves ;— The would-be-swell who thinks it mighty grand To shake the comic singer by the hand ; Who pays for his amusement through the nose, And stands not on the order of his goes ; He thinks the dark girls dressed in blue first-raters, And is familiar with the seedy waiters, He sips his sling or takes some sort of toddy, And encores everything and everybody. Faust. It elevates the people’s tastes they say ! Mepuis. A mere cant phrase—a humbug of the day, And freely used by those who make it pay ; Who, elevating public taste, entice The folks to like songs high, with lots of spice, P’raps, if until the last song you had waited You'd see that some were slightly elevated. Faust. O, Marguerite ! MEPHIS. Q, Doctor, you’d much better Cease to remember that you ever met her. Come, dissipate—see life, and every sigh bury, In some wild revel at the Barn of Highbury, Or for a wild Walpurgis night be borne To where a thousand lamps proclaim Cremorne, Let’s pay a visit to the bal masque. Faust. Oh, anything to drive dull care away. Mepuis. (aside) He’s very fresh or he wouldscarce go there, An English fancy ball’s a dull affair, ' (aloud) Well, as to start at once, I see you're restive ; Wish and you're there—behold the gay and festive. (the scene suddenly opens upon a Bal Masque at Cremorne—Music—Galop from Corsican Brothers—dancing—after dance) Wernis. (to Faust) What do you see? . PAUST, ’Tis she—I’ll bear no more. Tepuis. She’s sipping sherry cobbler through a straw, 82 FAUST AND MARGUERITE. [Se. 4. And upon wafers makes a light repast. Faust. Silence ! that cobbler, though shall be her last How comes it, Marguerite, you here I see? (WaGneEr is sitting with MARGUERITE at table, c.) Mare. Sir! (sheis in domino and mask) | WaAGner. (starts up) Are you aware this lady is with me # Faust. Wagner! — Mare. (to WAGNER) He calls you names. WAGNER. The ill-bred pup! _ Take that! (hitting, his blow is stopped by MEPHIS- TOPHELES, who floors him) Mepuis. And that-—Policeman, take him up. VALENTINE carries him off, B. Faust. With me pray dance a waltz, that is the cardon— — I can’t stand like a stick in this Hop Garden. Mara. I know old figures—everything that’s new ; _ Dances I’ve seen from China to Peru. Mepnis. From China to Peru!—enough you'll get. You’d better jine her in Peru-ette. (waltz—Favustis led off im a waltzby MARGUERITE, © then follows a wild ballet—asit ts just finishing © Faust and his partner appear dancing, and Faust tired through music—scene closes, leaving Faust asleep on couch at side—the flats repre-— -sent @ Yoom) | Enter Meruistorue es, as if from bed ; he shakes Faust, j ‘aho stretches himself and jumps up. Faust, Give me another MEPHIS, Horse, you're going to say, And rush down to the lights the usual way. Faust. Where have I been ! MeEPuIs. Up to all sorts of tricks ; You didn’t get in here till half-past six. Talking of tricks, it seems, you sleepy lubber. (Faust rubs his eyes) That even now youre finishing your rubber. _T, at my window, sniffing early weather, Observed the milk and you come in together. Well, a Walpurgis night can’t be cut shorter. 7 Faust. And in the morn, repentance. Mepuls. Soda water. nee Se. 4.] FAUST AND MARGUERITE. at Faust, No, Ill reform ; 1’m tired of this life, I will return with Marguerite my wife. Mepuis. Too late! No, doctor, best go seek a lawyer, I know the very sort of fellow for yer, You'd best delay your fate. Faust. | I will be wedded. Mepuis. Now, don’t be headlong, better be long headed, Faust. I'll pack my bag and go—myself T’ll save ; Yes, I will take my pack and (looking at Mrpuis- TOPHELES) cut the knave, ' And seek my queen of hearts. MEPHIs. By all means do’t, You'll find your queen mixed up in a court sult. Faust. [ll not stay in this matter. Mepuis. You're not cute in it, But fools rush in where I shall put my feot in it, Song.