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SHE STOOPS TO CONQUER
by Oliver Goldsmith
She Stoops To Conquer; Or, The Mistakes Of A Night.
A Comedy.
To Samuel Johnson, LL.D.
Dear Sir,—By inscribing this slight performance to you, I do not mean so much to compliment you as myself. It may do me some honour to inform the public, that I have lived many years in intimacy with you. It may serve the interests of mankind also to inform them, that the greatest wit may be found in a character, without impairing the most unaffected piety.
Dear Sir,—By dedicating this small work to you, I'm not just trying to compliment you but also myself. It might bring me some recognition to let the public know that I have enjoyed a close friendship with you for many years. It may also benefit society to reveal that the greatest humor can exist in a person while maintaining genuine piety.
I have, particularly, reason to thank you for your partiality to this performance. The undertaking a comedy not merely sentimental was very dangerous; and Mr. Colman, who saw this piece in its various stages, always thought it so. However, I ventured to trust it to the public; and, though it was necessarily delayed till late in the season, I have every reason to be grateful.
I especially want to thank you for your support of this performance. Taking on a comedy that isn’t just sentimental was quite risky, and Mr. Colman, who watched this piece develop through its various stages, always believed it was. Still, I decided to trust it to the public; and even though it was delayed until late in the season, I have every reason to be thankful.
I am, dear Sir, your most sincere friend and admirer,
I am, dear Sir, your most genuine friend and admirer,
OLIVER GOLDSMITH.
Oliver Goldsmith.
Contents
PROLOGUE,
By David Garrick, Esq.
Enter MR. WOODWARD, dressed in black, and holding a handkerchief to his eyes.
Enter MR. WOODWARD, dressed in black and holding a handkerchief to his eyes.
Excuse me, sirs, I pray—I can’t yet speak— I’m crying now—and have been all the week. “’Tis not alone this mourning suit,” good masters: “I’ve that within”—for which there are no plasters! Pray, would you know the reason why I’m crying? The Comic Muse, long sick, is now a-dying! And if she goes, my tears will never stop; For as a player, I can’t squeeze out one drop: I am undone, that’s all—shall lose my bread— I’d rather, but that’s nothing—lose my head. When the sweet maid is laid upon the bier, Shuter and I shall be chief mourners here. To her a mawkish drab of spurious breed, Who deals in sentimentals, will succeed! Poor Ned and I are dead to all intents; We can as soon speak Greek as sentiments! Both nervous grown, to keep our spirits up. We now and then take down a hearty cup. What shall we do? If Comedy forsake us, They’ll turn us out, and no one else will take us. But why can’t I be moral?—Let me try— My heart thus pressing—fixed my face and eye— With a sententious look, that nothing means, (Faces are blocks in sentimental scenes) Thus I begin: “All is not gold that glitters, “Pleasure seems sweet, but proves a glass of bitters. “When Ignorance enters, Folly is at hand: “Learning is better far than house and land. “Let not your virtue trip; who trips may stumble, “And virtue is not virtue, if she tumble.” I give it up—morals won’t do for me; To make you laugh, I must play tragedy. One hope remains—hearing the maid was ill, A Doctor comes this night to show his skill. To cheer her heart, and give your muscles motion, He, in Five Draughts prepar’d, presents a potion: A kind of magic charm—for be assur’d, If you will swallow it, the maid is cur’d: But desperate the Doctor, and her case is, If you reject the dose, and make wry faces! This truth he boasts, will boast it while he lives, No poisonous drugs are mixed in what he gives. Should he succeed, you’ll give him his degree; If not, within he will receive no fee! The College YOU, must his pretensions back, Pronounce him Regular, or dub him Quack.
Excuse me, sirs, please—I can’t speak yet—I’m crying now—and have been all week. “It’s not just this mourning outfit,” good masters: “I’ve got something inside”—for which there are no band-aids! Please, would you like to know why I’m crying? The Comic Muse, long sick, is now on her deathbed! And if she goes, my tears won’t stop; for as a performer, I can’t squeeze out even one drop: I’m finished, that’s it—I’ll lose my livelihood—I’d rather, but that’s nothing—lose my head. When the sweet girl is laid to rest, Shuter and I will be the main mourners here. To her, a sentimental hack of fake breed, who deals in clichés, will take her place! Poor Ned and I are as good as dead; we can speak Greek as easily as we can express feelings! Both getting nervous, trying to lift our spirits, we occasionally share a hearty drink. What will we do? If Comedy abandons us, they’ll kick us out, and no one else will take us. But why can’t I be moral?—Let me try—my heart weighs heavy—fixed my face and eyes—with a pompous look, that means nothing, (Faces are just props in sentimental scenes) Thus I begin: “Not all that glitters is gold, “Pleasure seems sweet, but proves to be a bitter cup. “When Ignorance arrives, Foolishness isn’t far behind: “Learning is much better than wealth or land. “Don’t let your virtue slip; those who stumble may fall, “And virtue isn’t really virtue if she trips.” I give up—morals just aren’t for me; to make you laugh, I have to play tragedy. One hope remains—hearing the girl was ill, a doctor comes tonight to prove his skill. To lift her spirits and get your muscles moving, he’s prepared a potion in Five Draughts: a kind of magic spell—rest assured, if you take it, the girl will be cured: But desperate is the doctor, and her case is tricky; if you refuse the dose and make faces! This truth he’ll brag about for as long as he lives, no toxic ingredients are mixed in what he gives. If he succeeds, you’ll grant him his degree; if not, he won’t get a fee! The College YOU must support him, declare him Legit, or call him a Quack.
DRAMATIS PERSONAE.
MEN. SIR CHARLES MARLOW Mr. Gardner. YOUNG MARLOW (His Son) Mr. Lee Lewes. HARDCASTLE Mr. Shuter. HASTINGS Mr. Dubellamy. TONY LUMPKIN Mr. Quick. DIGGORY Mr. Saunders. WOMEN. MRS. HARDCASTLE Mrs. Green. MISS HARDCASTLE Mrs. Bulkley. MISS NEVILLE Mrs. Kniveton. MAID Miss Williams. LANDLORD, SERVANTS, Etc. Etc.
MEN. SIR CHARLES MARLOW Mr. Gardner. YOUNG MARLOW (His Son) Mr. Lee Lewes. HARDCASTLE Mr. Shuter. HASTINGS Mr. Dubellamy. TONY LUMPKIN Mr. Quick. DIGGORY Mr. Saunders. WOMEN. MRS. HARDCASTLE Mrs. Green. MISS HARDCASTLE Mrs. Bulkley. MISS NEVILLE Mrs. Kniveton. MAID Miss Williams. LANDLORD, SERVANTS, Etc. Etc.
ACT THE FIRST.
SCENE—A Chamber in an old-fashioned House.
SCENE—A room in an old-fashioned house.
Enter MRS. HARDCASTLE and MR. HARDCASTLE.
Enter MRS. HARDCASTLE and MR. HARDCASTLE.
MRS. HARDCASTLE. I vow, Mr. Hardcastle, you’re very particular. Is there a creature in the whole country but ourselves, that does not take a trip to town now and then, to rub off the rust a little? There’s the two Miss Hoggs, and our neighbour Mrs. Grigsby, go to take a month’s polishing every winter.
MRS. HARDCASTLE. I swear, Mr. Hardcastle, you're quite particular. Is there anyone in the entire country besides us who doesn’t go to town every now and then to freshen up a bit? The two Miss Hoggs and our neighbor Mrs. Grigsby head there for a month's polishing every winter.
HARDCASTLE. Ay, and bring back vanity and affectation to last them the whole year. I wonder why London cannot keep its own fools at home! In my time, the follies of the town crept slowly among us, but now they travel faster than a stage-coach. Its fopperies come down not only as inside passengers, but in the very basket.
HARDCASTLE. Yeah, and bring back vanity and pretentiousness to last them the whole year. I wonder why London can’t keep its own fools at home! In my day, the town’s foolishness spread slowly among us, but now it travels faster than a stagecoach. Its ridiculousness comes down not only as inside passengers but also in the very basket.
MRS. HARDCASTLE. Ay, your times were fine times indeed; you have been telling us of them for many a long year. Here we live in an old rumbling mansion, that looks for all the world like an inn, but that we never see company. Our best visitors are old Mrs. Oddfish, the curate’s wife, and little Cripplegate, the lame dancing-master; and all our entertainment your old stories of Prince Eugene and the Duke of Marlborough. I hate such old-fashioned trumpery.
MRS. HARDCASTLE. Yes, those were great times indeed; you’ve been sharing stories about them for years. Here we are living in this old, creaky mansion that looks like an inn, but we never have any guests. Our best visitors are old Mrs. Oddfish, the curate’s wife, and little Cripplegate, the lame dancing teacher; our main form of entertainment is your old stories about Prince Eugene and the Duke of Marlborough. I can’t stand that outdated nonsense.
HARDCASTLE. And I love it. I love everything that’s old: old friends, old times, old manners, old books, old wine; and I believe, Dorothy (taking her hand), you’ll own I have been pretty fond of an old wife.
HARDCASTLE. And I love it. I love everything that’s vintage: old friends, past times, traditional manners, classic books, aged wine; and I believe, Dorothy (taking her hand), you’ll agree I have been quite fond of an older wife.
MRS. HARDCASTLE. Lord, Mr. Hardcastle, you’re for ever at your Dorothys and your old wifes. You may be a Darby, but I’ll be no Joan, I promise you. I’m not so old as you’d make me, by more than one good year. Add twenty to twenty, and make money of that.
MRS. HARDCASTLE. Honestly, Mr. Hardcastle, you’re always bringing up your Dorothys and your old wives. You might be a Darby, but I won’t be a Joan, I promise you. I’m not as old as you try to make me out to be, by more than a good year. Add twenty to twenty, and profit from that.
HARDCASTLE. Let me see; twenty added to twenty makes just fifty and seven.
HARDCASTLE. Let me see; twenty plus twenty equals fifty-seven.
MRS. HARDCASTLE. It’s false, Mr. Hardcastle; I was but twenty when I was brought to bed of Tony, that I had by Mr. Lumpkin, my first husband; and he’s not come to years of discretion yet.
MRS. HARDCASTLE. That’s not true, Mr. Hardcastle; I was only twenty when I had Tony, my son with Mr. Lumpkin, my first husband; and he still hasn’t reached adulthood yet.
HARDCASTLE. Nor ever will, I dare answer for him. Ay, you have taught him finely.
HARDCASTLE. And he never will, I can guarantee that. Yeah, you’ve educated him really well.
MRS. HARDCASTLE. No matter. Tony Lumpkin has a good fortune. My son is not to live by his learning. I don’t think a boy wants much learning to spend fifteen hundred a year.
MRS. HARDCASTLE. It doesn’t matter. Tony Lumpkin has a good fortune. My son isn’t going to rely on his education. I don’t believe a guy needs much education to spend fifteen hundred a year.
HARDCASTLE. Learning, quotha! a mere composition of tricks and mischief.
HARDCASTLE. Learning, really! It's just a bunch of tricks and mischief.
MRS. HARDCASTLE. Humour, my dear; nothing but humour. Come, Mr. Hardcastle, you must allow the boy a little humour.
MRS. HARDCASTLE. Humor, my dear; nothing but humor. Come on, Mr. Hardcastle, you have to let the boy have a little fun.
HARDCASTLE. I’d sooner allow him a horse-pond. If burning the footmen’s shoes, frightening the maids, and worrying the kittens be humour, he has it. It was but yesterday he fastened my wig to the back of my chair, and when I went to make a bow, I popt my bald head in Mrs. Frizzle’s face.
HARDCASTLE. I’d rather give him a horse trough. If setting fire to the footmen’s shoes, scaring the maids, and bothering the kittens counts as humor, then he’s got it. Just yesterday, he attached my wig to the back of my chair, and when I went to bow, I ended up sticking my bald head in Mrs. Frizzle’s face.
MRS. HARDCASTLE. And am I to blame? The poor boy was always too sickly to do any good. A school would be his death. When he comes to be a little stronger, who knows what a year or two’s Latin may do for him?
MRS. HARDCASTLE. Am I supposed to be at fault? The poor boy has always been too sickly to be of any use. A school would be the end of him. Once he gets a bit stronger, who knows what a year or two of Latin could do for him?
HARDCASTLE. Latin for him! A cat and fiddle. No, no; the alehouse and the stable are the only schools he’ll ever go to.
HARDCASTLE. Latin for him! A cat and fiddle. No, no; the pub and the stable are the only schools he’ll ever attend.
MRS. HARDCASTLE. Well, we must not snub the poor boy now, for I believe we shan’t have him long among us. Anybody that looks in his face may see he’s consumptive.
MRS. HARDCASTLE. Well, we shouldn't ignore the poor boy now, because I don't think we'll have him with us for much longer. Anyone who looks at his face can see he's sickly.
HARDCASTLE. Ay, if growing too fat be one of the symptoms.
HARDCASTLE. Yeah, if getting too fat is one of the signs.
MRS. HARDCASTLE. He coughs sometimes.
He coughs sometimes.
HARDCASTLE. Yes, when his liquor goes the wrong way.
HARDCASTLE. Yeah, when he drinks too much.
MRS. HARDCASTLE. I’m actually afraid of his lungs.
MRS. HARDCASTLE. I'm genuinely worried about his lungs.
HARDCASTLE. And truly so am I; for he sometimes whoops like a speaking trumpet—(Tony hallooing behind the scenes)—O, there he goes—a very consumptive figure, truly.
HARDCASTLE. And I really feel the same way; because sometimes he yells like a loudspeaker—(Tony shouting offstage)—Oh, there he is—a very sickly figure, indeed.
Enter TONY, crossing the stage.
Enter TONY, walking across the stage.
MRS. HARDCASTLE. Tony, where are you going, my charmer? Won’t you give papa and I a little of your company, lovee?
MRS. HARDCASTLE. Tony, where are you off to, my darling? Won’t you spend a little time with me and your dad, sweetheart?
TONY. I’m in haste, mother; I cannot stay.
TONY. I’m in a hurry, Mom; I can’t stick around.
MRS. HARDCASTLE. You shan’t venture out this raw evening, my dear; you look most shockingly.
MRS. HARDCASTLE. You aren’t going out this chilly evening, my dear; you look absolutely terrible.
TONY. I can’t stay, I tell you. The Three Pigeons expects me down every moment. There’s some fun going forward.
TONY. I can’t stay, I’m telling you. The Three Pigeons is expecting me any moment now. There’s some fun happening.
HARDCASTLE. Ay; the alehouse, the old place: I thought so.
HARDCASTLE. Yeah; the pub, the old spot: I figured as much.
MRS. HARDCASTLE. A low, paltry set of fellows.
MRS. HARDCASTLE. A bunch of petty, insignificant guys.
TONY. Not so low, neither. There’s Dick Muggins the exciseman, Jack Slang the horse doctor, Little Aminadab that grinds the music box, and Tom Twist that spins the pewter platter.
TONY. Not so low, either. There's Dick Muggins the tax collector, Jack Slang the veterinarian, Little Aminadab who operates the music box, and Tom Twist who spins the pewter platter.
MRS. HARDCASTLE. Pray, my dear, disappoint them for one night at least.
MRS. HARDCASTLE. Please, my dear, let them down for just one night at least.
TONY. As for disappointing them, I should not so much mind; but I can’t abide to disappoint myself.
TONY. When it comes to disappointing them, I wouldn’t mind so much; but I can’t stand to disappoint myself.
MRS. HARDCASTLE. (detaining him.) You shan’t go.
MRS. HARDCASTLE. (holding him back.) You’re not going anywhere.
TONY. I will, I tell you.
TONY. I will, I'm telling you.
MRS. HARDCASTLE. I say you shan’t.
MRS. HARDCASTLE. I'm telling you, you won't.
TONY. We’ll see which is strongest, you or I. [Exit, hauling her out.]
TONY. We'll see who's stronger, you or me. [Exits, pulling her out.]
HARDCASTLE. (solus.) Ay, there goes a pair that only spoil each other. But is not the whole age in a combination to drive sense and discretion out of doors? There’s my pretty darling Kate! the fashions of the times have almost infected her too. By living a year or two in town, she is as fond of gauze and French frippery as the best of them.
HARDCASTLE. (talking to himself) Ah, there goes a couple that only bring out the worst in each other. But isn’t everyone nowadays trying to push common sense and good judgment away? There's my lovely Kate! The trends of the times have almost gotten to her as well. After spending a year or two in the city, she’s as into lace and French fancy clothes as anyone else.
Enter MISS HARDCASTLE.
Enter Miss Hardcastle.
HARDCASTLE. Blessings on my pretty innocence! drest out as usual, my Kate. Goodness! What a quantity of superfluous silk hast thou got about thee, girl! I could never teach the fools of this age, that the indigent world could be clothed out of the trimmings of the vain.
HARDCASTLE. Blessings on my lovely innocence! Dressed up as usual, my Kate. Wow! How much extra silk do you have on, girl! I could never make the fools of this age understand that the needy world could be dressed with the excesses of the vain.
MISS HARDCASTLE. You know our agreement, sir. You allow me the morning to receive and pay visits, and to dress in my own manner; and in the evening I put on my housewife’s dress to please you.