—‘' The Lost Child.” Faust, Oh, take me back to Marguerite, to Marguerite, to Marguerite, Mepuis. I'll tell you how the females treat Her, now that you're away. Oh, the girls all about When she’s walking out, Through the town and right up to the barrier, They flout, shout and pout, and they all point her out Crying ‘“‘Where’s the young man as won't marry her?” She was decked out in gem rings And diamonds and them things, And dressed up in silks and in satins ; And in muddy. weather She wore patent leather And never descended to pattins. © Now her hair she will rummidge, And like Mrs. Gummidge, Ske’s every day more lone and lorn,: And she looks at her rings © And she plaintively sings— Air—“ Oh where, and oh where.” Oh where, and oh where is my wicked lover gone’? or 34 FAUST AND MARGUERITE. [Se. Faust. I dreamt MEPHISs. That you dwelt in marble halls ? Faust. No—that I met her at Cremorne, And it’s so through your art That from her I have been torn. “Lost Child,” Mepuis. She now hates your foolery, False gold and jewellery, Your champagne and pine apple fritters ; She was caught with your dash, And your splash and your cash, Being taken by trash, she became very rash, Now she finds tisn’t all gold that glitters, And she cries ‘‘In a carriage, He promised me marriage!” Tis a shame, simple girls, to bamboozle ’em. Youre awake from your nap, So do not care a rap But get into your trap, Take the reins in your lap, Give a jerk to your cap, And be off, verbum sap, To some place on the map, To Bath, Jericho, or to Jerusalem, And then Ill tell no one where you’ve gone. Favsi. No, back to her I will be borne, The danger of the law I scorn. We'll ride—ride away, We'll ride away, We'll gallop, a gallop away, We'll ride away. Excunt, Scene Firru.—Hall of Poetic Justice ; Exterior of the Court of Uncommon Pleas, at back, c.,a curtain conceals — the interior of the Court from view, to this curtain there isa grand flight of steps; in the middle of the stage there 1s a pedestal. Sitting on steps and leaning moodily against them 18 MarcurritE, in white, with her hair dishevelled, paying no attention whatever to DAME MARTHA, who stands beside her with a basket of refreshments, a pair Se. 5.] FAUST AND MARGUEBRITE. 36 of pattens, and an umbrella—SiEBEL, now very thin, is sorrow/sully regarding MARGUERITE, R.— VALENTINE 78 cn the steps ut back, as policeman of the Court. VALENT. (announcing from trial paper) Great breach a’ promise case just being tried ! Walk up—walk up! there’s room for one inside Dame, Cheer up! She won’t-—I will! (takes case bottle from basket and drinks) Enter Wacner, from Court, he comes down carrying lawyer's bag and papers. ; Wacner. (seeing Dame's occupation) Ah! quite in place ; I see you've got an action in the case. Chorus of Bap ATTORNEYS without. Demon Chorus from ** Roberto,” ! We've done him—Defendant’s defences we’ve drawn! We'll leave him—deceive him—his money is gone! (MARGUERITE stops her ears) - Waener. The chorus of the Bad Attorneys—listen, The chorus of the Good Attorneys, this ’un. Chorus of the Goop ArrorNEYs,—" Cheer up, Sam.” Cheer up, ma’am, and don’t let your spirits go down A beautiful belle Like you can tell That victory’s making your crown. Dame. ( looking at MArcuERIvTE) She heeds them not. WAGNER. Egad, a clever wench ! Her mad grief told immensely with the bench. And though (to Damn) your noisy weeping was re- proved, I saw three jurymen distinctly moved. S1eseu, Even the usher wept. WAGNER. It was immense! Mepuis. (heard within) May’t please your Lordship— (DAME cries) WAGNER. Hush—'tis the defence. (the curtain is drawn aside, discovering a Court of Law. MEPHISTOPHELES, as Counsel for the 856 FAUST AND MARGUERITE. ‘(Se.5. Defence, is addressing the Court— near him, by the opening, stands FaustT— his-attentiondivided hetaccen MEPHISTOPHELES and MARGUERITE) Mrruis. Dve met with many cases, but as yet with Such a distressing ease as this l’ve never met with! { should be overwhelmed, I do assure ye, But that I speak to an enlightened Jury ; But that I feel in spite of certain facts— In spite of sentiment—in spite of acts— In spite of every art that may assail— In spite of every well-concocted tale, I feel that you who know the female temper— How’s she’s a “varium et mutabile semper ;” How she can wheedle—bully—cry—or whimper, And then can simile, a most mutabile simper. You, then, I say, ‘neath her arts won't be pliant, But sympathize with my confiding client. And here it will not, perhaps, be out of place For illustration just to cite a case. There’s so much apropos— so apposite in it, The point at once you'll see, while I am citing 1b; That for her remedy, J’ll make it clear, She has no precedent—the case of Leah. (he looks over a large muste book, and then sings) “The Case of Leah.’—Air, “ The Dark Arches.” There was a young lady ill treated most fea: fully, Every one cheerfully looked at her tearfully ; Such a sniffling and whiffling you never did see-e-e, As during the drama at the Adelphee-e-e. Yes, there was That is poz, All becos’ Sad it was. y ek Ri fol lol liddle lol lol lay. SCHORUS a ‘a Yyall OriitfolpWe.ara4 Meputs. In one scene, her false lover sat on a hillock, he Called out her name in-a:sort-of soliloquy, 0... Says she,‘‘Heream I, oh, what wantyouwithme e ef” : Which startled the people.at.the Adelphee-e-e. Sc. 57] FAUST AND MARGUERITE, 3¢ Faust. Yes, it did. SIEBEL, ‘That it did. “Mara. Oh, it did. Mepnis. (positively) So it did. \Ri fol lol, &e. Now, just like this case, Marguerite’ s lover came fully Bent upon wedlock, she treated him shamefully ; He swore, as he loved her, he’d married be-e-e, Which the gentleman promised at the Adelphee-e €-e. Yes, he did. Faust. That he did. WaGNne_ER. (ironically) Oh, he did. Mepuis. (positively) So he did. Ri fol lol, &e. She left him, when he would have come back to visit her, Friends egged her on to consult a solicitor ; They told her at law she'd have some remedee-e-e, (decisively) Which there warn’t in the drama at the Adelphee-e-e. Here it is, Near it is, Clear it is, Leah it is. Ri fol lol liddle lol lol lay. ALL. Ri fol, &e. (from the commencement of this song up to the end MarecurritEhas been paying the utmost attention, only controlling herself by a powerful effort from giving way to a strong burst of emotion— she has gradually risen, and in her agitation has taken Jrom Dame a large pocket handkerchief, which she has twisted into a Leah turban, and which at the end of the song she adjusts on her head, standing at thepillar inthe well-known attitude— the curtains at the back have again closed in the Court scene, and Faust has come down somewhat sneakingly, RB.) Mara. (pushing her hair from her brow) Did he say Leah! SIEBEL, | Yes,sbutaes - by A D { 88 FAUST AND MARGUERITE. {Sc. 3. Marg. I feel I Have something of the Leah in my eye ; He rwrongsare mine,and mine her wretched fate,man! Fausr. (trying to cajole her by flattery) That’s not so bad. Marc. Not bad !