MISS HARDCASTLE. You know our deal, sir. You let me spend the morning visiting and getting ready the way I want; and in the evening, I wear my housewife's dress to make you happy.
HARDCASTLE. Well, remember, I insist on the terms of our agreement; and, by the bye, I believe I shall have occasion to try your obedience this very evening.
HARDCASTLE. Well, just remember, I expect you to stick to our agreement; and by the way, I think I'll have a chance to test your obedience this very evening.
MISS HARDCASTLE. I protest, sir, I don’t comprehend your meaning.
MISS HARDCASTLE. I seriously don’t understand what you mean, sir.
HARDCASTLE. Then to be plain with you, Kate, I expect the young gentleman I have chosen to be your husband from town this very day. I have his father’s letter, in which he informs me his son is set out, and that he intends to follow himself shortly after.
HARDCASTLE. To be straightforward with you, Kate, I expect the young man I've picked to be your husband to arrive from town today. I have a letter from his father, who tells me that his son is on his way and that he plans to come shortly after.
MISS HARDCASTLE. Indeed! I wish I had known something of this before. Bless me, how shall I behave? It’s a thousand to one I shan’t like him; our meeting will be so formal, and so like a thing of business, that I shall find no room for friendship or esteem.
MISS HARDCASTLE. Seriously! I wish I had known about this sooner. Goodness, how should I act? It's highly unlikely I'll like him; our meeting will be so stiff and feel like a business arrangement that I won’t find any space for friendship or respect.
HARDCASTLE. Depend upon it, child, I’ll never control your choice; but Mr. Marlow, whom I have pitched upon, is the son of my old friend, Sir Charles Marlow, of whom you have heard me talk so often. The young gentleman has been bred a scholar, and is designed for an employment in the service of his country. I am told he’s a man of an excellent understanding.
HARDCASTLE. Trust me, kid, I’ll never dictate your choice; but Mr. Marlow, who I’ve picked out, is the son of my old friend, Sir Charles Marlow, whom you’ve heard me mention so many times. The young man has been raised to be a scholar and is meant for a position serving his country. I've been told he’s really smart.
MISS HARDCASTLE. Is he?
MISS HARDCASTLE. Is he really?
HARDCASTLE. Very generous.
HARDCASTLE. Really generous.
MISS HARDCASTLE. I believe I shall like him.
MISS HARDCASTLE. I think I'm going to like him.
HARDCASTLE. Young and brave.
HARDCASTLE. Young and fearless.
MISS HARDCASTLE. I’m sure I shall like him.
MISS HARDCASTLE. I’m sure I’ll like him.
HARDCASTLE. And very handsome.
HARDCASTLE. And really good-looking.
MISS HARDCASTLE. My dear papa, say no more, (kissing his hand), he’s mine; I’ll have him.
MISS HARDCASTLE. My dear dad, don't say anything else, (kissing his hand), he’s mine; I’ll have him.
HARDCASTLE. And, to crown all, Kate, he’s one of the most bashful and reserved young fellows in all the world.
HARDCASTLE. And, to top it all off, Kate, he’s one of the shyest and most reserved guys in the entire world.
MISS HARDCASTLE. Eh! you have frozen me to death again. That word RESERVED has undone all the rest of his accomplishments. A reserved lover, it is said, always makes a suspicious husband.
MISS HARDCASTLE. Ugh! You've completely chilled me again. That word RESERVED has ruined all his other qualities. It’s said that a reserved lover always makes a jealous husband.
HARDCASTLE. On the contrary, modesty seldom resides in a breast that is not enriched with nobler virtues. It was the very feature in his character that first struck me.
HARDCASTLE. On the contrary, modesty rarely exists in someone who isn't filled with greater virtues. It was the exact quality in his character that first caught my attention.
MISS HARDCASTLE. He must have more striking features to catch me, I promise you. However, if he be so young, so handsome, and so everything as you mention, I believe he’ll do still. I think I’ll have him.
MISS HARDCASTLE. He needs to have more standout features to impress me, I assure you. However, if he is as young, handsome, and everything else you say, I believe he will do just fine. I think I’ll go for him.
HARDCASTLE. Ay, Kate, but there is still an obstacle. It’s more than an even wager he may not have you.
HARDCASTLE. Yeah, Kate, but there’s still a problem. It’s almost a sure bet he might not get you.
MISS HARDCASTLE. My dear papa, why will you mortify one so?—Well, if he refuses, instead of breaking my heart at his indifference, I’ll only break my glass for its flattery, set my cap to some newer fashion, and look out for some less difficult admirer.
MISS HARDCASTLE. My dear dad, why do you have to embarrass me like this?—Well, if he turns me down, instead of feeling crushed by his indifference, I’ll just shatter my mirror for its false compliments, change up my style, and look for a less challenging admirer.
HARDCASTLE. Bravely resolved! In the mean time I’ll go prepare the servants for his reception: as we seldom see company, they want as much training as a company of recruits the first day’s muster. [Exit.]
HARDCASTLE. That's a bold decision! In the meantime, I’ll go get the servants ready for his arrival: since we rarely have guests, they need just as much training as a group of recruits on their first day of drill. [Exit.]
MISS HARDCASTLE. (Alone). Lud, this news of papa’s puts me all in a flutter. Young, handsome: these he put last; but I put them foremost. Sensible, good-natured; I like all that. But then reserved and sheepish; that’s much against him. Yet can’t he be cured of his timidity, by being taught to be proud of his wife? Yes, and can’t I—But I vow I’m disposing of the husband before I have secured the lover.
MISS HARDCASTLE. (Alone). Wow, this news about Dad has me all flustered. Young and handsome — those are the qualities I care about the most. Sensible and good-natured; I appreciate that. But then he’s so reserved and shy; that really works against him. But can’t he overcome his shyness if he learns to be proud of his wife? Yes, and can’t I—But I swear I’m picking out the husband before I’ve even landed the boyfriend.
Enter MISS NEVILLE.
Miss Neville enters.
MISS HARDCASTLE. I’m glad you’re come, Neville, my dear. Tell me, Constance, how do I look this evening? Is there anything whimsical about me? Is it one of my well-looking days, child? Am I in face to-day?
MISS HARDCASTLE. I'm glad you could make it, Neville, my dear. Tell me, Constance, how do I look tonight? Is there anything quirky about me? Is today one of my good-looking days, sweetheart? Am I presentable today?
MISS NEVILLE. Perfectly, my dear. Yet now I look again—bless me!—sure no accident has happened among the canary birds or the gold fishes. Has your brother or the cat been meddling? or has the last novel been too moving?
MISS NEVILLE. Absolutely, my dear. But now that I look again—goodness!—I hope nothing has happened to the canary birds or the goldfish. Has your brother or the cat been messing around? Or has the latest novel been too emotional?
MISS HARDCASTLE. No; nothing of all this. I have been threatened—I can scarce get it out—I have been threatened with a lover.
MISS HARDCASTLE. No; none of that. I've been threatened—I can barely say it—I’ve been threatened with a suitor.
MISS NEVILLE. And his name—
MISS NEVILLE. And his name—
MISS HARDCASTLE. Is Marlow.
Is Marlow here, Miss Hardcastle?
MISS NEVILLE. Indeed!
MISS NEVILLE. For sure!
MISS HARDCASTLE. The son of Sir Charles Marlow.
MISS HARDCASTLE. The son of Sir Charles Marlow.
MISS NEVILLE. As I live, the most intimate friend of Mr. Hastings, my admirer. They are never asunder. I believe you must have seen him when we lived in town.
MISS NEVILLE. I swear, the closest friend of Mr. Hastings, my admirer. They are never apart. I think you must have met him when we lived in the city.
MISS HARDCASTLE. Never.
MISS HARDCASTLE. No way.
MISS NEVILLE. He’s a very singular character, I assure you. Among women of reputation and virtue he is the modestest man alive; but his acquaintance give him a very different character among creatures of another stamp: you understand me.
MISS NEVILLE. He’s a really unique guy, I promise you. Around women of good reputation and virtue, he’s the most modest man ever; but his friends give him a completely different reputation among others, if you know what I mean.
MISS HARDCASTLE. An odd character indeed. I shall never be able to manage him. What shall I do? Pshaw, think no more of him, but trust to occurrences for success. But how goes on your own affair, my dear? has my mother been courting you for my brother Tony as usual?
MISS HARDCASTLE. What a strange character he is. I’ll never be able to handle him. What should I do? Forget about him and just rely on what happens for success. But how are things going with you, my dear? Has my mom been trying to set you up with my brother Tony again?
MISS NEVILLE. I have just come from one of our agreeable tete-a-tetes. She has been saying a hundred tender things, and setting off her pretty monster as the very pink of perfection.
MISS NEVILLE. I just got back from a nice chat. She was saying a hundred sweet things and presenting her pretty monster as the epitome of perfection.
MISS HARDCASTLE. And her partiality is such, that she actually thinks him so. A fortune like yours is no small temptation. Besides, as she has the sole management of it, I’m not surprised to see her unwilling to let it go out of the family.
MISS HARDCASTLE. And her favoritism is such that she really believes it's true. A fortune like yours is quite a temptation. Plus, since she has complete control over it, I’m not surprised she doesn’t want to see it leave the family.
MISS NEVILLE. A fortune like mine, which chiefly consists in jewels, is no such mighty temptation. But at any rate, if my dear Hastings be but constant, I make no doubt to be too hard for her at last. However, I let her suppose that I am in love with her son; and she never once dreams that my affections are fixed upon another.
MISS NEVILLE. A fortune like mine, mostly made up of jewels, isn't that big of a temptation. But either way, if my dear Hastings stays true, I'm sure I'll outlast her in the end. Still, I let her think that I'm in love with her son; she doesn't even realize that my heart belongs to someone else.
MISS HARDCASTLE. My good brother holds out stoutly. I could almost love him for hating you so.
MISS HARDCASTLE. My good brother is really holding his ground. I could almost care for him for hating you so much.
MISS NEVILLE. It is a good-natured creature at bottom, and I’m sure would wish to see me married to anybody but himself. But my aunt’s bell rings for our afternoon’s walk round the improvements. Allons! Courage is necessary, as our affairs are critical.
MISS NEVILLE. At heart, he’s a good person, and I’m sure he’d prefer to see me married to anyone but him. But my aunt's bell is ringing for our afternoon walk to check out the new developments. Let’s go! We need some courage, as our situation is serious.
MISS HARDCASTLE. “Would it were bed-time, and all were well.” [Exeunt.]
MISS HARDCASTLE. "I wish it were bedtime and everything was fine." [Exeunt.]
SCENE—An Alehouse Room. Several shabby Fellows with punch and tobacco. TONY at the head of the table, a little higher than the rest, a mallet in his hand.
SCENE—An Alehouse Room. Several shabby Guys with punch and tobacco. TONY at the head of the table, a little higher than the rest, holding a mallet.
OMNES. Hurrea! hurrea! hurrea! bravo!
Hooray! Hooray! Hooray! Bravo!
FIRST FELLOW Now, gentlemen, silence for a song. The ’squire is going to knock himself down for a song.
FIRST FELLOW Now, guys, quiet for a song. The squire is going to put himself out there for a tune.
OMNES. Ay, a song, a song!
OMNES. Yeah, a song, a song!
TONY. Then I’ll sing you, gentlemen, a song I made upon this alehouse, the Three Pigeons.
TONY. Then I’ll sing you, guys, a song I wrote about this pub, the Three Pigeons.
SONG.
Track.
Let schoolmasters puzzle their brain With grammar, and nonsense, and learning, Good liquor, I stoutly maintain, Gives GENUS a better discerning. Let them brag of their heathenish gods, Their Lethes, their Styxes, and Stygians, Their Quis, and their Quaes, and their Quods, They’re all but a parcel of Pigeons. Toroddle, toroddle, toroll. When methodist preachers come down, A-preaching that drinking is sinful, I’ll wager the rascals a crown, They always preach best with a skinful. But when you come down with your pence, For a slice of their scurvy religion, I’ll leave it to all men of sense, But you, my good friend, are the Pigeon. Toroddle, toroddle, toroll. Then come, put the jorum about, And let us be merry and clever, Our hearts and our liquors are stout, Here’s the Three Jolly Pigeons for ever. Let some cry up woodcock or hare, Your bustards, your ducks, and your widgeons; But of all the GAY birds in the air, Here’s a health to the Three Jolly Pigeons. Toroddle, toroddle, toroll.
```html Let teachers scratch their heads With grammar, nonsense, and learning, Good booze, I firmly believe, Gives us better insight. Let them brag about their pagan gods, Their rivers of forgetfulness, their dark waters, Their such and such, and their who knows, They’re just a bunch of fools. Toroddle, toroddle, toroll. When Methodist preachers come around, Preaching that drinking is a sin, I’d bet a crown that they’re the ones Who preach best when they've had a few. But when you show up with your coins, For a slice of their pathetic religion, I’ll leave it to all sensible folks, But you, my good friend, are the fool. Toroddle, toroddle, toroll. So come on, pass the drink around, And let’s be joyful and witty, Our hearts and our drinks are strong, Here’s to the Three Jolly Pigeons forever. Let some praise woodcock or hare, Your bustards, your ducks, and your widgeons; But of all the fun birds in the sky, Here’s a toast to the Three Jolly Pigeons. Toroddle, toroddle, toroll. ```
OMNES. Bravo, bravo!
OMNES. Awesome, awesome!
FIRST FELLOW. The ’squire has got spunk in him.
FIRST FELLOW. The squire has some guts in him.
SECOND FELLOW. I loves to hear him sing, bekeays he never gives us nothing that’s low.
SECOND FELLOW. I love hearing him sing because he never gives us anything that's cheap.
THIRD FELLOW. O damn anything that’s low, I cannot bear it.
THIRD FELLOW. Oh, I can't stand anything that's low or petty.
FOURTH FELLOW. The genteel thing is the genteel thing any time: if so be that a gentleman bees in a concatenation accordingly.
FOURTH FELLOW. Being classy is always classy, as long as a gentleman finds himself in the right situation.
THIRD FELLOW. I likes the maxum of it, Master Muggins. What, though I am obligated to dance a bear, a man may be a gentleman for all that. May this be my poison, if my bear ever dances but to the very genteelest of tunes; “Water Parted,” or “The minuet in Ariadne.”
THIRD FELLOW. I like the idea of it, Master Muggins. Even though I have to dance a bear, a man can still be a gentleman. Let this be my downfall if my bear ever dances to anything less than the most refined tunes; “Water Parted,” or “The Minuet in Ariadne.”
SECOND FELLOW. What a pity it is the ’squire is not come to his own. It would be well for all the publicans within ten miles round of him.
SECOND FELLOW. What a shame the squire hasn't come into his own yet. It would be great for all the pubs within ten miles of him.
TONY. Ecod, and so it would, Master Slang. I’d then show what it was to keep choice of company.
TONY. Ecod, and it would, Master Slang. I'd then show what it means to choose your company wisely.
SECOND FELLOW. O he takes after his own father for that. To be sure old ’Squire Lumpkin was the finest gentleman I ever set my eyes on. For winding the straight horn, or beating a thicket for a hare, or a wench, he never had his fellow. It was a saying in the place, that he kept the best horses, dogs, and girls, in the whole county.
SECOND FELLOW. Oh, he definitely takes after his dad for that. No doubt, old 'Squire Lumpkin was the best gentleman I ever saw. Whether it was blowing the straight horn, chasing a hare through the brush, or pursuing a girl, he had no equal. People used to say around here that he had the finest horses, dogs, and women in the entire county.
TONY. Ecod, and when I’m of age, I’ll be no bastard, I promise you. I have been thinking of Bet Bouncer and the miller’s grey mare to begin with. But come, my boys, drink about and be merry, for you pay no reckoning. Well, Stingo, what’s the matter?
TONY. Ecod, and when I’m old enough, I won’t be a bastard, I promise you. I’ve been thinking about Bet Bouncer and the miller’s grey mare to start with. But come on, my friends, drink up and be happy, because you don’t have to worry about the bill. Well, Stingo, what’s wrong?
Enter Landlord.
Enter Landlord.
LANDLORD. There be two gentlemen in a post-chaise at the door. They have lost their way upo’ the forest; and they are talking something about Mr. Hardcastle.
LANDLORD. There are two gentlemen in a carriage at the door. They’ve lost their way in the forest, and they’re discussing something about Mr. Hardcastle.
TONY. As sure as can be, one of them must be the gentleman that’s coming down to court my sister. Do they seem to be Londoners?
TONY. I'm pretty sure one of them is the guy who’s coming to ask my sister out. Do they look like they're from London?
LANDLORD. I believe they may. They look woundily like Frenchmen.
LANDLORD. I think they might. They really look a lot like French people.
TONY. Then desire them to step this way, and I’ll set them right in a twinkling. (Exit Landlord.) Gentlemen, as they mayn’t be good enough company for you, step down for a moment, and I’ll be with you in the squeezing of a lemon. [Exeunt mob.]
TONY. Then ask them to come this way, and I'll sort them out in no time. (Exit Landlord.) Gentlemen, since they might not be suitable company for you, step down for a moment, and I'll be with you in a flash. [Exeunt mob.]
TONY. (solus). Father-in-law has been calling me whelp and hound this half year. Now, if I pleased, I could be so revenged upon the old grumbletonian. But then I’m afraid—afraid of what? I shall soon be worth fifteen hundred a year, and let him frighten me out of THAT if he can.