—it’s pas sv béte, man. Faust. Ungrateful girl to serve me thus! Say, please, Whence came the money for your lawyer's fees ? You've sold my rings, my brooch ; if not ’tis funny _ Where Marg. Stop! DO YOU THINK THAT I STOLE THE MONEY ? (tremendous sensation) Or think you that I won the paltry dross With a won-sided coin at pitch and toss! The gems I wore were neither rich nor rare ; Of vagrant hawkers in a dirty square You bought them for a penny. I can’t tell How I DESPISE a cheap, mean, would-be-swell ! And then to turn on me, and say I got on ’em MONEY! Who'llgive mesixpence for the lot on’em? (tenderly) This ring yougave, and said, ‘‘I wed your heart with it,” And wept—(bitterly) Because you didn’t like to part with it! (tenderly) This gem you said apledgeof love shouldbe, (bitterly) How dare you, then, send in the bill to me? Take back your worthless gifts—here I return them, I tear them from me—trample on, and spurn them! — Because you gave them, I can not akide them ! They’re valueless to me, for I have tried them. (quietly) Yet I’ve sufficient for a lawyer’s fee ; Listen, you hear the chinking on my knee. Do you think that I stole the money, eh? (Faust murmurs something sulkily) T didn’t catch what you were pleased t> say. Fausr. (apologetically) A strong suspicion. Mara. What, then, thou suspect’st, : Whom, whom? The girl you said you loved! What next ? Were I not one of those defenceless creatures Called women, I’d obliterate your features | VaLEnt, Come, no assault | ~ . ee car ela Om, Sc. 5.] FAUST AND MARGUERITE. 39 Mara. Back, back, degenerate brother ! The truth bursts in on me—you love another ! Oh, you do nobly to stand there and shake. Villain ! one curse-ory remark I'll make, Mark me, or I'll mark you. : Faust, Restrain her hands, Mara. I’m going to publish—what you won’t—the Banns! When your hot brow with bilious head-ache splits, May street musicians drive you into fits! Whenever you'd in your arm chair repose, May buzzing bluebottles annoy your nose! May dull dyspepsia make you groan at night, And indigestion wait on appetite ! The plagues of every bachelor be thine, May cats purloin your sugar, meat, tea, wine ; Oh, may your linen never come home right, No matches be left out for you at night ; May you fall o’er the scuttle on the stairs, And may your boots be never placed in pairs ; May you, when dressing in a hurry, holloa To the dull maid in vain for a clean collar ; . May your lamp smell whenever it is burned ; May your umbrellas never be returned ; (sensation) May all your white kid gloves split up in trying ’em ; May all your white ties crumple in once tying ’em ; And every evening when you're going to dine out, And when you ve gotembroideredshirtfrontsfineout, While beautifying, may it be your fate Ever tofind yourself ten minutes late, (more sensation) Then, when the horrid truth across you comes, May all your fumbling fingers turn to thumbs ! In that fierce struggle when the nervous hand Clutches to fix the collar on the band, Then when you think of me; my wrongs, my hurt, May all your buttons rot from off your shirt!!! (tremendous sensation) Song.