TONY. (alone). My father-in-law has been calling me a pup and a mutt for the past six months. Now, if I wanted to, I could really get back at that old grouch. But then I’m scared—scared of what? I’ll soon be making fifteen hundred a year, and let him try to scare me out of THAT if he can.
Enter Landlord, conducting MARLOW and HASTINGS.
Enter Landlord, leading MARLOW and HASTINGS.
MARLOW. What a tedious uncomfortable day have we had of it! We were told it was but forty miles across the country, and we have come above threescore.
MARLOW. What a long, uncomfortable day we've had! We were told it was only forty miles across the country, and we've traveled over sixty.
HASTINGS. And all, Marlow, from that unaccountable reserve of yours, that would not let us inquire more frequently on the way.
HASTINGS. And all, Marlow, from that strange distance you keep, which made it hard for us to ask more often along the way.
MARLOW. I own, Hastings, I am unwilling to lay myself under an obligation to every one I meet, and often stand the chance of an unmannerly answer.
MARLOW. I’ll admit, Hastings, I’m not keen on putting myself in a position where I owe something to everyone I encounter, and I often end up risking an impolite response.
HASTINGS. At present, however, we are not likely to receive any answer.
HASTINGS. Right now, though, we probably won't get any response.
TONY. No offence, gentlemen. But I’m told you have been inquiring for one Mr. Hardcastle in these parts. Do you know what part of the country you are in?
TONY. No offense, guys. But I've heard you've been looking for one Mr. Hardcastle around here. Do you know what part of the country you’re in?
HASTINGS. Not in the least, sir, but should thank you for information.
HASTINGS. Not at all, sir, but I should thank you for the information.
TONY. Nor the way you came?
TONY. Or the way you arrived?
HASTINGS. No, sir: but if you can inform us——
HASTINGS. No, sir: but if you can let us know——
TONY. Why, gentlemen, if you know neither the road you are going, nor where you are, nor the road you came, the first thing I have to inform you is, that—you have lost your way.
TONY. Well, gentlemen, if you don't know where you're headed, where you are, or the path you took to get here, the first thing I need to tell you is that—you've lost your way.
MARLOW. We wanted no ghost to tell us that.
MARLOW. We didn't need a ghost to tell us that.
TONY. Pray, gentlemen, may I be so bold so as to ask the place from whence you came?
TONY. Excuse me, gentlemen, but may I be bold enough to ask where you came from?
MARLOW. That’s not necessary towards directing us where we are to go.
MARLOW. That’s not needed to tell us where we should go.
TONY. No offence; but question for question is all fair, you know. Pray, gentlemen, is not this same Hardcastle a cross-grained, old-fashioned, whimsical fellow, with an ugly face, a daughter, and a pretty son?
TONY. No offense; but asking questions in return is only fair, you know. Tell me, gentlemen, isn't this Hardcastle guy a grumpy, old-fashioned, quirky dude, with a not-so-great face, a daughter, and a handsome son?
HASTINGS. We have not seen the gentleman; but he has the family you mention.
HASTINGS. We haven't seen the guy, but he has the family you mentioned.
TONY. The daughter, a tall, trapesing, trolloping, talkative maypole; the son, a pretty, well-bred, agreeable youth, that everybody is fond of.
TONY. The daughter, a tall, clumsy, flirty, chatty girl; the son, a handsome, well-mannered, likable young man that everyone adores.
MARLOW. Our information differs in this. The daughter is said to be well-bred and beautiful; the son an awkward booby, reared up and spoiled at his mother’s apron-string.
MARLOW. Our information varies here. The daughter is described as well-mannered and beautiful; the son is a clumsy fool, brought up and spoiled by his mother's overindulgence.
TONY. He-he-hem!—Then, gentlemen, all I have to tell you is, that you won’t reach Mr. Hardcastle’s house this night, I believe.
TONY. Ahem!—So, gentlemen, all I have to say is that you won’t be getting to Mr. Hardcastle’s house tonight, I believe.
HASTINGS. Unfortunate!
HASTINGS. That's too bad!
TONY. It’s a damn’d long, dark, boggy, dirty, dangerous way. Stingo, tell the gentlemen the way to Mr. Hardcastle’s! (Winking upon the Landlord.) Mr. Hardcastle’s, of Quagmire Marsh, you understand me.
TONY. It's a really long, dark, muddy, dirty, dangerous road. Stingo, tell the guys how to get to Mr. Hardcastle’s! (Winking at the Landlord.) Mr. Hardcastle’s, at Quagmire Marsh, you know what I mean.
LANDLORD. Master Hardcastle’s! Lock-a-daisy, my masters, you’re come a deadly deal wrong! When you came to the bottom of the hill, you should have crossed down Squash Lane.
LANDLORD. Master Hardcastle’s! Wow, you guys really took a wrong turn! When you reached the bottom of the hill, you should have gone down Squash Lane.
MARLOW. Cross down Squash Lane!
MARLOW. Cross down Squash Lane!
LANDLORD. Then you were to keep straight forward, till you came to four roads.
LANDLORD. Then you were to go straight ahead until you reached the four-way intersection.
MARLOW. Come to where four roads meet?
MARLOW. Are you coming to the crossroads?
TONY. Ay; but you must be sure to take only one of them.
TONY. Yeah; but you have to make sure to take only one of them.
MARLOW. O, sir, you’re facetious.
MARLOW. Oh, sir, you’re joking.
TONY. Then keeping to the right, you are to go sideways till you come upon Crackskull Common: there you must look sharp for the track of the wheel, and go forward till you come to farmer Murrain’s barn. Coming to the farmer’s barn, you are to turn to the right, and then to the left, and then to the right about again, till you find out the old mill—
TONY. Then, staying to the right, you're supposed to move sideways until you reach Crackskull Common: there you need to watch for the wheel's tracks, and continue forward until you arrive at farmer Murrain’s barn. When you get to the farmer’s barn, you should turn right, then left, and then turn right again, until you locate the old mill—
MARLOW. Zounds, man! we could as soon find out the longitude!
MARLOW. Wow, dude! We might as well try to figure out the longitude!
HASTINGS. What’s to be done, Marlow?
HASTINGS. What should we do, Marlow?
MARLOW. This house promises but a poor reception; though perhaps the landlord can accommodate us.
MARLOW. This place doesn't look very welcoming; but maybe the landlord can help us out.
LANDLORD. Alack, master, we have but one spare bed in the whole house.
LANDLORD. Unfortunately, sir, we only have one spare bed in the entire house.
TONY. And to my knowledge, that’s taken up by three lodgers already. (After a pause, in which the rest seem disconcerted.) I have hit it. Don’t you think, Stingo, our landlady could accommodate the gentlemen by the fire-side, with——three chairs and a bolster?
TONY. As far as I know, three lodgers are already using that space. (After a pause, during which the others look unsettled.) I've got it. Don’t you think, Stingo, our landlady could give the gentlemen a spot by the fire with——three chairs and a pillow?
HASTINGS. I hate sleeping by the fire-side.
HASTINGS. I hate sleeping by the fireplace.
MARLOW. And I detest your three chairs and a bolster.
MARLOW. And I can’t stand your three chairs and a cushion.
TONY. You do, do you? then, let me see—what if you go on a mile further, to the Buck’s Head; the old Buck’s Head on the hill, one of the best inns in the whole county?
TONY. You do, huh? Then let me see—what if you go another mile further, to the Buck’s Head; the old Buck’s Head on the hill, one of the best inns in the entire county?
HASTINGS. O ho! so we have escaped an adventure for this night, however.
HASTINGS. Oh wow! So we've avoided an adventure for tonight, after all.
LANDLORD. (apart to TONY). Sure, you ben’t sending them to your father’s as an inn, be you?
LANDLORD. (aside to TONY). So, you’re not actually sending them to your dad’s place as an inn, are you?
TONY. Mum, you fool you. Let THEM find that out. (To them.) You have only to keep on straight forward, till you come to a large old house by the road side. You’ll see a pair of large horns over the door. That’s the sign. Drive up the yard, and call stoutly about you.
TONY. Mom, you silly. Let THEM find that out. (To them.) Just keep going straight until you reach a big old house by the road. You'll see a pair of large horns over the door. That's the sign. Drive up the driveway and call out loudly.
HASTINGS. Sir, we are obliged to you. The servants can’t miss the way?
HASTINGS. Sir, we really appreciate your help. The staff can’t miss the way, can they?
TONY. No, no: but I tell you, though, the landlord is rich, and going to leave off business; so he wants to be thought a gentleman, saving your presence, he! he! he! He’ll be for giving you his company; and, ecod, if you mind him, he’ll persuade you that his mother was an alderman, and his aunt a justice of peace.
TONY. No, no, listen: the landlord is wealthy and planning to retire, so he wants to be seen as a gentleman, no offense! Ha! Ha! He’ll want to socialize with you, and honestly, if you’re not careful, he’ll convince you that his mother was an alderman and his aunt was a justice of the peace.
LANDLORD. A troublesome old blade, to be sure; but a keeps as good wines and beds as any in the whole country.
LANDLORD. A difficult old guy, for sure; but he keeps as good wines and beds as anyone in the whole country.
MARLOW. Well, if he supplies us with these, we shall want no farther connexion. We are to turn to the right, did you say?
MARLOW. Well, if he gives us these, we won’t need any further connection. We’re supposed to turn right, right?
TONY. No, no; straight forward. I’ll just step myself, and show you a piece of the way. (To the Landlord.) Mum!
TONY. No, no; straightforward. I'll just walk myself, and show you part of the way. (To the Landlord.) Mom!
LANDLORD. Ah, bless your heart, for a sweet, pleasant—damn’d mischievous son of a whore. [Exeunt.]
LANDLORD. Ah, bless your heart, for a sweet, pleasant—damn mischievous son of a bitch. [Exeunt.]
ACT THE SECOND.
SCENE—An old-fashioned House.
SCENE—A vintage house.
Enter HARDCASTLE, followed by three or four awkward Servants.
Enter HARDCASTLE, followed by three or four clumsy Servants.
HARDCASTLE. Well, I hope you are perfect in the table exercise I have been teaching you these three days. You all know your posts and your places, and can show that you have been used to good company, without ever stirring from home.
HARDCASTLE. Well, I hope you’ve mastered the table exercise I’ve been teaching you for the past three days. You all know your roles and where to sit, and you can prove that you’ve been accustomed to good company without ever leaving home.
OMNES. Ay, ay.
OMNES. Yeah, yeah.
HARDCASTLE. When company comes you are not to pop out and stare, and then run in again, like frightened rabbits in a warren.
HARDCASTLE. When guests arrive, you shouldn't jump out and gawk, then rush back in again like scared bunnies in a burrow.
OMNES. No, no.
OMNES. No way.
HARDCASTLE. You, Diggory, whom I have taken from the barn, are to make a show at the side-table; and you, Roger, whom I have advanced from the plough, are to place yourself behind my chair. But you’re not to stand so, with your hands in your pockets. Take your hands from your pockets, Roger; and from your head, you blockhead you. See how Diggory carries his hands. They’re a little too stiff, indeed, but that’s no great matter.
HARDCASTLE. You, Diggory, who I brought in from the barn, will be showing yourself at the side table; and you, Roger, who I promoted from the plow, will stand behind my chair. But don’t just stand there with your hands in your pockets. Take your hands out of your pockets, Roger; and out from your head, you fool. Look at how Diggory positions his hands. They might be a bit too stiff, but it’s not a big deal.
DIGGORY. Ay, mind how I hold them. I learned to hold my hands this way when I was upon drill for the militia. And so being upon drill——
DIGGORY. Yeah, remember how I hold them. I learned to hold my hands this way when I was training for the militia. And so being in training——
HARDCASTLE. You must not be so talkative, Diggory. You must be all attention to the guests. You must hear us talk, and not think of talking; you must see us drink, and not think of drinking; you must see us eat, and not think of eating.
HARDCASTLE. You shouldn't be so chatty, Diggory. You need to focus on the guests. You should listen to us talk, and not think about talking; you should watch us drink, and not think about drinking; you should see us eat, and not think about eating.
DIGGORY. By the laws, your worship, that’s parfectly unpossible. Whenever Diggory sees yeating going forward, ecod, he’s always wishing for a mouthful himself.
DIGGORY. By the laws, your honor, that's completely impossible. Whenever Diggory sees eating happening, he's always wishing for a bite himself.
HARDCASTLE. Blockhead! Is not a belly-full in the kitchen as good as a belly-full in the parlour? Stay your stomach with that reflection.
HARDCASTLE. Fool! Isn’t a full meal in the kitchen just as good as a full meal in the living room? Keep that thought in mind to calm your hunger.
DIGGORY. Ecod, I thank your worship, I’ll make a shift to stay my stomach with a slice of cold beef in the pantry.
DIGGORY. Wow, thanks so much! I'll manage to satisfy my hunger with a slice of cold beef from the pantry.
HARDCASTLE. Diggory, you are too talkative.—Then, if I happen to say a good thing, or tell a good story at table, you must not all burst out a-laughing, as if you made part of the company.
HARDCASTLE. Diggory, you talk too much.—If I say something clever or share a good story at the table, you all shouldn’t laugh as if you’re part of the group.
DIGGORY. Then ecod your worship must not tell the story of Ould Grouse in the gun-room: I can’t help laughing at that—he! he! he!—for the soul of me. We have laughed at that these twenty years—ha! ha! ha!
DIGGORY. Then, you definitely shouldn’t tell the story of Old Grouse in the gun-room: I can’t stop laughing at that—he! he! he!—for the life of me. We’ve been laughing about that for twenty years—ha! ha! ha!
HARDCASTLE. Ha! ha! ha! The story is a good one. Well, honest Diggory, you may laugh at that—but still remember to be attentive. Suppose one of the company should call for a glass of wine, how will you behave? A glass of wine, sir, if you please (to DIGGORY).—Eh, why don’t you move?
HARDCASTLE. Ha! ha! ha! That’s a great story. Well, honest Diggory, you can laugh at that—but still remember to pay attention. If someone in the group calls for a glass of wine, how will you react? A glass of wine, please, sir (to DIGGORY).—Hey, why aren’t you moving?
DIGGORY. Ecod, your worship, I never have courage till I see the eatables and drinkables brought upo’ the table, and then I’m as bauld as a lion.
DIGGORY. Honestly, your honor, I never feel brave until I see the food and drinks placed on the table, and then I’m as bold as a lion.
HARDCASTLE. What, will nobody move?
HARDCASTLE. What, is nobody moving?
FIRST SERVANT. I’m not to leave this pleace.
FIRST SERVANT. I can’t leave this place.
SECOND SERVANT. I’m sure it’s no pleace of mine.
SECOND SERVANT. I’m sure it’s not my place.
THIRD SERVANT. Nor mine, for sartain.
THIRD SERVANT. Not mine, for sure.
DIGGORY. Wauns, and I’m sure it canna be mine.
DIGGORY. Wow, and I’m sure it can't be mine.
HARDCASTLE. You numskulls! and so while, like your betters, you are quarrelling for places, the guests must be starved. O you dunces! I find I must begin all over again——But don’t I hear a coach drive into the yard? To your posts, you blockheads. I’ll go in the mean time and give my old friend’s son a hearty reception at the gate. [Exit HARDCASTLE.]
HARDCASTLE. You idiots! While you’re busy arguing over spots like your betters, the guests are going to be left hungry. Oh, you fools! I see I have to start all over again——But don’t I hear a coach pulling into the yard? Get to your positions, you dunderheads. I’ll head in and give my old friend’s son a warm welcome at the gate. [Exit HARDCASTLE.]
DIGGORY. By the elevens, my pleace is gone quite out of my head.
DIGGORY. By the eleven, my place has completely slipped my mind.
ROGER. I know that my pleace is to be everywhere.
ROGER. I know that my place is to be everywhere.
FIRST SERVANT. Where the devil is mine?
FIRST SERVANT. Where the heck is mine?
SECOND SERVANT. My pleace is to be nowhere at all; and so I’ze go about my business. [Exeunt Servants, running about as if frightened, different ways.]
SECOND SERVANT. I’d rather be anywhere than here; so I’m going to take care of my business. [Exeunt Servants, running around as if scared, in different directions.]
Enter Servant with candles, showing in MARLOW and HASTINGS.
Enter Servant with candles, introducing MARLOW and HASTINGS.
SERVANT. Welcome, gentlemen, very welcome! This way.
SERVANT. Welcome, everyone, really glad to have you here! Right this way.
HASTINGS. After the disappointments of the day, welcome once more, Charles, to the comforts of a clean room and a good fire. Upon my word, a very well-looking house; antique but creditable.
HASTINGS. After the letdowns of the day, welcome back, Charles, to the comforts of a clean room and a nice fire. Honestly, it's a really nice-looking house; old-fashioned but respectable.
MARLOW. The usual fate of a large mansion. Having first ruined the master by good housekeeping, it at last comes to levy contributions as an inn.
MARLOW. The typical outcome for a big house. After driving the owner into financial ruin with careful management, it eventually ends up charging guests like a hotel.