—" Gloria Immortale” (From Faust.) Stand back, you rip, and you reprobate ! For you myself Ill not degradate, One thwack and terrible be your fate, 40 FAUST AND MARGUERITE, So. 6. You vagabond dog, You vagabond dog, You vag-a-bond dog. Mrpnis. (coming down between Marguerite and Favst) ’ Here’s a hullabaloo ! Faust. (in despair) Oh, what shall I do? Mepuis. Is it taming the shrew { Mare. What's that to you 4 y (repeat then—pp) Mepuis. Do guard what pugilists call your nut. Faust, She’s now a termagant sort of slut. Mare. Off with timidity ; I will cut— Your jugular vein, Your jugular vein, Your jugular vein. Mepuis. If she’1a kind papa. Mare. Or but a kind mamma. (Chorus) Both of em would be sadly disappointed. (Marcurrite affected—then conquers herself, and eyes MEPHISTOPHELES) F. Fortissimo. Marc. You are his wicked associate, You’ve made me very disconsolate ; Stand back or terrible be your fate, Your jugular vein, Your jugular vein, Your jugular vein. (walking MEPHISTOPHELES down, with dagger busi- ness from Opera, Tableaw—Faust, 8.—MFEpuis- TOPHELES, L. C.—MARGUERITE, C.—SIEBEL, L. MartTHA, L.— VALENTINE, WAGNER, and CHORUS at back; all fan themselves, as if much exhausted) Mepuis. Hard work! vie (the curtain at back gradually rises) Waaner. The curtain m dves. Mare. That strain on chords ? The scene opens at back, showing Porric Justice, represented by the Lorp CHANCELLOR, im wig and wings, delivering gudgment. Mara, Poetic Justice giving her awards, Se. 6.] FAUST AND MARGUERITE, 41 P. Justice. A true and careful verdict has been found For Plaintiff—damages, two thousand pounds. (cheers) Waaner. We will enforce the sentence to the letter. Marc. Two thousand pounds—dear me-—I feel much better. Faust. Lost ! Mepuis. (t2 awful tones) Come with me. Marc. That may do for the Opera: Than such an end, here, none can be improperer. Mepuis. No, in red fire I must take him off. Mare. In red fiddlesticks—and make the people cough, Mepuis. The ground must open Mara, Pshaw ! the trap you mean, Mepuis, And we'll descend —— Mara. Yes, to the magazine ; A curious place below the stage, that full is Of upright poles, planks, winches, ropes and pulleys, The audience know all this, and ’twill not mar The finish, if you both stop where ycu are, Mepuis, But Marg’ret—— Mare. Well, sir, what have you to say ? Mepuls. Why—(about to bluster, sees dagger and catches her eye) I givein, you have it your own way. But still, he should go down with me—ahem! Mara. What matters that, so we go down with them } I’m a changed character, no more the sweet, Confiding, gentle, loving Marguerite. And now-—-—(pauses overcome) Mepuis. (aside to Faust) She will talk on, of sense bereft, For Margaret’s gone, tiere’s lots of J/ag-gie left. Marea. Before you here an injured woman stands, Who comes to claim some kindness at your hands ; You'll give it me, or else—— MeEpuIs. (aside to audience) I hope you'll be So good, or afterwards she'll give it me. Mare, What did he say ? Mepu. Oh, nothing ! Mare. Don’t come near me— Don’t interfere! D'ye want a hint to fear me (dagger) Then Faust should be, if I remember right, A word unmentionable to ears polite ; 42. FAUST AND MARGUERITE. And being so, the course is very clear, No one can even hint at such things here, You'll as a harmless jest the subject treat, And smile Mupu. (aside) Yes, do! Mane. On Faust and Marguerite, Finale, (“ Gloria Immortale.”) Marg. Sing a finale (to Mephistopheles) Mepuis. (politely) With all my heart ; P’raps you'll be good enough, ma’am, to start. Mare. (puzzled) What words will fit, in the second part, This popular tune? Dame. (as if suddenly inspired) “ One two, buckle my shoe,” MEPHIS. That’s a nursery rhyme. Dame. “Three, four, knock at the door,” for it fits the time. “Polly Perkins ” might do—— Dame. Or, “ Hop light, Loo ”—— Mare. (decisively) But both have been done. All you who this have sat here to see, Boxes, dress, circle, pit, galleree, Please treat this tragical his-to-ree In jocular vein! Cuorus. All you, &c. CURTAIN, MUSIO GF BURLESQUES, OPERAS, AND DRAMAS TO LOAN. NortE.