HASTINGS. As you say, we passengers are to be taxed to pay all these fineries. I have often seen a good sideboard, or a marble chimney-piece, though not actually put in the bill, inflame a reckoning confoundedly.
HASTINGS. As you mentioned, we passengers are going to be charged for all these fancy things. I’ve often seen a nice sideboard or a marble fireplace, even if it’s not specifically listed on the bill, really drive up the tab a lot.
MARLOW. Travellers, George, must pay in all places: the only difference is, that in good inns you pay dearly for luxuries; in bad inns you are fleeced and starved.
MARLOW. Travelers, George, have to pay everywhere: the only difference is that in nice inns, you pay a lot for comforts; in shabby inns, you get ripped off and left hungry.
HASTINGS. You have lived very much among them. In truth, I have been often surprised, that you who have seen so much of the world, with your natural good sense, and your many opportunities, could never yet acquire a requisite share of assurance.
HASTINGS. You’ve spent a lot of time with them. Honestly, I’ve often been surprised that someone like you, who has experienced so much of the world, with your common sense and numerous chances, still hasn’t developed the confidence you need.
MARLOW. The Englishman’s malady. But tell me, George, where could I have learned that assurance you talk of? My life has been chiefly spent in a college or an inn, in seclusion from that lovely part of the creation that chiefly teach men confidence. I don’t know that I was ever familiarly acquainted with a single modest woman—except my mother—But among females of another class, you know——
MARLOW. The Englishman's issue. But tell me, George, where could I have picked up that confidence you mention? I've mostly lived in a college or a tavern, away from that beautiful part of the world that teaches men self-assurance. I can't say I was ever close to a single modest woman—except for my mother—but among women of a different type, you know——
HASTINGS. Ay, among them you are impudent enough of all conscience.
HASTINGS. Yeah, among them you’re bold enough for sure.
MARLOW. They are of US, you know.
MARLOW. They belong to us, you know.
HASTINGS. But in the company of women of reputation I never saw such an idiot, such a trembler; you look for all the world as if you wanted an opportunity of stealing out of the room.
HASTINGS. But in the company of respected women, I’ve never seen anyone so foolish, so nervous; you look like you’re just waiting for a chance to sneak out of the room.
MARLOW. Why, man, that’s because I do want to steal out of the room. Faith, I have often formed a resolution to break the ice, and rattle away at any rate. But I don’t know how, a single glance from a pair of fine eyes has totally overset my resolution. An impudent fellow may counterfeit modesty; but I’ll be hanged if a modest man can ever counterfeit impudence.
MARLOW. Well, that's because I really want to sneak out of the room. Honestly, I've often made up my mind to break the ice and just chat away. But I don’t know how; one look from a pair of beautiful eyes completely shakes up my confidence. A cheeky person might pretend to be modest, but I swear a modest person can never fake being bold.
HASTINGS. If you could but say half the fine things to them that I have heard you lavish upon the bar-maid of an inn, or even a college bed-maker——
HASTINGS. If you could just say half the nice things to them that I’ve heard you shower on the inn's barmaid, or even a college bed-maker——
MARLOW. Why, George, I can’t say fine things to them; they freeze, they petrify me. They may talk of a comet, or a burning mountain, or some such bagatelle; but, to me, a modest woman, drest out in all her finery, is the most tremendous object of the whole creation.
MARLOW. Well, George, I can't say nice things to them; they make me feel stiff and uncomfortable. They can talk about a comet, or a volcano, or something trivial like that; but to me, a simple woman, dressed up in all her fancy clothes, is the most incredible thing in the entire world.
HASTINGS. Ha! ha! ha! At this rate, man, how can you ever expect to marry?
HASTINGS. Ha! ha! ha! At this rate, dude, how do you think you'll ever get married?
MARLOW. Never; unless, as among kings and princes, my bride were to be courted by proxy. If, indeed, like an Eastern bridegroom, one were to be introduced to a wife he never saw before, it might be endured. But to go through all the terrors of a formal courtship, together with the episode of aunts, grandmothers, and cousins, and at last to blurt out the broad staring question of, Madam, will you marry me? No, no, that’s a strain much above me, I assure you.
MARLOW. Never; unless, like in royal families, my bride was courted through someone else. If, like an Eastern bridegroom, I were to meet a wife I'd never seen before, it might be bearable. But to endure all the stress of a formal courtship, along with the presence of aunts, grandmothers, and cousins, and finally blurt out the huge question of, "Madam, will you marry me?" No, no, that's way too much for me, I promise you.
HASTINGS. I pity you. But how do you intend behaving to the lady you are come down to visit at the request of your father?
HASTINGS. I feel sorry for you. But how do you plan to act toward the lady you're here to visit at your father's request?
MARLOW. As I behave to all other ladies. Bow very low, answer yes or no to all her demands—But for the rest, I don’t think I shall venture to look in her face till I see my father’s again.
MARLOW. I treat her like I treat all other ladies. I bow respectfully, answer yes or no to all her requests—But other than that, I don’t think I’ll dare to look her in the face until I see my father’s again.
HASTINGS. I’m surprised that one who is so warm a friend can be so cool a lover.
HASTINGS. I’m surprised that someone who is such a close friend can be so indifferent as a lover.
MARLOW. To be explicit, my dear Hastings, my chief inducement down was to be instrumental in forwarding your happiness, not my own. Miss Neville loves you, the family don’t know you; as my friend you are sure of a reception, and let honour do the rest.
MARLOW. To be clear, my dear Hastings, my main reason for coming down was to help ensure your happiness, not my own. Miss Neville loves you, the family doesn’t know you; as my friend, you’ll definitely get a warm welcome, and let honor handle the rest.
HASTINGS. My dear Marlow! But I’ll suppress the emotion. Were I a wretch, meanly seeking to carry off a fortune, you should be the last man in the world I would apply to for assistance. But Miss Neville’s person is all I ask, and that is mine, both from her deceased father’s consent, and her own inclination.
HASTINGS. My dear Marlow! But I’ll hold back my feelings. If I were a miserable person trying to score a fortune, you’d be the last person I’d ask for help. But all I want is Miss Neville’s hand, and that’s already mine, thanks to her late father’s approval and her own wishes.
MARLOW. Happy man! You have talents and art to captivate any woman. I’m doom’d to adore the sex, and yet to converse with the only part of it I despise. This stammer in my address, and this awkward prepossessing visage of mine, can never permit me to soar above the reach of a milliner’s ’prentice, or one of the duchesses of Drury-lane. Pshaw! this fellow here to interrupt us.
MARLOW. Lucky guy! You have the charm and skills to win over any woman. I'm doomed to love them, yet I can only talk to the part of them that I can’t stand. This stutter in my speech and this awkward, unappealing face of mine will never let me rise above being dismissed by a shop assistant or one of the actresses from Drury Lane. Ugh! Here comes this guy to interrupt us.
Enter HARDCASTLE.
Enter Hardcastle.
HARDCASTLE. Gentlemen, once more you are heartily welcome. Which is Mr. Marlow? Sir, you are heartily welcome. It’s not my way, you see, to receive my friends with my back to the fire. I like give them a hearty reception in the old style at my gate. I like to see their horses and trunks taken care of.
HARDCASTLE. Gentlemen, you’re warmly welcome once again. Which one of you is Mr. Marlow? Sir, you’re very welcome. It’s not how I usually do things to greet my friends with my back to the fire. I prefer to give them a warm welcome in the traditional way at my door. I like to see to it that their horses and luggage are taken care of.
MARLOW. (Aside.) He has got our names from the servants already. (To him.) We approve your caution and hospitality, sir. (To HASTINGS.) I have been thinking, George, of changing our travelling dresses in the morning. I am grown confoundedly ashamed of mine.
MARLOW. (Aside.) He’s already gotten our names from the staff. (To him.) We appreciate your carefulness and hospitality, sir. (To HASTINGS.) I’ve been thinking, George, about switching our travel outfits in the morning. I’m feeling incredibly ashamed of mine.
HARDCASTLE. I beg, Mr. Marlow, you’ll use no ceremony in this house.
HARDCASTLE. Please, Mr. Marlow, don't use any formalities in this house.
HASTINGS. I fancy, Charles, you’re right: the first blow is half the battle. I intend opening the campaign with the white and gold.
HASTINGS. I think you're right, Charles: the first strike is half the battle. I plan to start the campaign with the white and gold.
HARDCASTLE. Mr. Marlow—Mr. Hastings—gentlemen—pray be under no constraint in this house. This is Liberty-hall, gentlemen. You may do just as you please here.
HARDCASTLE. Mr. Marlow—Mr. Hastings—gentlemen—feel free to relax in this house. This is a place of freedom, gentlemen. You can do whatever you like here.
MARLOW. Yet, George, if we open the campaign too fiercely at first, we may want ammunition before it is over. I think to reserve the embroidery to secure a retreat.
MARLOW. But, George, if we start the campaign too aggressively right away, we might run out of ammunition before it's done. I think we should save the embellishments to ensure a retreat.
HARDCASTLE. Your talking of a retreat, Mr. Marlow, puts me in mind of the Duke of Marlborough, when we went to besiege Denain. He first summoned the garrison——
HARDCASTLE. When you mention a retreat, Mr. Marlow, it reminds me of the Duke of Marlborough when we went to lay siege to Denain. He first summoned the garrison——
MARLOW. Don’t you think the ventre d’or waistcoat will do with the plain brown?
MARLOW. Don’t you think the gold-embroidered waistcoat will go well with the plain brown?
HARDCASTLE. He first summoned the garrison, which might consist of about five thousand men——
HARDCASTLE. He first called together the garrison, which probably had about five thousand men——
HASTINGS. I think not: brown and yellow mix but very poorly.
HASTINGS. I don't think so: brown and yellow don't blend well at all.
HARDCASTLE. I say, gentlemen, as I was telling you, be summoned the garrison, which might consist of about five thousand men——
HARDCASTLE. I mean, gentlemen, as I was saying, let's call in the garrison, which should be around five thousand men——
MARLOW. The girls like finery.
Marlow. The girls love fancy stuff.
HARDCASTLE. Which might consist of about five thousand men, well appointed with stores, ammunition, and other implements of war. Now, says the Duke of Marlborough to George Brooks, that stood next to him—you must have heard of George Brooks—I’ll pawn my dukedom, says he, but I take that garrison without spilling a drop of blood. So——
HARDCASTLE. It would likely be around five thousand men, well equipped with supplies, ammunition, and other military gear. Now, the Duke of Marlborough says to George Brooks, who was standing next to him—you must have heard of George Brooks—I’ll bet my dukedom, he says, that I’ll capture that garrison without shedding a drop of blood. So——
MARLOW. What, my good friend, if you gave us a glass of punch in the mean time; it would help us to carry on the siege with vigour.
MARLOW. What do you say, my good friend, to giving us a glass of punch in the meantime? It would help us keep our spirits up during the tough times.
HARDCASTLE. Punch, sir! (Aside.) This is the most unaccountable kind of modesty I ever met with.
HARDCASTLE. Punch, sir! (Aside.) This is the most baffling kind of modesty I've ever come across.
MARLOW. Yes, sir, punch. A glass of warm punch, after our journey, will be comfortable. This is Liberty-hall, you know.
MARLOW. Yeah, sir, punch. A glass of warm punch after our trip will be nice. This is Liberty Hall, you know.
HARDCASTLE. Here’s a cup, sir.
Here’s a cup, sir.
MARLOW. (Aside.) So this fellow, in his Liberty-hall, will only let us have just what he pleases.
MARLOW. (Aside.) So this guy, in his Liberty-hall, will only give us exactly what he wants.
HARDCASTLE. (Taking the cup.) I hope you’ll find it to your mind. I have prepared it with my own hands, and I believe you’ll own the ingredients are tolerable. Will you be so good as to pledge me, sir? Here, Mr. Marlow, here is to our better acquaintance. [Drinks.]
HARDCASTLE. (Taking the cup.) I hope you like it. I made it myself, and I think you'll agree the ingredients are decent. Would you do me the favor of toasting with me, sir? Here’s to getting to know each other better, Mr. Marlow. [Drinks.]
MARLOW. (Aside.) A very impudent fellow this! but he’s a character, and I’ll humour him a little. Sir, my service to you. [Drinks.]
MARLOW. (Aside.) What a bold guy this is! But he's interesting, so I’ll go along with him a bit. Sir, cheers to you. [Drinks.]
HASTINGS. (Aside.) I see this fellow wants to give us his company, and forgets that he’s an innkeeper, before he has learned to be a gentleman.
HASTINGS. (Aside.) I see this guy wants to hang out with us, but he forgets he's just an innkeeper who hasn't figured out how to act like a gentleman yet.
MARLOW. From the excellence of your cup, my old friend, I suppose you have a good deal of business in this part of the country. Warm work, now and then, at elections, I suppose.
MARLOW. Given how good your drink is, my old friend, I'm guessing you have a lot going on in this area. It must get pretty hectic during elections, right?
HARDCASTLE. No, sir, I have long given that work over. Since our betters have hit upon the expedient of electing each other, there is no business “for us that sell ale.”
HARDCASTLE. No, sir, I've stopped doing that a while ago. Ever since those in power figured out they could just elect each other, there’s no work left for those of us who sell ale.
HASTINGS. So, then, you have no turn for politics, I find.
HASTINGS. So, it seems you’re not interested in politics, huh?
HARDCASTLE. Not in the least. There was a time, indeed, I fretted myself about the mistakes of government, like other people; but finding myself every day grow more angry, and the government growing no better, I left it to mend itself. Since that, I no more trouble my head about Hyder Ally, or Ally Cawn, than about Ally Croker. Sir, my service to you.
HARDCASTLE. Not at all. There was a time when I used to worry about the government's mistakes, just like everyone else; but since I started getting more frustrated every day and the government wasn't improving, I decided to let it sort itself out. Since then, I haven't bothered my head about Hyder Ally, or Ally Cawn, any more than about Ally Croker. Sir, my regards to you.
HASTINGS. So that with eating above stairs, and drinking below, with receiving your friends within, and amusing them without, you lead a good pleasant bustling life of it.
HASTINGS. So, with eating upstairs and drinking downstairs, welcoming your friends inside and entertaining them outside, you're living a busy and enjoyable life.
HARDCASTLE. I do stir about a great deal, that’s certain. Half the differences of the parish are adjusted in this very parlour.
HARDCASTLE. I do move around a lot, that’s for sure. Half the disputes in the parish get settled right here in this very living room.
MARLOW. (After drinking.) And you have an argument in your cup, old gentleman, better than any in Westminster-hall.
MARLOW. (After drinking.) And you have a better argument in your cup, old friend, than anything in Westminster Hall.
HARDCASTLE. Ay, young gentleman, that, and a little philosophy.
HARDCASTLE. Yes, young man, that, and a bit of philosophy.
MARLOW. (Aside.) Well, this is the first time I ever heard of an innkeeper’s philosophy.
MARLOW. (Aside.) Well, this is the first time I’ve ever heard of an innkeeper’s philosophy.
HASTINGS. So then, like an experienced general, you attack them on every quarter. If you find their reason manageable, you attack it with your philosophy; if you find they have no reason, you attack them with this. Here’s your health, my philosopher. [Drinks.]
HASTINGS. So, like a seasoned general, you challenge them from every angle. If their reasoning is weak, you counter it with your philosophy; if they have no reasoning at all, you go after them with this. Here’s to your health, my philosopher. [Drinks.]
HARDCASTLE. Good, very good, thank you; ha! ha! Your generalship puts me in mind of Prince Eugene, when he fought the Turks at the battle of Belgrade. You shall hear.
HARDCASTLE. Great, really great, thank you; ha! ha! Your leadership reminds me of Prince Eugene when he battled the Turks at the Battle of Belgrade. You’ll want to hear this.
MARLOW. Instead of the battle of Belgrade, I believe it’s almost time to talk about supper. What has your philosophy got in the house for supper?
MARLOW. Instead of the battle of Belgrade, I think it’s about time to talk about dinner. What does your philosophy have available for dinner?
HARDCASTLE. For supper, sir! (Aside.) Was ever such a request to a man in his own house?
HARDCASTLE. For dinner, sir! (Aside.) Has anyone ever made such a request to a man in his own home?
MARLOW. Yes, sir, supper, sir; I begin to feel an appetite. I shall make devilish work to-night in the larder, I promise you.
MARLOW. Yes, sir, dinner, sir; I'm starting to feel hungry. I'll make a real mess in the pantry tonight, I promise you.
HARDCASTLE. (Aside.) Such a brazen dog sure never my eyes beheld. (To him.) Why, really, sir, as for supper I can’t well tell. My Dorothy and the cook-maid settle these things between them. I leave these kind of things entirely to them.
HARDCASTLE. (Aside.) I've never seen such a bold guy before. (To him.) Honestly, sir, I can't say much about supper. My Dorothy and the cook take care of that. I leave these matters completely in their hands.
MARLOW. You do, do you?
MARLOW. Oh, really?
HARDCASTLE. Entirely. By the bye, I believe they are in actual consultation upon what’s for supper this moment in the kitchen.
HARDCASTLE. Absolutely. By the way, I think they're actually discussing what's for dinner right now in the kitchen.
MARLOW. Then I beg they’ll admit me as one of their privy council. It’s a way I have got. When I travel, I always chose to regulate my own supper. Let the cook be called. No offence I hope, sir.
MARLOW. Then I hope they'll let me join their inner circle. It's just how I am. When I travel, I always prefer to control my own dinner. Please call the cook. I hope that’s not a problem, sir.
HARDCASTLE. O no, sir, none in the least; yet I don’t know how; our Bridget, the cook-maid, is not very communicative upon these occasions. Should we send for her, she might scold us all out of the house.
HARDCASTLE. Oh no, sir, not at all; but I can't be sure; our Bridget, the cook, isn't very chatty at these times. If we call for her, she might kick us all out of the house.
HASTINGS. Let’s see your list of the larder then. I ask it as a favour. I always match my appetite to my bill of fare.
HASTINGS. Show me your list of food then. I'm asking as a favor. I always adjust my appetite to what's on the menu.
MARLOW. (To HARDCASTLE, who looks at them with surprise.) Sir, he’s very right, and it’s my way too.
MARLOW. (To HARDCASTLE, who looks at them with surprise.) Sir, he's absolutely right, and that's how I feel as well.
HARDCASTLE. Sir, you have a right to command here. Here, Roger, bring us the bill of fare for to-night’s supper: I believe it’s drawn out—Your manner, Mr. Hastings, puts me in mind of my uncle, Colonel Wallop. It was a saying of his, that no man was sure of his supper till he had eaten it.
HARDCASTLE. Sir, you have the authority here. Roger, please bring us the menu for tonight’s dinner; I think it’s ready—Your attitude, Mr. Hastings, reminds me of my uncle, Colonel Wallop. He used to say that no man can be certain of his dinner until he’s actually eaten it.
HASTINGS. (Aside.) All upon the high rope! His uncle a colonel! we shall soon hear of his mother being a justice of the peace. But let’s hear the bill of fare.
HASTINGS. (Aside.) All on the high wire! His uncle's a colonel! We'll soon hear his mother is a justice of the peace. But let's check out the menu.
MARLOW. (Perusing.) What’s here? For the first course; for the second course; for the dessert. The devil, sir, do you think we have brought down a whole Joiners’ Company, or the corporation of Bedford, to eat up such a supper? Two or three little things, clean and comfortable, will do.
MARLOW. (Looking over the menu.) What’s this? For the first course; for the second course; for dessert. Seriously, do you think we gathered a whole Joiners’ Company or the town of Bedford here to eat this massive supper? A few simple, clean, and comfortable dishes will be fine.
HASTINGS. But let’s hear it.
HASTINGS. But let’s hear it.
MARLOW. (Reading.) For the first course, at the top, a pig and prune sauce.
MARLOW. (Reading.) For the first course, at the top, a pig and prune sauce.
HASTINGS. Damn your pig, I say.
HASTINGS. Damn your pig, I say.
MARLOW. And damn your prune sauce, say I.
MARLOW. And screw your prune sauce, I say.
HARDCASTLE. And yet, gentlemen, to men that are hungry, pig with prune sauce is very good eating.
HARDCASTLE. And yet, guys, to people who are hungry, pig with prune sauce is really tasty.
MARLOW. At the bottom, a calf’s tongue and brains.
MARLOW. At the bottom, a calf's tongue and brain.
HASTINGS. Let your brains be knocked out, my good sir, I don’t like them.
HASTINGS. Go ahead and lose your mind, my good sir, I don’t like them.
MARLOW. Or you may clap them on a plate by themselves. I do.
MARLOW. Or you can just put them on a plate by themselves. I do.
HARDCASTLE. (Aside.) Their impudence confounds me. (To them.) Gentlemen, you are my guests, make what alterations you please. Is there anything else you wish to retrench or alter, gentlemen?
HARDCASTLE. (Aside.) Their boldness amazes me. (To them.) Gentlemen, you are my guests, feel free to make any changes you want. Is there anything else you'd like to cut or change, gentlemen?
MARLOW. Item, a pork pie, a boiled rabbit and sausages, a Florentine, a shaking pudding, and a dish of tiff—taff—taffety cream.
MARLOW. So, a pork pie, a boiled rabbit, sausages, a Florentine, a wobbly pudding, and a dish of taffety cream.
HASTINGS. Confound your made dishes; I shall be as much at a loss in this house as at a green and yellow dinner at the French ambassador’s table. I’m for plain eating.
HASTINGS. Screw your fancy dishes; I'm going to be just as confused in this house as I would be at a mismatched dinner at the French ambassador's table. I prefer simple food.
HARDCASTLE. I’m sorry, gentlemen, that I have nothing you like, but if there be anything you have a particular fancy to——
HARDCASTLE. I’m sorry, gentlemen, that I don’t have anything you like, but if there’s anything you’re specifically interested in——
MARLOW. Why, really, sir, your bill of fare is so exquisite, that any one part of it is full as good as another. Send us what you please. So much for supper. And now to see that our beds are aired, and properly taken care of.
MARLOW. Honestly, sir, your menu is so great that any dish on it is as good as any other. Just send us whatever you want. That's enough about dinner. Now let's make sure our beds are aired out and in good shape.
HARDCASTLE. I entreat you’ll leave that to me. You shall not stir a step.
HARDCASTLE. Please leave that to me. You won’t take a step.
MARLOW. Leave that to you! I protest, sir, you must excuse me, I always look to these things myself.
MARLOW. Leave that to you! I insist, sir, you have to forgive me; I always handle these things myself.
HARDCASTLE. I must insist, sir, you’ll make yourself easy on that head.
HARDCASTLE. I have to insist, sir, you should relax about that.
MARLOW. You see I’m resolved on it. (Aside.) A very troublesome fellow this, as I ever met with.
MARLOW. You see, I've made up my mind about it. (Aside.) This guy is one of the most difficult people I've ever dealt with.
HARDCASTLE. Well, sir, I’m resolved at least to attend you. (Aside.) This may be modern modesty, but I never saw anything look so like old-fashioned impudence. [Exeunt MARLOW and HARDCASTLE.]
HARDCASTLE. Well, sir, I’ve decided at least to go with you. (Aside.) This might be what they call modern modesty, but I've never seen anything that looks so much like old-fashioned arrogance. [Exeunt MARLOW and HARDCASTLE.]
HASTINGS. (Alone.) So I find this fellow’s civilities begin to grow troublesome. But who can be angry at those assiduities which are meant to please him? Ha! what do I see? Miss Neville, by all that’s happy!
HASTINGS. (Alone.) I see this guy’s politeness is starting to get annoying. But who can be mad at the attentions meant to make him happy? Wait, what’s this? Miss Neville, this is wonderful!
Enter MISS NEVILLE.
Enter Miss Neville.
MISS NEVILLE. My dear Hastings! To what unexpected good fortune, to what accident, am I to ascribe this happy meeting?
MISS NEVILLE. My dear Hastings! What unexpected luck, what chance, brought us to this happy meeting?
HASTINGS. Rather let me ask the same question, as I could never have hoped to meet my dearest Constance at an inn.
HASTINGS. I'd rather ask the same question, since I could never have expected to run into my dearest Constance at an inn.
MISS NEVILLE. An inn! sure you mistake: my aunt, my guardian, lives here. What could induce you to think this house an inn?
MISS NEVILLE. An inn? You must be confused; my aunt, my guardian, lives here. What made you think this place was an inn?
HASTINGS. My friend, Mr. Marlow, with whom I came down, and I, have been sent here as to an inn, I assure you. A young fellow, whom we accidentally met at a house hard by, directed us hither.
HASTINGS. My friend, Mr. Marlow, who I came down with, and I have been sent here like we're at an inn, I promise you. A young guy we happened to run into at a nearby house pointed us in this direction.
MISS NEVILLE. Certainly it must be one of my hopeful cousin’s tricks, of whom you have heard me talk so often; ha! ha! ha!
MISS NEVILLE. It must definitely be one of my hopeful cousin’s pranks, the one I've talked about so much; ha! ha! ha!
HASTINGS. He whom your aunt intends for you? he of whom I have such just apprehensions?
HASTINGS. Is he the one your aunt has in mind for you? The one I have such valid concerns about?
MISS NEVILLE. You have nothing to fear from him, I assure you. You’d adore him, if you knew how heartily he despises me. My aunt knows it too, and has undertaken to court me for him, and actually begins to think she has made a conquest.
MISS NEVILLE. You have nothing to worry about with him, I promise. You’d love him if you realized how much he genuinely hates me. My aunt knows this as well and has taken it upon herself to pursue me on his behalf, and she’s even starting to believe she’s succeeded.
HASTINGS. Thou dear dissembler! You must know, my Constance, I have just seized this happy opportunity of my friend’s visit here to get admittance into the family. The horses that carried us down are now fatigued with their journey, but they’ll soon be refreshed; and then, if my dearest girl will trust in her faithful Hastings, we shall soon be landed in France, where even among slaves the laws of marriage are respected.
HASTINGS. You sly deceiver! You must know, my Constance, I've just taken advantage of my friend's visit here to gain entry into the family. The horses that brought us here are tired from their journey, but they'll be rested soon; and then, if my dearest girl can trust her loyal Hastings, we'll soon be in France, where even the slaves respect the laws of marriage.
MISS NEVILLE. I have often told you, that though ready to obey you, I yet should leave my little fortune behind with reluctance. The greatest part of it was left me by my uncle, the India director, and chiefly consists in jewels. I have been for some time persuading my aunt to let me wear them. I fancy I’m very near succeeding. The instant they are put into my possession, you shall find me ready to make them and myself yours.
MISS NEVILLE. I’ve often told you that while I’m willing to follow your wishes, I’d still be reluctant to leave my small fortune behind. Most of it was left to me by my uncle, who was an India director, and it mostly consists of jewels. I’ve been trying to convince my aunt to let me wear them for a while now. I think I’m close to succeeding. As soon as I have them, you’ll see that I’m ready to give them—and myself—to you.
HASTINGS. Perish the baubles! Your person is all I desire. In the mean time, my friend Marlow must not be let into his mistake. I know the strange reserve of his temper is such, that if abruptly informed of it, he would instantly quit the house before our plan was ripe for execution.
HASTINGS. Forget the trinkets! You're all I want. In the meantime, my friend Marlow can't be allowed to find out his mistake. I know he's the kind of person who, if told abruptly, would leave the house immediately before our plan is ready to go.
MISS NEVILLE. But how shall we keep him in the deception? Miss Hardcastle is just returned from walking; what if we still continue to deceive him?——This, this way——[They confer.]
MISS NEVILLE. But how are we going to keep him fooled? Miss Hardcastle just got back from her walk; what if we keep pretending?——This, this way——[They talk it over.]
Enter MARLOW.
Enter MARLOW.
MARLOW. The assiduities of these good people teaze me beyond bearing. My host seems to think it ill manners to leave me alone, and so he claps not only himself, but his old-fashioned wife, on my back. They talk of coming to sup with us too; and then, I suppose, we are to run the gantlet through all the rest of the family.—What have we got here?
MARLOW. The efforts of these well-meaning people are driving me crazy. My host seems to believe it's rude to leave me alone, so he brings not just himself, but also his old-fashioned wife, along with him. They’re also talking about coming over for dinner; and then, I guess, we’ll have to deal with the rest of the family too. —What do we have here?
HASTINGS. My dear Charles! Let me congratulate you!—The most fortunate accident!—Who do you think is just alighted?
HASTINGS. My dear Charles! Let me congratulate you!—What a lucky surprise!—Guess who just arrived?
MARLOW. Cannot guess.
MARLOW. Can't guess.
HASTINGS. Our mistresses, boy, Miss Hardcastle and Miss Neville. Give me leave to introduce Miss Constance Neville to your acquaintance. Happening to dine in the neighbourhood, they called on their return to take fresh horses here. Miss Hardcastle has just stept into the next room, and will be back in an instant. Wasn’t it lucky? eh!
HASTINGS. Our companions, kid, Miss Hardcastle and Miss Neville. Let me introduce you to Miss Constance Neville. They happened to be dining nearby and stopped by to change horses on their way back. Miss Hardcastle just went into the next room and will be back in a moment. Wasn’t that lucky? Huh!
MARLOW. (Aside.) I have been mortified enough of all conscience, and here comes something to complete my embarrassment.
MARLOW. (Aside.) I've been embarrassed enough already, and now here comes something to make it even worse.
HASTINGS. Well, but wasn’t it the most fortunate thing in the world?
HASTINGS. Well, wasn’t that the luckiest thing ever?
MARLOW. Oh! yes. Very fortunate—a most joyful encounter—But our dresses, George, you know are in disorder—What if we should postpone the happiness till to-morrow?—To-morrow at her own house—It will be every bit as convenient—and rather more respectful—To-morrow let it be. [Offering to go.]
MARLOW. Oh! yes. Very lucky—a really happy chance—But our outfits, George, you know are a mess—What if we wait to enjoy this until tomorrow?—Tomorrow at her place—it’ll be just as convenient—and a bit more respectful—Let’s do it tomorrow. [Offering to leave.]
MISS NEVILLE. By no means, sir. Your ceremony will displease her. The disorder of your dress will show the ardour of your impatience. Besides, she knows you are in the house, and will permit you to see her.
MISS NEVILLE. Not at all, sir. Your formalities will annoy her. The way you’re dressed will reveal how eager you are. Besides, she knows you’re in the house and will let you see her.
MARLOW. O! the devil! how shall I support it? Hem! hem! Hastings, you must not go. You are to assist me, you know. I shall be confoundedly ridiculous. Yet, hang it! I’ll take courage. Hem!
MARLOW. Oh! the devil! How am I going to handle this? Ahem! Hastings, you can't leave. You have to help me, you know. I'm really going to look ridiculous. But, dang it! I'll find some courage. Ahem!
HASTINGS. Pshaw, man! it’s but the first plunge, and all’s over. She’s but a woman, you know.
HASTINGS. Come on, man! It’s just the first leap, and it’ll be over. She’s just a woman, you know.
MARLOW. And, of all women, she that I dread most to encounter.
MARLOW. And, of all women, she's the one I fear the most to run into.
Enter MISS HARDCASTLE, as returned from walking, a bonnet, etc.
Enter MISS HARDCASTLE, returning from a walk, wearing a bonnet, etc.
HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I’m proud of bringing two persons of such merit together, that only want to know, to esteem each other.
HASTINGS. (Introducing them.) Miss Hardcastle, Mr. Marlow. I’m thrilled to bring together two people of such great worth, who only need to meet to appreciate each other.
MISS HARDCASTLE. (Aside.) Now for meeting my modest gentleman with a demure face, and quite in his own manner. (After a pause, in which he appears very uneasy and disconcerted.) I’m glad of your safe arrival, sir. I’m told you had some accidents by the way.
MISS HARDCASTLE. (Aside.) Now I get to meet my shy gentleman with a reserved demeanor, acting just like himself. (After a pause, in which he seems very uncomfortable and flustered.) I’m glad you made it here safely, sir. I heard you had a few troubles along the way.
MARLOW. Only a few, madam. Yes, we had some. Yes, madam, a good many accidents, but should be sorry—madam—or rather glad of any accidents—that are so agreeably concluded. Hem!
MARLOW. Just a few, ma'am. Yes, we had some. Yes, ma'am, quite a few incidents, but I would be sorry—ma'am—or rather glad for any incidents—that end so pleasantly. Hem!
HASTINGS. (To him.) You never spoke better in your whole life. Keep it up, and I’ll insure you the victory.
HASTINGS. (To him.) You’ve never spoken better in your entire life. Keep it going, and I’ll guarantee you the win.
MISS HARDCASTLE. I’m afraid you flatter, sir. You that have seen so much of the finest company, can find little entertainment in an obscure corner of the country.
MISS HARDCASTLE. I’m afraid you’re flattering me, sir. You, who have experienced so much of the best company, can find little enjoyment in a remote part of the countryside.
MARLOW. (Gathering courage.) I have lived, indeed, in the world, madam; but I have kept very little company. I have been but an observer upon life, madam, while others were enjoying it.
MARLOW. (Gathering courage.) I've lived in the world, ma'am; but I've spent very little time with others. I've mostly just observed life while others were out there enjoying it.
MISS NEVILLE. But that, I am told, is the way to enjoy it at last.
MISS NEVILLE. But I’ve been told that’s how to truly enjoy it in the end.
HASTINGS. (To him.) Cicero never spoke better. Once more, and you are confirmed in assurance for ever.
HASTINGS. (To him.) Cicero never spoke better. One more time, and you’ll be confident forever.
MARLOW. (To him.) Hem! Stand by me, then, and when I’m down, throw in a word or two, to set me up again.
MARLOW. (To him.) Hey! Stay close to me, then, and when I’m feeling low, say a word or two to boost me back up.
MISS HARDCASTLE. An observer, like you, upon life were, I fear, disagreeably employed, since you must have had much more to censure than to approve.
MISS HARDCASTLE. If someone like you were to observe life, I’m afraid it would be a pretty unpleasant task, since you’d have a lot more to criticize than to appreciate.
MARLOW. Pardon me, madam. I was always willing to be amused. The folly of most people is rather an object of mirth than uneasiness.
MARLOW. Excuse me, ma'am. I've always been open to having some fun. The foolishness of most people is more amusing than troubling.