—Piano and vocal parts are marked p.v. The figures in columns denote the PRICE per MONTH —DEPOSIT: TWO MONTHS’ HIRE (or double the fo} lowing amounts js required) in the first instance as the deposit, half of whick will be returned if the music be sent back within the month. No music can be loaned for less than one month, The deposit does not cover the cost of the music. Acis & Galatea, Plowman, burl.p.v.20 Adopted Chi:a, rise, opera, p.v. «. 2 waee Su addin (Miss Keating) burl. p.v... 5 Aladdin (Byron) burl. p.v. ........20 Ditto, 8 band parts ............15 Alcestis, burl. p.v............ oe 10 Ali Baba [Miss Keating] burl. p.v. 5 Ali Baba [Byron) burl. p.v. .....20 Ditto, 8 band parts 2... acme aee15 All at C, p.v. @........ dees acieh wale L Alonzo the Brave, burl. p.v. .. ....20 Ditto, 9 band parts ...... 420s 015 Anchor of Hope, 9 band parts .... 7 As you like it, 9 band parts ...... Ashore and Afloat, dra., 10 b. pts. 10 MCRIRT Ge TVs, occ cigars < an O48 So nin mE Austerlitz, 7 band parts eee me oe ee 5 Avenger, 13 band parts ..........10 Babes in the Wood [Byron] bur.p.v. 20 Bandit of the Blind Mine, 5 b. pts. 5 Bare-faced Impostors, farce, p.v... 5 Battle of Hexham, p.v. ........0 Beauty and Beast |Keating] p.v... Beauty and the Beast (Planché]p.v. Beggars’ Opera, P.¥.....-.secesece Black-Eyed Susan, d., 8 band pts. MID, DiF che vagitel's ik b ctennainies Black-Eyed Susan, burl p.v. ... Ditto, 9 band parts .. a. a ae: Blue Beard, diya, p.V. a. acmasce 5 Blue Beard Repaired, p.v. .. «» = --30 Blue Beard [Bros burl. p.v. ...15 Ditto, 6 band parts ........aee.1@ Blue Beard [Miss Keating] p.v...«. 6 HOM DASEES | P.V 5) sso cv ciedes es acus, ® Ditto, 8 band parts ......seece. 7 Bride Lammermoor, dr., 5 bnd. pts. 7 Brigand, scot» and 8 band parts .. 7 Brown and the Brahmins, burl. p.v.15 Brother and Sister, opera, p.v..... 5 Bottle Imp, dra., 1 & 2 violin, basso 8 Cabinet, opera, p.v. .......2.- Camaralzaman, extrav., p.v. ......15 Cast, King of Granada, p.v. ......10 Castle of Andalusia, p.v. & 3b. pts. 5 Castle Spectre, OVCTRS.D.F. gin oxwekn S Catarac’ of Ganges, dra., 6 b. pts. 10 Children in the Wood, opera, p.v. 2 Ching Chang Fou, burl. p.v, ......10 Cinderella (Byron) burl. p.v....... 20 Cinderella (Miss Keating] burl. p.v. 5 Colleen Bawn, drama, 8 band parts 10 Corsican Brothers, 6 band parts .. 7 Court of Lyons, burl. p.v. ........ 15 Creatures of Impulse, fairy tale,p.v.10 *Ditto, 9 band parts ..........16 Cricket on Hearth, dra., 10 b. pts. 5 Critic, opera, p.v. ......... Hef tae ceoek, of Gold, 6 band parts ...... 5 aughter ofDanube,extra.v 4b. pts 5 _ Dearer than Life, dra., § band pts. 5 Deeds not Words, dra.,21 band pts, 7 Vitcatonseee censor a SS amass] * New Mute, 4 POSSMPOSSSSMSOSCSRASMBSOSSSSSSCA@MABMBSCSSHSSSCOSSOAaAM*SM@oO0OCCSCSCCARBCDSCa@aSCOCCa@SCOaAcSO Devil’s Ducat, 8 band narts ...... 7 Devil's Llixir, Pivigue bac: «ae ascents Dick Whittington [Dyall] p.v. .....7 Discreet Princess, p.v....... Dolly, comic opera, P%. ......- «- Ditto, 14 band parts ............15 Don Cesar de Bazan, drama, p.v. 7 Dumb Girl of Genoa, 6 t>*ud parts o Dumb Man of Manchester, §bLand TGR Ew cae ste veets ce chs dieiatee, 5 ike aE Eddystone Elf, drama, 6 band pts. 5 Ella Rosenberg, 5 band parts .... 6 Ernani, burl., 9 band parts........10 Esmeralda, burl. p.¥. ......ncseee Ditto, 10 band parts ...... =. = «15 Gthion, Pia ces caie ds ceases coleo econ Evil Eye, 6 band parts............ 6 Exile, 4 band parts ...... Fair Rosamond [Burnand] p.v.... Ditto, 9 band parts Fair Rosamond’s Bower, burl. p.v. 10 Fairyland, fairy play, p.v. ...-.... Barmers Opera, cP: Va: cscccicie’s o:05(0 So's 2 Father and Son, (rama, 5 band pts. 6 Field of Cloth of Gold, burl. p.v. 20 Field of Forty Footsteps, 7 b. pts. 7 Flowers of the Forest, 5 band pts. 5 Flying Dutchman, 7 band parts ..15 Fortunio, extrav., 10 band parts ..15 Forty Thieves, drama, p.v. ...... 5 Foundling of the Forest, p.v. .... 8 Ditto, 7 band parts @...... ac00-. 5 Fra Diavolo, burl. p.¥... «e200 e++-20 Ditto, 9 band parts ............ 15 Frankenstein, burl. 6 band parts.. 5 Funny Facts & Foolish Facts, p.v... 7 Ganem, vocal, 13 band parts......15 Gilderoy, 5 band parts........ None i Good Night Signor Pantaloon, p.v.20 Green Bushes, 8 band parts ......10 Guy Mannering, drama, p.v. ..-...10 Ditto, 8 band parts <...ecese= 7 Happy Man, p.v...... «aie leone inn! sent Ditto, 10 band parts ......ccesee 7 Hawlet, grave-digger’s song & ace. 1 Haunted Tower, comic opera, p.v. 5 High Life below Stairs, song, ‘‘All ina av Hunter of the Alps, p.v.....<.0.-. 8 Ill-treated Trovatore, p.¥. a.a.....16 Ditto, 9 band parts ......e20..-15 Illustrious Stranger, p.v........... 5 Innkeeper’s Daughter, 4 band pts. 6 Invincibles, The, 5 band parts.... 5 Ivanhoe, gat gov ale ales si\eetaistele nue Ditto, 8 band parts Ixion, DV. 32> saiieee « i arte esis See Ditto, 9 band parts aseiie eatearee Le Jack and the Beanstalk, p.v....... 7 Jack Robinson & his Monkey,6bp. 5 Jack Sheppard (songsinm) ........ Jeanette’s Wedding Day, p.v. ....15 Joan of Arc, burl p.¥.n am -me eeoeve = ao D.v.....20 20 eeeoeere es eees ws gate csiedee LG > @mwmO@ Fae @oo@022080 S@EcCcoooses* GOEeQeeS OSG OSG OSGOQEoOQaooegccoocoocce ” oaoeooganeaa Jolin Of Parts *.).) ore oan ot te daee Kenilworth, burl. p.v. ............20 King Alfred and the Cakes, bur.p.v. 3 Lady Godiva, 13 band parts ....20 Lady of the Lake, score, 5 band pts. 7 Eady of Lyons (Byron) burl. p.v...15 Ditto, 5 band psrts........... ae Ua Samnambula [Byron] burl. ....15 Ditto; 6 band parts 2)... so. 2: 10 Little Red Riding Hood, p.v. .... 7 Lean of a Lover, 8 hand parts, ..10 Lodoiska, opera, P.¥. ..seeeceeees 2 Lord Lovel, p.v. ........ Pay ied Jost and Found, p.v.........06 hace) “ost in London, 8 band parts ....10 Love by Lantern Light, p.v. ......10 Love in a Village, p.v. ... ; 8. fean of Arc, drama, & band aed eceeceece Ditto, 7 band parts ......... econ h Love Laughs at Locksmiths, p.v... 8 Lucille, 6 ban 1 parts........... scr Luke Somerton, 10 band parts.... 7 Luke the Labourer, 6 band parts.. 6 Macbeth, tragedy, 8 band parts ..10 Macbeth Travestie, p.v. ...c..ccee | Ditto, 4 band parts ......ce.00. 5 Madame Angot, p.v........ecceees Maid and Magpie, drama, p. score 3 Maid and Magpie [Byron] burl. p.v.20 Ditto, 8 band parts ....... Ano eet WF Maid of the Mill, opera, p.v....... 2 Maid with Milking Pail (song).... 1 Mariner’s Compass, drama, 15 b.p. 15 Mary Tdtner, p.¥, secs er eoes ca eek Ditto, 12 band parts ............ Masaniello, burl. p.v. ............20 Masaniello, drama, 4 band parts.. 3 Mazeppa, 10 band parts .......... 10 Medea, burls piv. ise cisacccssscdO Ditto, 8 band parts ............ 10 Merchant of Venice(unpub.songs of) 2 Midas. .95 "2S ores eee se 5 Mids. Nights’s Dream [Bishop] p.v. 7 Military Billy Taylor, p.v. ......015 Miller and Men, burl. p.v. ........10 Ditto, 9 hand parts ..... ACAI SE 10 Miller and Men, drama, 6 band pts. 7 Minerali, 8 band parts............ 