HASTINGS. (To him.) Bravo, bravo. Never spoke so well in your whole life. Well, Miss Hardcastle, I see that you and Mr. Marlow are going to be very good company. I believe our being here will but embarrass the interview.
HASTINGS. (To him.) Great job, great job. You've never spoken so well in your entire life. Well, Miss Hardcastle, I can see that you and Mr. Marlow are going to get along really well. I think our presence here will only make the conversation awkward.
MARLOW. Not in the least, Mr. Hastings. We like your company of all things. (To him.) Zounds! George, sure you won’t go? how can you leave us?
MARLOW. Not at all, Mr. Hastings. We really enjoy your company above all else. (To him.) Come on! George, are you really going to leave? How can you just walk away from us?
HASTINGS. Our presence will but spoil conversation, so we’ll retire to the next room. (To him.) You don’t consider, man, that we are to manage a little tete-a-tete of our own. [Exeunt.]
HASTINGS. Our being here will only ruin the conversation, so let’s go to the next room. (To him.) You don’t realize, man, that we need to have our own little private chat. [Exeunt.]
MISS HARDCASTLE. (after a pause). But you have not been wholly an observer, I presume, sir: the ladies, I should hope, have employed some part of your addresses.
MISS HARDCASTLE. (after a pause). But you haven't just been watching, I assume, sir: I hope the ladies have engaged you in some way.
MARLOW. (Relapsing into timidity.) Pardon me, madam, I—I—I—as yet have studied—only—to—deserve them.
MARLOW. (Falling back into shyness.) Excuse me, madam, I—I—I—still have only studied—just to—earn them.
MISS HARDCASTLE. And that, some say, is the very worst way to obtain them.
MISS HARDCASTLE. And that, some people say, is the absolute worst way to get them.
MARLOW. Perhaps so, madam. But I love to converse only with the more grave and sensible part of the sex. But I’m afraid I grow tiresome.
MARLOW. Maybe, madam. But I prefer to talk only with the more serious and sensible women. However, I worry that I'm becoming tedious.
MISS HARDCASTLE. Not at all, sir; there is nothing I like so much as grave conversation myself; I could hear it for ever. Indeed, I have often been surprised how a man of sentiment could ever admire those light airy pleasures, where nothing reaches the heart.
MISS HARDCASTLE. Not at all, sir; I actually enjoy serious conversations; I could listen to them forever. In fact, I’ve often wondered how a man of feeling could ever appreciate those light, superficial pleasures that don’t touch the heart.
MARLOW. It’s——a disease——of the mind, madam. In the variety of tastes there must be some who, wanting a relish——for——um—a—um.
MARLOW. It’s a mental disorder, ma'am. In the variety of tastes, there are bound to be some who crave a taste for, um—a—um.
MISS HARDCASTLE. I understand you, sir. There must be some, who, wanting a relish for refined pleasures, pretend to despise what they are incapable of tasting.
MISS HARDCASTLE. I get what you're saying, sir. There are definitely some people who, lacking a taste for fine pleasures, pretend to look down on what they can't appreciate.
MARLOW. My meaning, madam, but infinitely better expressed. And I can’t help observing——a——
MARLOW. What I mean, ma’am, just way better put. And I can’t help but notice——a——
MISS HARDCASTLE. (Aside.) Who could ever suppose this fellow impudent upon some occasions? (To him.) You were going to observe, sir——
MISS HARDCASTLE. (Aside.) Who would ever think this guy could be so rude at times? (To him.) You were about to say something, sir——
MARLOW. I was observing, madam—I protest, madam, I forget what I was going to observe.
MARLOW. I was just saying, ma'am—I swear, ma'am, I can't remember what I was going to say.
MISS HARDCASTLE. (Aside.) I vow and so do I. (To him.) You were observing, sir, that in this age of hypocrisy—something about hypocrisy, sir.
MISS HARDCASTLE. (Aside.) I swear, and so do I. (To him.) You were saying, sir, that in this age of hypocrisy—something about hypocrisy, sir.
MARLOW. Yes, madam. In this age of hypocrisy there are few who upon strict inquiry do not—a—a—a—
MARLOW. Yes, ma'am. In this age of hypocrisy, there are few who, upon close examination, do not—a—a—a—
MISS HARDCASTLE. I understand you perfectly, sir.
MISS HARDCASTLE. I completely understand you, sir.
MARLOW. (Aside.) Egad! and that’s more than I do myself.
MARLOW. (Aside.) Wow! That's more than I do myself.
MISS HARDCASTLE. You mean that in this hypocritical age there are few that do not condemn in public what they practise in private, and think they pay every debt to virtue when they praise it.
MISS HARDCASTLE. You mean that in this hypocritical time, there are few who don't publicly condemn what they secretly do, and believe they fulfill their obligation to virtue when they praise it.
MARLOW. True, madam; those who have most virtue in their mouths, have least of it in their bosoms. But I’m sure I tire you, madam.
MARLOW. That's true, madam; those who talk the most about virtue often have the least of it inside. But I'm sure I'm boring you, madam.
MISS HARDCASTLE. Not in the least, sir; there’s something so agreeable and spirited in your manner, such life and force—pray, sir, go on.
MISS HARDCASTLE. Not at all, sir; there’s something so pleasant and lively about your attitude, so much energy—please, sir, continue.
MARLOW. Yes, madam. I was saying——that there are some occasions, when a total want of courage, madam, destroys all the——and puts us——upon a—a—a—
MARLOW. Yes, ma'am. I was saying—that there are some situations where a complete lack of courage, ma'am, ruins everything—and puts us—on a—a—a—
MISS HARDCASTLE. I agree with you entirely; a want of courage upon some occasions assumes the appearance of ignorance, and betrays us when we most want to excel. I beg you’ll proceed.
MISS HARDCASTLE. I completely agree with you; sometimes, a lack of courage can look like ignorance and lets us down when we need to do our best. Please, go on.
MARLOW. Yes, madam. Morally speaking, madam—But I see Miss Neville expecting us in the next room. I would not intrude for the world.
MARLOW. Yes, ma'am. To put it morally, ma'am—But I see Miss Neville waiting for us in the next room. I wouldn’t want to intrude at all.
MISS HARDCASTLE. I protest, sir, I never was more agreeably entertained in all my life. Pray go on.
MISS HARDCASTLE. I swear, sir, I've never been more pleasantly entertained in my entire life. Please continue.
MARLOW. Yes, madam, I was——But she beckons us to join her. Madam, shall I do myself the honour to attend you?
MARLOW. Yes, ma'am, I was——But she's signaling for us to join her. Ma'am, may I have the honor of accompanying you?
MISS HARDCASTLE. Well, then, I’ll follow.
MISS HARDCASTLE. Alright, I'll go after you.
MARLOW. (Aside.) This pretty smooth dialogue has done for me. [Exit.]
MARLOW. (Aside.) This nice, effortless conversation has ruined me. [Exit.]
MISS HARDCASTLE. (Alone.) Ha! ha! ha! Was there ever such a sober, sentimental interview? I’m certain he scarce looked in my face the whole time. Yet the fellow, but for his unaccountable bashfulness, is pretty well too. He has good sense, but then so buried in his fears, that it fatigues one more than ignorance. If I could teach him a little confidence, it would be doing somebody that I know of a piece of service. But who is that somebody?—That, faith, is a question I can scarce answer. [Exit.]
MISS HARDCASTLE. (Alone.) Ha! ha! ha! Was there ever such a serious, sentimental conversation? I’m sure he hardly looked me in the eye the whole time. Still, the guy, if it weren't for his strange shyness, isn't bad at all. He has good sense, but he's so caught up in his fears that it wears you out more than ignorance would. If I could help him gain a little confidence, it would be doing someone I know a real favor. But who is that someone?—Honestly, that’s a question I can barely answer. [Exit.]
Enter TONY and MISS NEVILLE, followed by MRS. HARDCASTLE and HASTINGS.
Enter TONY and MISS NEVILLE, followed by MRS. HARDCASTLE and HASTINGS.
TONY. What do you follow me for, cousin Con? I wonder you’re not ashamed to be so very engaging.
TONY. Why are you following me, cousin Con? I'm surprised you're not embarrassed to be so charming.
MISS NEVILLE. I hope, cousin, one may speak to one’s own relations, and not be to blame.
MISS NEVILLE. I hope, cousin, that one can talk to their own family without being criticized.
TONY. Ay, but I know what sort of a relation you want to make me, though; but it won’t do. I tell you, cousin Con, it won’t do; so I beg you’ll keep your distance, I want no nearer relationship. [She follows, coquetting him to the back scene.]
TONY. Yeah, but I know what kind of relationship you want us to have, and it’s not going to work. I’m telling you, cousin Con, it’s not going to work; so please, keep your distance, I don’t want a closer relationship. [She follows, flirting with him to the back scene.]
MRS. HARDCASTLE. Well! I vow, Mr. Hastings, you are very entertaining. There’s nothing in the world I love to talk of so much as London, and the fashions, though I was never there myself.
MRS. HARDCASTLE. Well! I swear, Mr. Hastings, you are quite the entertainer. There's nothing I enjoy discussing more than London and the latest trends, even though I've never been there myself.
HASTINGS. Never there! You amaze me! From your air and manner, I concluded you had been bred all your life either at Ranelagh, St. James’s, or Tower Wharf.
HASTINGS. Never! You surprise me! From your vibe and demeanor, I figured you must have grown up either at Ranelagh, St. James’s, or Tower Wharf.
MRS. HARDCASTLE. O! sir, you’re only pleased to say so. We country persons can have no manner at all. I’m in love with the town, and that serves to raise me above some of our neighbouring rustics; but who can have a manner, that has never seen the Pantheon, the Grotto Gardens, the Borough, and such places where the nobility chiefly resort? All I can do is to enjoy London at second-hand. I take care to know every tete-a-tete from the Scandalous Magazine, and have all the fashions, as they come out, in a letter from the two Miss Rickets of Crooked Lane. Pray how do you like this head, Mr. Hastings?
MRS. HARDCASTLE. Oh! Sir, you’re just saying that to be nice. We country folks have no style at all. I’m in love with the city, and that helps me stand out from some of our neighboring farmers; but who can have any grace if they’ve never been to the Pantheon, the Grotto Gardens, the Borough, and places like that where the nobility usually hang out? All I can do is enjoy London through others. I make sure to keep up with every gossip from the Scandalous Magazine and get all the latest fashions in a letter from the two Miss Rickets of Crooked Lane. By the way, how do you like this hairstyle, Mr. Hastings?
HASTINGS. Extremely elegant and degagee, upon my word, madam. Your friseur is a Frenchman, I suppose?
HASTINGS. Very stylish and relaxed, I must say, madam. Your hairstylist is a Frenchman, I assume?
MRS. HARDCASTLE. I protest, I dressed it myself from a print in the Ladies’ Memorandum-book for the last year.
MRS. HARDCASTLE. I swear, I made this outfit myself based on a design from last year's Ladies' Memorandum-book.
HASTINGS. Indeed! Such a head in a side-box at the play-house would draw as many gazers as my Lady Mayoress at a City Ball.
HASTINGS. Seriously! A head like that in a side box at the theater would attract just as many onlookers as my Lady Mayoress at a City Ball.
MRS. HARDCASTLE. I vow, since inoculation began, there is no such thing to be seen as a plain woman; so one must dress a little particular, or one may escape in the crowd.
MRS. HARDCASTLE. I swear, ever since inoculation became a thing, you can’t find a plain woman anywhere; so you have to dress a bit differently, or you’ll just blend into the crowd.
HASTINGS. But that can never be your case, madam, in any dress. (Bowing.)
HASTINGS. But that will never be true for you, ma'am, in any outfit. (Bowing.)
MRS. HARDCASTLE. Yet, what signifies my dressing when I have such a piece of antiquity by my side as Mr. Hardcastle: all I can say will never argue down a single button from his clothes. I have often wanted him to throw off his great flaxen wig, and where he was bald, to plaster it over, like my Lord Pately, with powder.
MRS. HARDCASTLE. But what does it matter how I look when I have such an old relic like Mr. Hardcastle beside me? No matter what I say, it won’t change a single button on his clothes. I’ve often wished he would take off that huge flaxen wig and just sprinkle some powder over his bald spots, like my Lord Pately.
HASTINGS. You are right, madam; for, as among the ladies there are none ugly, so among the men there are none old.
HASTINGS. You’re right, ma’am; just like there are no ugly women, there are no old men.
MRS. HARDCASTLE. But what do you think his answer was? Why, with his usual Gothic vivacity, he said I only wanted him to throw off his wig, to convert it into a tete for my own wearing.
MRS. HARDCASTLE. But what do you think his answer was? Well, with his usual dramatic flair, he said I just wanted him to take off his wig so I could turn it into a stylish hat for myself.
HASTINGS. Intolerable! At your age you may wear what you please, and it must become you.
HASTINGS. Unbelievable! At your age, you can wear whatever you want, and it should look good on you.
MRS. HARDCASTLE. Pray, Mr. Hastings, what do you take to be the most fashionable age about town?
MRS. HARDCASTLE: Please, Mr. Hastings, what do you think is the most fashionable age in town?
HASTINGS. Some time ago, forty was all the mode; but I’m told the ladies intend to bring up fifty for the ensuing winter.
HASTINGS. Not long ago, forty was all the rage; but I've heard that the ladies plan to raise it to fifty for the upcoming winter.
MRS. HARDCASTLE. Seriously. Then I shall be too young for the fashion.
MRS. HARDCASTLE. Seriously? Then I’ll be too young for the style.
HASTINGS. No lady begins now to put on jewels till she’s past forty. For instance, Miss there, in a polite circle, would be considered as a child, as a mere maker of samplers.
HASTINGS. No woman today starts wearing jewelry until she’s over forty. For example, that young woman over there would be seen as a child in a polite circle, just someone who makes samplers.
MRS. HARDCASTLE. And yet Mrs. Niece thinks herself as much a woman, and is as fond of jewels, as the oldest of us all.
MRS. HARDCASTLE. And yet Mrs. Niece considers herself just as much a woman and loves her jewelry just as much as any of us do.
HASTINGS. Your niece, is she? And that young gentleman, a brother of yours, I should presume?
HASTINGS. Is that your niece? And I assume that young man is your brother?
MRS. HARDCASTLE. My son, sir. They are contracted to each other. Observe their little sports. They fall in and out ten times a day, as if they were man and wife already. (To them.) Well, Tony, child, what soft things are you saying to your cousin Constance this evening?
MRS. HARDCASTLE. My son, sir. They are engaged to each other. Just watch their little games. They make up and break up ten times a day, as if they're already married. (To them.) Well, Tony, sweetheart, what sweet things are you saying to your cousin Constance this evening?
TONY. I have been saying no soft things; but that it’s very hard to be followed about so. Ecod! I’ve not a place in the house now that’s left to myself, but the stable.
TONY. I haven't been saying anything nice; but it’s really tough to be followed around like this. Seriously! I don’t have anywhere in the house that I can call my own anymore, except for the stable.
MRS. HARDCASTLE. Never mind him, Con, my dear. He’s in another story behind your back.
MRS. HARDCASTLE. Don't worry about him, Con, my dear. He’s off in another story behind your back.
MISS NEVILLE. There’s something generous in my cousin’s manner. He falls out before faces to be forgiven in private.
MISS NEVILLE. There’s something kind about my cousin’s way of acting. He creates drama in public just to be forgiven in private.
TONY. That’s a damned confounded—crack.
TONY. That’s a damn crack.
MRS. HARDCASTLE. Ah! he’s a sly one. Don’t you think they are like each other about the mouth, Mr. Hastings? The Blenkinsop mouth to a T. They’re of a size too. Back to back, my pretties, that Mr. Hastings may see you. Come, Tony.
MRS. HARDCASTLE. Ah! he's quite clever, isn't he? Don’t you think they look similar in the face, Mr. Hastings? The Blenkinsop mouth is spot on. They're the same size too. Stand back to back, my darlings, so Mr. Hastings can see you. Come on, Tony.
TONY. You had as good not make me, I tell you. (Measuring.)
TONY. You might as well not make me, I'm telling you. (Measuring.)
MISS NEVILLE. O lud! he has almost cracked my head.
MISS NEVILLE. Oh my gosh! He nearly broke my head.
MRS. HARDCASTLE. O, the monster! For shame, Tony. You a man, and behave so!
MRS. HARDCASTLE. Oh, the monster! Shame on you, Tony. You're a man, and you’re acting like that!
TONY. If I’m a man, let me have my fortin. Ecod! I’ll not be made a fool of no longer.
TONY. If I’m a man, let me have my fortin. Damn it! I’m not going to be made a fool of anymore.
MRS. HARDCASTLE. Is this, ungrateful boy, all that I’m to get for the pains I have taken in your education? I that have rocked you in your cradle, and fed that pretty mouth with a spoon! Did not I work that waistcoat to make you genteel? Did not I prescribe for you every day, and weep while the receipt was operating?
MRS. HARDCASTLE. Is this, ungrateful boy, all I get for the effort I put into your education? I who rocked you to sleep and fed that cute little mouth with a spoon! Didn't I sew that waistcoat to make you look respectable? Didn’t I care for you every day and cry while the treatment was working?
TONY. Ecod! you had reason to weep, for you have been dosing me ever since I was born. I have gone through every receipt in the Complete Huswife ten times over; and you have thoughts of coursing me through Quincy next spring. But, ecod! I tell you, I’ll not be made a fool of no longer.