2 Mischief-Making, vocal & 13 b. pts. 10 Blonsieur Jacques, p.v. .....eeeee Ditto, 7 ban’ parts ......... td | Mother Goose, harl., orig., p.v. .. 6 Motto, burl. p.v..... 0.00 ncesccccce1O Ditto, 9 band parts... nea: ace0.18 Mountaineers, p.v..... 0.000 waces B Ditto, 8 band parts w.cccsnsasae 7 Mrs. White, | p. V.....ncccnccsasne 5 Ditto, 6 band parts .........006 Much Ado About Nothing, 8 b. p. 7 My Polland myPartnerJoe,bur.p.v.15 Nobody’s Child, 9 band parts ....10 No Song, No Supper, opera, p.¥. .. 5 » Ditto, 4 band parts ........ piel J Nurseryrhymia, fairy play, p.v. .. 6 Nursery Pastoral, Bs RE OORD OSES Oak Chest, 10 band parts ........10 Octoroon, 10 band parts ..........10 Of Age To-morrow, OPerA «seccces 8 Of Noble Birth, p.v..........200es Orpheus and Eurydice[BroughIp.v. 2 Padlock, The, opera, P.V. w..aa 8 8. Pas de ¥Ascisiation, & Dand parts.. 5 Patient Penelope, p.¥. ...csecee++-10 Perdita,’ burl. p.iviv. ones ce cocae canal Pills of Wisdom, p.v. ....e2c0e +10 Pirates, opera, P.V...0.scceasacscece O Pizarro, ‘D.¥,'o2 oss acs te begs ae ante Ditto, 4 band parts ....eceu.. 2 Prince Nicey Nosey, p.¥........... 7 Princess Charming, p.v. .........-20 eeecaeene BOORMROMMOSCCOCMARMOMOOSCOROSOSOOOF™ lO b9 PO PO NEO SI TT nO STO Os ssa Prize, The, opeya, p.V. .....eceeeee 2 Puss in Boots [Planché] full score 7 Puss in Boots [Miss Keating] p.v. 5 Quaker, p:Vici3252 ..4. beer ee eae. 5 Raymond and Agnes, 3 band parts 3 Reviews pV a. toes seat aaean rine Robert Macaire, 4 band parts .... 2 Rob Roy, eh Re a Sts a eatale wal naen ee Ditto,-9 band parts ....eccsecc. OD Robin Hood, burl. p.v..... 0000000215 Ditto, 8 band parts ............15 Robinson Crusoe, p. v.(evening ent.) 5 Robinson Crusoe /Byron] p.v. -... 7 Rosina, opera, p.V.......+2. vel Sardanapalus,tragedy,entire music 7 School Bor-ed, p.v. 0} Sentinels pvt sese cass oo cre acyl! 0 Ditto, 14 band parts ........0.2.15 6 | Shaughraun, 8 bana parts ........10 0 | Shepherd of Cournonilles, p.v..... 3 0 | Shylock, burl. ip.v.,. oie s.acees cece 6 | Siege of Rochelle, p.v............. 10 0 | Sleeping Beauty (Miss Keating]p.v. & Sister’s Sacrifice, 11 band parts ty ); Sweethearts and Wives, p.v. ...... Swiss Cottage, p.V......csecccccces Ditto, 7 band parts ......ceces. Ten Tortured Tutors, p.v. ....e.0. Tell with a Vengeance, p.V. «se... Ditto, 10 band parts .........ee Therese, 5 band parts ............ Ticket of Leave Man, 8 band pts. 1 Tower of Nesle, 9 band parts .... Trombalcazar, p.¥V......... e oeeteetas Trooper’s Horn, full score ........ Turnpike Gate, opera, P.V...«.e.0.- Two Blinds, p.v....... Two Gregories, P.V. .. 0 ne o0asases Ditto, 56 band parts 2... 20 cec0 as Vampire, 4 band parts ....... as aeee Villikins and Dinah, p.v..... 2+. Ditto, 8 band parts ............ Watch and Wait, drama, 8 bnd. pts. Waterman, P.V. ....-ccecececee Ditto, 7 band parts .........0.- Welsh Girl, overture, full score ~ White Horse of Peppess, p.v. ... Ditto, 6 band parts........eesee0 White Cat Keating] p.Y. ee ee ee White Cat [Planché] full score.... Whittington and Cat,7 band parts 5 Whittington, Junior, and his Cat..15 Who's the Heir, operetta, p.v..... 4 Who Stole the Clock, op.bouffe,p.v. 7 Wild Boy of Bohemia, 5 band parts 5 William Tell [Brough] p.v......... 2 Willow Pattern Plate, 9 band parts 7 Widows Bewitched, operetta, p.v. 10 Windsor Cstl.[Burnand]op.bur.p.v. 2 Yellow Dwarf [Miss Keating] p.v. 8 Yew-tree Reias 6 band parts ..— 7 ) pie SE ey RPAMMOOCOAMVCOSCCSSSaeocooooqoocca@acoea@ooocooaocea s? 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