TONY. You had a good reason to cry, because you’ve been drugging me ever since I was born. I’ve gone through every recipe in the Complete Housewife ten times, and now you’re thinking of sending me to Quincy next spring. But I’m telling you, I won’t be made a fool of any longer.
MRS. HARDCASTLE. Wasn’t it all for your good, viper? Wasn’t it all for your good?
MRS. HARDCASTLE. Wasn't it all for your benefit, you ungrateful wretch? Wasn't it all for your benefit?
TONY. I wish you’d let me and my good alone, then. Snubbing this way when I’m in spirits. If I’m to have any good, let it come of itself; not to keep dinging it, dinging it into one so.
TONY. I wish you’d just leave me and my good mood alone. It’s frustrating when you act this way while I’m trying to enjoy myself. If I’m going to have any good vibes, I want them to come naturally; I don’t want you constantly poking at me like this.
MRS. HARDCASTLE. That’s false; I never see you when you’re in spirits. No, Tony, you then go to the alehouse or kennel. I’m never to be delighted with your agreeable wild notes, unfeeling monster!
MRS. HARDCASTLE. That’s not true; I never see you when you're in a good mood. No, Tony, you just go to the pub or the doghouse. I’ll never get to enjoy your charming wild songs, you heartless monster!
TONY. Ecod! mamma, your own notes are the wildest of the two.
TONY. Wow, mom, your own notes are crazier than the other one.
MRS. HARDCASTLE. Was ever the like? But I see he wants to break my heart, I see he does.
MRS. HARDCASTLE. Can you believe this? I can see he wants to break my heart, I really can.
HASTINGS. Dear madam, permit me to lecture the young gentleman a little. I’m certain I can persuade him to his duty.
HASTINGS. Dear ma'am, let me talk to the young man for a bit. I'm sure I can convince him to do what's right.
MRS. HARDCASTLE. Well, I must retire. Come, Constance, my love. You see, Mr. Hastings, the wretchedness of my situation: was ever poor woman so plagued with a dear sweet, pretty, provoking, undutiful boy? [Exeunt MRS. HARDCASTLE and MISS NEVILLE.]
MRS. HARDCASTLE. Well, I need to head out. Come on, Constance, my dear. You can see, Mr. Hastings, how miserable I am: has any poor woman ever been so troubled by a sweet, pretty, annoying, ungrateful boy? [Exeunt MRS. HARDCASTLE and MISS NEVILLE.]
TONY. (Singing.) “There was a young man riding by, and fain would have his will. Rang do didlo dee.”——Don’t mind her. Let her cry. It’s the comfort of her heart. I have seen her and sister cry over a book for an hour together; and they said they liked the book the better the more it made them cry.
TONY. (Singing.) “There was a young man riding by, and he really wanted to have his way. Rang do didlo dee.”——Don’t worry about her. Let her cry. It’s what soothes her heart. I’ve seen her and her sister cry over a book for an hour straight, and they said they liked the book even more because it made them cry.
HASTINGS. Then you’re no friend to the ladies, I find, my pretty young gentleman?
HASTINGS. So, you’re not a friend to the ladies, I see, my charming young man?
TONY. That’s as I find ’um.
TONY. That’s how I see them.
HASTINGS. Not to her of your mother’s choosing, I dare answer? And yet she appears to me a pretty well-tempered girl.
HASTINGS. I wouldn’t say she’s not the kind your mother would choose. But she seems like a pretty nice girl to me.
TONY. That’s because you don’t know her as well as I. Ecod! I know every inch about her; and there’s not a more bitter cantankerous toad in all Christendom.
TONY. That’s because you don’t know her like I do. Honestly! I know everything about her; and there isn't a more bitter, grumpy toad in all of Christendom.
HASTINGS. (Aside.) Pretty encouragement this for a lover!
HASTINGS. (Aside.) What great motivation for a lover!
TONY. I have seen her since the height of that. She has as many tricks as a hare in a thicket, or a colt the first day’s breaking.
TONY. I've seen her since all that went down. She has as many tricks as a rabbit in a bush or a colt on its first day of training.
HASTINGS. To me she appears sensible and silent.
HASTINGS. She seems to me quiet and sensible.
TONY. Ay, before company. But when she’s with her playmate, she’s as loud as a hog in a gate.
TONY. Yeah, when it's just us. But when she's with her friend, she's as loud as a hog by a gate.
HASTINGS. But there is a meek modesty about her that charms me.
HASTINGS. But there’s a gentle humility about her that captivates me.
TONY. Yes, but curb her never so little, she kicks up, and you’re flung in a ditch.
TONY. Yes, but if you hold her back even a little, she goes crazy, and you end up in a ditch.
HASTINGS. Well, but you must allow her a little beauty.—Yes, you must allow her some beauty.
HASTINGS. Well, you have to give her a bit of credit for her looks.—Yeah, you have to acknowledge that she’s got some beauty.
TONY. Bandbox! She’s all a made-up thing, mun. Ah! could you but see Bet Bouncer of these parts, you might then talk of beauty. Ecod, she has two eyes as black as sloes, and cheeks as broad and red as a pulpit cushion. She’d make two of she.
TONY. Bandbox! She's just a fake, man. Ah! If only you could see Bet Bouncer from around here, then you could really talk about beauty. Honestly, she has two eyes as black as berries, and cheeks as wide and red as a pulpit cushion. She’d be twice the woman she is.
HASTINGS. Well, what say you to a friend that would take this bitter bargain off your hands?
HASTINGS. So, what do you think about a friend who would take this tough deal off your hands?
TONY. Anon.
TONY. Anonymous.
HASTINGS. Would you thank him that would take Miss Neville, and leave you to happiness and your dear Betsy?
HASTINGS. Would you thank the person who would take Miss Neville and leave you to your happiness and your dear Betsy?
TONY. Ay; but where is there such a friend, for who would take her?
TONY. Yeah; but where can you find a friend like that, because who would want her?
HASTINGS. I am he. If you but assist me, I’ll engage to whip her off to France, and you shall never hear more of her.
HASTINGS. That’s me. If you help me out, I promise to take her to France, and you won't have to worry about her anymore.
TONY. Assist you! Ecod I will, to the last drop of my blood. I’ll clap a pair of horses to your chaise that shall trundle you off in a twinkling, and may he get you a part of her fortin beside, in jewels, that you little dream of.
TONY. Help you! I definitely will, to the last drop of my blood. I’ll get a pair of horses hitched to your carriage that will take you away in no time, and may he also get you a piece of her fortune in jewels that you can hardly imagine.
HASTINGS. My dear ’squire, this looks like a lad of spirit.
HASTINGS. My dear squire, this looks like a spirited young man.
TONY. Come along, then, and you shall see more of my spirit before you have done with me.
TONY. Come on, then, and you’ll get to see more of my true self before we're finished.
(Singing.) “We are the boys That fears no noise Where the thundering cannons roar.” [Exeunt.]
(Singing.) “We are the guys who aren’t afraid of any noise where the booming cannons roar.” [Exeunt.]
ACT THE THIRD.
Enter HARDCASTLE, alone.
Enter HARDCASTLE, by himself.
HARDCASTLE. What could my old friend Sir Charles mean by recommending his son as the modestest young man in town? To me he appears the most impudent piece of brass that ever spoke with a tongue. He has taken possession of the easy chair by the fire-side already. He took off his boots in the parlour, and desired me to see them taken care of. I’m desirous to know how his impudence affects my daughter. She will certainly be shocked at it.
HARDCASTLE. What could my old friend Sir Charles mean by calling his son the most modest young man in town? To me, he seems like the most brazen person I've ever encountered. He's already made himself comfortable in the easy chair by the fireplace. He took off his boots in the living room and asked me to have them taken care of. I’m curious to see how his boldness affects my daughter. She will definitely be taken aback by it.
Enter MISS HARDCASTLE, plainly dressed.
Enter MISS HARDCASTLE, casually dressed.
HARDCASTLE. Well, my Kate, I see you have changed your dress, as I bade you; and yet, I believe, there was no great occasion.
HARDCASTLE. Well, my Kate, I see you've changed your dress like I asked you to; and yet, I think there wasn't really much of a reason for it.
MISS HARDCASTLE. I find such a pleasure, sir, in obeying your commands, that I take care to observe them without ever debating their propriety.
MISS HARDCASTLE. I take such pleasure, sir, in following your orders, that I make sure to comply with them without questioning their appropriateness.
HARDCASTLE. And yet, Kate, I sometimes give you some cause, particularly when I recommended my modest gentleman to you as a lover to-day.
HARDCASTLE. And yet, Kate, I can sometimes give you a reason, especially when I suggested my humble gentleman as a suitor for you today.
MISS HARDCASTLE. You taught me to expect something extraordinary, and I find the original exceeds the description.
MISS HARDCASTLE. You made me expect something amazing, and I find the reality is even better than you described.
HARDCASTLE. I was never so surprised in my life! He has quite confounded all my faculties!
HARDCASTLE. I have never been so surprised in my life! He has completely baffled me!
MISS HARDCASTLE. I never saw anything like it: and a man of the world too!
MISS HARDCASTLE. I've never seen anything like it: and he's a man of the world too!
HARDCASTLE. Ay, he learned it all abroad—what a fool was I, to think a young man could learn modesty by travelling. He might as soon learn wit at a masquerade.
HARDCASTLE. Yeah, he learned everything overseas—what a fool I was to think a young man could learn modesty by traveling. He might as well try to learn wit at a costume party.
MISS HARDCASTLE. It seems all natural to him.
MISS HARDCASTLE. It feels completely natural to him.
HARDCASTLE. A good deal assisted by bad company and a French dancing-master.
HARDCASTLE. A lot helped by a bad crowd and a French dance instructor.
MISS HARDCASTLE. Sure you mistake, papa! A French dancing-master could never have taught him that timid look—that awkward address—that bashful manner—
MISS HARDCASTLE. You must be mistaken, Dad! A French dancing teacher could never have taught him that shy look—that clumsy way of speaking—that bashful behavior—
HARDCASTLE. Whose look? whose manner, child?
HARDCASTLE. Whose gaze? Whose behavior, kid?
MISS HARDCASTLE. Mr. Marlow’s: his mauvaise honte, his timidity, struck me at the first sight.
MISS HARDCASTLE. Mr. Marlow's shyness and awkwardness caught my attention right away.
HARDCASTLE. Then your first sight deceived you; for I think him one of the most brazen first sights that ever astonished my senses.
HARDCASTLE. Then your first impression misled you; because I think he’s one of the most shameless first impressions that has ever shocked my senses.
MISS HARDCASTLE. Sure, sir, you rally! I never saw any one so modest.
MISS HARDCASTLE. Of course, sir, you're joking! I've never seen anyone so humble.
HARDCASTLE. And can you be serious? I never saw such a bouncing, swaggering puppy since I was born. Bully Dawson was but a fool to him.
HARDCASTLE. Seriously? I’ve never seen such an arrogant, swaggering puppy in my life. Bully Dawson was a total fool compared to him.
MISS HARDCASTLE. Surprising! He met me with a respectful bow, a stammering voice, and a look fixed on the ground.
MISS HARDCASTLE. Surprising! He greeted me with a respectful bow, a stammering voice, and his gaze glued to the ground.
HARDCASTLE. He met me with a loud voice, a lordly air, and a familiarity that made my blood freeze again.
HARDCASTLE. He greeted me with a booming voice, a commanding presence, and a casualness that made my blood run cold again.
MISS HARDCASTLE. He treated me with diffidence and respect; censured the manners of the age; admired the prudence of girls that never laughed; tired me with apologies for being tiresome; then left the room with a bow, and “Madam, I would not for the world detain you.”
MISS HARDCASTLE. He treated me with hesitation and respect; criticized the manners of the time; admired the caution of girls who never laughed; bored me with apologies for being boring; then left the room with a bow, saying, “Madam, I wouldn’t want to keep you here.”
HARDCASTLE. He spoke to me as if he knew me all his life before; asked twenty questions, and never waited for an answer; interrupted my best remarks with some silly pun; and when I was in my best story of the Duke of Marlborough and Prince Eugene, he asked if I had not a good hand at making punch. Yes, Kate, he asked your father if he was a maker of punch!
HARDCASTLE. He talked to me like he’d known me forever; asked twenty questions without waiting for answers; interrupted my best lines with some lame joke; and just when I was telling my best story about the Duke of Marlborough and Prince Eugene, he wanted to know if I was good at making punch. Yeah, Kate, he actually asked your father if he knew how to make punch!
MISS HARDCASTLE. One of us must certainly be mistaken.
MISS HARDCASTLE. One of us must definitely be wrong.
HARDCASTLE. If he be what he has shown himself, I’m determined he shall never have my consent.
HARDCASTLE. If he's really who he's shown himself to be, I'm set on not giving him my approval.
MISS HARDCASTLE. And if he be the sullen thing I take him, he shall never have mine.
MISS HARDCASTLE. And if he's the moody guy I think he is, he will never have mine.
HARDCASTLE. In one thing then we are agreed—to reject him.
HARDCASTLE. So, we all agree on one thing—to dismiss him.
MISS HARDCASTLE. Yes: but upon conditions. For if you should find him less impudent, and I more presuming—if you find him more respectful, and I more importunate—I don’t know—the fellow is well enough for a man—Certainly, we don’t meet many such at a horse-race in the country.
MISS HARDCASTLE. Yes, but with some conditions. If you find him less shameless and I more forward—if you notice him being more respectful and me being more insistent—I don’t know—the guy seems decent enough for a man—Honestly, we don’t come across many like him at a horse race in the country.
HARDCASTLE. If we should find him so——But that’s impossible. The first appearance has done my business. I’m seldom deceived in that.
HARDCASTLE. If we were to find him like that—But that’s impossible. The first impression has sealed my fate. I’m rarely mistaken about that.
MISS HARDCASTLE. And yet there may be many good qualities under that first appearance.
MISS HARDCASTLE. And yet there could be many good qualities beneath that initial appearance.
HARDCASTLE. Ay, when a girl finds a fellow’s outside to her taste, she then sets about guessing the rest of his furniture. With her, a smooth face stands for good sense, and a genteel figure for every virtue.
HARDCASTLE. Yeah, when a girl finds a guy's looks appealing, she immediately starts imagining his personality. For her, a nice face represents intelligence, and a stylish appearance symbolizes every quality she values.
MISS HARDCASTLE. I hope, sir, a conversation begun with a compliment to my good sense, won’t end with a sneer at my understanding?
MISS HARDCASTLE. I hope, sir, that a conversation that starts with a compliment to my good sense won’t end with a dig at my understanding?
HARDCASTLE. Pardon me, Kate. But if young Mr. Brazen can find the art of reconciling contradictions, he may please us both, perhaps.
HARDCASTLE. Excuse me, Kate. But if young Mr. Brazen can master the art of balancing contradictions, he might just satisfy both of us.
MISS HARDCASTLE. And as one of us must be mistaken, what if we go to make further discoveries?
MISS HARDCASTLE. Since one of us must be wrong, what if we go to find out more?
HARDCASTLE. Agreed. But depend on’t I’m in the right.
HARDCASTLE. Agreed. But trust me, I’m in the right.
MISS HARDCASTLE. And depend on’t I’m not much in the wrong. [Exeunt.]
MISS HARDCASTLE. Trust me, I’m not in the wrong here. [Exeunt.]
Enter Tony, running in with a casket.
Enter Tony, rushing in with a coffin.
TONY. Ecod! I have got them. Here they are. My cousin Con’s necklaces, bobs and all. My mother shan’t cheat the poor souls out of their fortin neither. O! my genus, is that you?
TONY. Hey! I’ve got them. Here they are. My cousin Con’s necklaces, beads and all. My mom isn’t going to cheat those poor souls out of their fortune either. Oh! Is that you, my genius?
Enter HASTINGS.
Enter Hastings.
HASTINGS. My dear friend, how have you managed with your mother? I hope you have amused her with pretending love for your cousin, and that you are willing to be reconciled at last? Our horses will be refreshed in a short time, and we shall soon be ready to set off.
HASTINGS. My dear friend, how have things been with your mother? I hope you’ve entertained her by pretending to be in love with your cousin, and that you’re finally ready to make up? Our horses will be rested soon, and we’ll be ready to head out.
TONY. And here’s something to bear your charges by the way (giving the casket); your sweetheart’s jewels. Keep them: and hang those, I say, that would rob you of one of them.
TONY. And here’s something to cover your expenses by the way (handing over the casket); your sweetheart’s jewels. Keep them: and let those who would try to take one from you hang.
HASTINGS. But how have you procured them from your mother?
HASTINGS. But how did you get them from your mom?
TONY. Ask me no questions, and I’ll tell you no fibs. I procured them by the rule of thumb. If I had not a key to every drawer in mother’s bureau, how could I go to the alehouse so often as I do? An honest man may rob himself of his own at any time.
TONY. Don't ask me any questions, and I won't tell you any lies. I got them by using my instincts. If I didn’t have a key to every drawer in my mom's dresser, how could I visit the pub as often as I do? A decent guy can take from himself whenever he wants.
HASTINGS. Thousands do it every day. But to be plain with you; Miss Neville is endeavouring to procure them from her aunt this very instant. If she succeeds, it will be the most delicate way at least of obtaining them.
HASTINGS. Thousands do it every day. But to be straightforward with you; Miss Neville is trying to get them from her aunt right now. If she succeeds, it will be the most subtle way of getting them, at least.
TONY. Well, keep them, till you know how it will be. But I know how it will be well enough; she’d as soon part with the only sound tooth in her head.
TONY. Well, hold onto them until you figure out what’s going to happen. But I know exactly how this will go; she'd just as soon part with the only decent tooth in her mouth.
HASTINGS. But I dread the effects of her resentment, when she finds she has lost them.
HASTINGS. But I'm really worried about how she'll react when she realizes she's lost them.
TONY. Never you mind her resentment, leave ME to manage that. I don’t value her resentment the bounce of a cracker. Zounds! here they are. Morrice! Prance! [Exit HASTINGS.]
TONY. Don't worry about her resentment, I'll handle that. I don’t care about her resentment at all. Damn it! Here they come. Morrice! Prance! [Exit HASTINGS.]
Enter MRS. HARDCASTLE and MISS NEVILLE.
Enter MRS. HARDCASTLE and MISS NEVILLE.
MRS. HARDCASTLE. Indeed, Constance, you amaze me. Such a girl as you want jewels! It will be time enough for jewels, my dear, twenty years hence, when your beauty begins to want repairs.
MRS. HARDCASTLE. Honestly, Constance, you surprise me. A girl like you wants jewelry? You’ll have plenty of time for that, my dear, in twenty years, when your looks start needing some touch-ups.
MISS NEVILLE. But what will repair beauty at forty, will certainly improve it at twenty, madam.
MISS NEVILLE. But what helps beauty at forty will definitely enhance it at twenty, madam.
MRS. HARDCASTLE. Yours, my dear, can admit of none. That natural blush is beyond a thousand ornaments. Besides, child, jewels are quite out at present. Don’t you see half the ladies of our acquaintance, my Lady Kill-daylight, and Mrs. Crump, and the rest of them, carry their jewels to town, and bring nothing but paste and marcasites back.
MRS. HARDCASTLE. Yours, my dear, can’t compare. That natural blush is worth way more than a thousand ornaments. Besides, sweetheart, jewelry is really out of style right now. Don’t you see that half the ladies we know, like Lady Kill-daylight and Mrs. Crump, take their real jewels to the city and come back with nothing but fake stuff and marcasites?
MISS NEVILLE. But who knows, madam, but somebody that shall be nameless would like me best with all my little finery about me?
MISS NEVILLE. But who knows, ma'am, maybe someone who shall remain unnamed would prefer me with all my little embellishments on?
MRS. HARDCASTLE. Consult your glass, my dear, and then see if, with such a pair of eyes, you want any better sparklers. What do you think, Tony, my dear? does your cousin Con. want any jewels in your eyes to set off her beauty?
MRS. HARDCASTLE. Check yourself out in the mirror, my dear, and then see if, with eyes like those, you need any better jewelry. What do you think, Tony, my dear? Does your cousin Con need any gems to enhance her beauty?
TONY. That’s as thereafter may be.
TONY. That’s up to whatever comes next.
MISS NEVILLE. My dear aunt, if you knew how it would oblige me.
MISS NEVILLE. My dear aunt, if you only knew how much it would mean to me.
MRS. HARDCASTLE. A parcel of old-fashioned rose and table-cut things. They would make you look like the court of King Solomon at a puppet-show. Besides, I believe, I can’t readily come at them. They may be missing, for aught I know to the contrary.
MRS. HARDCASTLE. A bunch of outdated rose-patterned stuff and tableware. They would make you look like you belong in a puppet show during King Solomon's court. Plus, I think I might not be able to find them easily. They could be lost, for all I know.
TONY. (Apart to MRS. HARDCASTLE.) Then why don’t you tell her so at once, as she’s so longing for them? Tell her they’re lost. It’s the only way to quiet her. Say they’re lost, and call me to bear witness.
TONY. (Aside to MRS. HARDCASTLE.) Then why not just tell her right away, since she’s so eager for them? Let her know they’re gone. It’s the only way to calm her down. Say they’re lost, and get me to confirm it.
MRS. HARDCASTLE. (Apart to TONY.) You know, my dear, I’m only keeping them for you. So if I say they’re gone, you’ll bear me witness, will you? He! he! he!
MRS. HARDCASTLE. (Aside to TONY.) You know, sweetheart, I’m just holding on to them for you. So if I say they’re gone, you’ll back me up, right? He! he! he!
TONY. Never fear me. Ecod! I’ll say I saw them taken out with my own eyes.
TONY. Don’t worry about me. Ecod! I’ll say I saw them taken out with my own eyes.
MISS NEVILLE. I desire them but for a day, madam. Just to be permitted to show them as relics, and then they may be locked up again.
MISS NEVILLE. I only want them for a day, ma'am. Just to be allowed to display them as keepsakes, and then they can be put away again.
MRS. HARDCASTLE. To be plain with you, my dear Constance, if I could find them you should have them. They’re missing, I assure you. Lost, for aught I know; but we must have patience wherever they are.
MRS. HARDCASTLE. To be straightforward with you, my dear Constance, if I could find them, you would have them. They’re missing, I promise. Lost, as far as I know; but we need to be patient no matter where they are.
MISS NEVILLE. I’ll not believe it! this is but a shallow pretence to deny me. I know they are too valuable to be so slightly kept, and as you are to answer for the loss—
MISS NEVILLE. I won’t believe it! This is just a weak excuse to deny me. I know they’re too precious to be treated so carelessly, and since you’re responsible for the loss—
MRS. HARDCASTLE. Don’t be alarmed, Constance. If they be lost, I must restore an equivalent. But my son knows they are missing, and not to be found.
MRS. HARDCASTLE. Don't worry, Constance. If they're lost, I have to make up for it. But my son knows they're missing and can't be found.
TONY. That I can bear witness to. They are missing, and not to be found; I’ll take my oath on’t.
TONY. I can vouch for that. They are gone, and there's no trace of them; I’ll swear to it.
MRS. HARDCASTLE. You must learn resignation, my dear; for though we lose our fortune, yet we should not lose our patience. See me, how calm I am.
MRS. HARDCASTLE. You need to learn to accept things, my dear; even if we lose our fortune, we shouldn’t lose our patience. Look at me, how calm I am.
MISS NEVILLE. Ay, people are generally calm at the misfortunes of others.
MISS NEVILLE. Yeah, people usually stay calm when others are facing misfortunes.
MRS. HARDCASTLE. Now I wonder a girl of your good sense should waste a thought upon such trumpery. We shall soon find them; and in the mean time you shall make use of my garnets till your jewels be found.
MRS. HARDCASTLE. Now I wonder why a girl as sensible as you would waste a thought on such nonsense. We'll find them soon; in the meantime, you can use my garnets until your jewels are found.
MISS NEVILLE. I detest garnets.
MISS NEVILLE. I hate garnets.
MRS. HARDCASTLE. The most becoming things in the world to set off a clear complexion. You have often seen how well they look upon me. You SHALL have them. [Exit.]
MRS. HARDCASTLE. The best things in the world to highlight a clear complexion. You’ve often seen how nice they look on me. You WILL have them. [Exit.]
MISS NEVILLE. I dislike them of all things. You shan’t stir.—Was ever anything so provoking, to mislay my own jewels, and force me to wear her trumpery?
MISS NEVILLE. I really dislike them. You can't make me move.—Is there anything more annoying than losing my own jewelry and being stuck wearing her cheap stuff?
TONY. Don’t be a fool. If she gives you the garnets, take what you can get. The jewels are your own already. I have stolen them out of her bureau, and she does not know it. Fly to your spark, he’ll tell you more of the matter. Leave me to manage her.
TONY. Don't be an idiot. If she gives you the garnets, take whatever you can get. The jewels are already yours. I stole them from her drawer, and she has no idea. Go talk to your guy; he’ll fill you in on the details. Just let me handle her.
MISS NEVILLE. My dear cousin!
Miss Neville. My dear cousin!
TONY. Vanish. She’s here, and has missed them already. [Exit MISS NEVILLE.] Zounds! how she fidgets and spits about like a Catherine wheel.
TONY. Disappear. She’s here and has already missed them. [Exit MISS NEVILLE.] Wow! She’s fidgeting and bouncing around like a firework.
Enter MRS. HARDCASTLE.
Enter Mrs. Hardcastle.
MRS. HARDCASTLE. Confusion! thieves! robbers! we are cheated, plundered, broke open, undone.
MRS. HARDCASTLE. This is ridiculous! Thieves! Robbers! We’ve been cheated, robbed, have had our things taken, and we’re finished.
TONY. What’s the matter, what’s the matter, mamma? I hope nothing has happened to any of the good family!
TONY. What’s wrong, what’s wrong, mom? I hope nothing has happened to any of our good family!
MRS. HARDCASTLE. We are robbed. My bureau has been broken open, the jewels taken out, and I’m undone.
MRS. HARDCASTLE. We’ve been robbed. My desk has been broken into, the jewels have been stolen, and I’m finished.
TONY. Oh! is that all? Ha! ha! ha! By the laws, I never saw it acted better in my life. Ecod, I thought you was ruined in earnest, ha! ha! ha!
TONY. Oh! Is that it? Ha! ha! ha! Honestly, I've never seen it performed better in my life. Wow, I really thought you were in serious trouble, ha! ha! ha!
MRS. HARDCASTLE. Why, boy, I AM ruined in earnest. My bureau has been broken open, and all taken away.
MRS. HARDCASTLE. Seriously, I’m completely ruined. Someone has broken into my dresser and taken everything.
TONY. Stick to that: ha! ha! ha! stick to that. I’ll bear witness, you know; call me to bear witness.
TONY. Keep that in mind: ha! ha! ha! keep that in mind. I’ll be a witness, you know; just call on me to witness.
MRS. HARDCASTLE. I tell you, Tony, by all that’s precious, the jewels are gone, and I shall be ruined for ever.
MRS. HARDCASTLE. I'm telling you, Tony, I swear on everything that's valuable, the jewels are gone, and I'm going to be ruined forever.
TONY. Sure I know they’re gone, and I’m to say so.
TONY. Of course I know they’re gone, and I’m supposed to say it.
MRS. HARDCASTLE. My dearest Tony, but hear me. They’re gone, I say.
MRS. HARDCASTLE. My dear Tony, please listen to me. They’re gone, I tell you.
TONY. By the laws, mamma, you make me for to laugh, ha! ha! I know who took them well enough, ha! ha! ha!
TONY. According to the rules, Mom, you really make me laugh, ha! ha! I know exactly who took them, ha! ha! ha!
MRS. HARDCASTLE. Was there ever such a blockhead, that can’t tell the difference between jest and earnest? I tell you I’m not in jest, booby.
MRS. HARDCASTLE. Has there ever been such a fool who can’t tell the difference between a joke and seriousness? I’m telling you, I’m not joking, idiot.
TONY. That’s right, that’s right; you must be in a bitter passion, and then nobody will suspect either of us. I’ll bear witness that they are gone.
TONY. Exactly, exactly; you must be really upset, and then no one will suspect either of us. I’ll confirm that they left.
MRS. HARDCASTLE. Was there ever such a cross-grained brute, that won’t hear me? Can you bear witness that you’re no better than a fool? Was ever poor woman so beset with fools on one hand, and thieves on the other?
MRS. HARDCASTLE. Is there ever such a stubborn jerk who won’t listen to me? Can you honestly say you’re not just a fool? Has any poor woman ever been surrounded by fools on one side and thieves on the other?
TONY. I can bear witness to that.
TONY. I can verify that.
MRS. HARDCASTLE. Bear witness again, you blockhead you, and I’ll turn you out of the room directly. My poor niece, what will become of her? Do you laugh, you unfeeling brute, as if you enjoyed my distress?
MRS. HARDCASTLE. Just bear witness once more, you idiot, and I'll kick you out of the room right away. My poor niece, what will happen to her? Do you find this funny, you heartless jerk, as if you’re enjoying my misery?
TONY. I can bear witness to that.
TONY. I can vouch for that.
MRS. HARDCASTLE. Do you insult me, monster? I’ll teach you to vex your mother, I will.
MRS. HARDCASTLE. Are you insulting me, you monster? I'll show you how to treat your mother right!
TONY. I can bear witness to that. [He runs off, she follows him.]
TONY. I can vouch for that. [He takes off running, and she chases after him.]
Enter Miss HARDCASTLE and Maid.
Enter Miss Hardcastle and Maid.
MISS HARDCASTLE. What an unaccountable creature is that brother of mine, to send them to the house as an inn! ha! ha! I don’t wonder at his impudence.
MISS HARDCASTLE. What an unbelievable character my brother is, sending them to the house as if it were an inn! Ha! Ha! I’m not surprised by his boldness.
MAID. But what is more, madam, the young gentleman, as you passed by in your present dress, asked me if you were the bar-maid. He mistook you for the bar-maid, madam.
MAID. But that's not all, ma'am, the young gentleman, when he saw you in your current outfit, asked me if you were the barmaid. He thought you were the barmaid, ma'am.
MISS HARDCASTLE. Did he? Then as I live, I’m resolved to keep up the delusion. Tell me, Pimple, how do you like my present dress? Don’t you think I look something like Cherry in the Beaux Stratagem?
MISS HARDCASTLE. Did he? Then I swear I'm going to maintain the illusion. Tell me, Pimple, how do you like my current outfit? Don’t you think I look a bit like Cherry in the Beaux Stratagem?
MAID. It’s the dress, madam, that every lady wears in the country, but when she visits or receives company.
MAID. It’s the dress, ma'am, that every woman wears in the countryside, but when she visits or hosts guests.
MISS HARDCASTLE. And are you sure he does not remember my face or person?
MISS HARDCASTLE. Are you certain he doesn't remember what I look like?
MAID. Certain of it.
For sure.
MISS HARDCASTLE. I vow, I thought so; for, though we spoke for some time together, yet his fears were such, that he never once looked up during the interview. Indeed, if he had, my bonnet would have kept him from seeing me.
MISS HARDCASTLE. I swear, I thought so; because even though we talked for a while, his fears were so strong that he never looked up during our conversation. In fact, if he had, my hat would have blocked his view of me.
MAID. But what do you hope from keeping him in his mistake?
MAID. But what do you gain from letting him stick to his mistake?
MISS HARDCASTLE. In the first place I shall be seen, and that is no small advantage to a girl who brings her face to market. Then I shall perhaps make an acquaintance, and that’s no small victory gained over one who never addresses any but the wildest of her sex. But my chief aim is, to take my gentleman off his guard, and, like an invisible champion of romance, examine the giant’s force before I offer to combat.
MISS HARDCASTLE. First of all, I’ll be visible, and that's a big plus for a girl putting herself out there. Then I might meet someone, which is a pretty nice win for someone who usually doesn't talk to anyone except the most outrageous of women. But my main goal is to catch my guy off guard, and, like a hidden hero of romance, assess his strength before I decide to engage.
MAID. But you are sure you can act your part, and disguise your voice so that he may mistake that, as he has already mistaken your person?
MAID. But are you sure you can play your role and change your voice so that he might confuse it, just like he has already confused your identity?
MISS HARDCASTLE. Never fear me. I think I have got the true bar cant—Did your honour call?—Attend the Lion there—Pipes and tobacco for the Angel.—The Lamb has been outrageous this half-hour.
MISS HARDCASTLE. Don’t worry about me. I believe I’ve got the real lingo down—Did you call, sir?—Keep an eye on the Lion over there—Cigars and tobacco for the Angel.—The Lamb has been acting up for the last half hour.
MAID. It will do, madam. But he’s here. [Exit MAID.]
MAID. That works, ma'am. But he's here. [Exit MAID.]
Enter MARLOW.
Enter MARLOW.
MARLOW. What a bawling in every part of the house! I have scarce a moment’s repose. If I go to the best room, there I find my host and his story: if I fly to the gallery, there we have my hostess with her curtsey down to the ground. I have at last got a moment to myself, and now for recollection. [Walks and muses.]
MARLOW. What a racket in every part of the house! I can hardly get a moment's peace. If I go to the best room, there’s my host with his story; if I escape to the gallery, my hostess is there with her deep curtsy. Finally, I’ve got a moment to myself, so now it’s time to think. [Walks and thinks.]
MISS HARDCASTLE. Did you call, sir? Did your honour call?
MISS HARDCASTLE. Did you call, sir? Did you need something?
MARLOW. (Musing.) As for Miss Hardcastle, she’s too grave and sentimental for me.
MARLOW. (Thinking.) Miss Hardcastle is just too serious and sentimental for my taste.
MISS HARDCASTLE. Did your honour call? (She still places herself before him, he turning away.)
MISS HARDCASTLE. Did you call for me? (She still positions herself in front of him, while he turns away.)
MARLOW. No, child. (Musing.) Besides, from the glimpse I had of her, I think she squints.
MARLOW. No, kid. (Thinking.) Also, from the brief look I got at her, I think she has a squint.
MISS HARDCASTLE. I’m sure, sir, I heard the bell ring.
MISS HARDCASTLE. I'm sure, sir, I heard the bell ring.
MARLOW. No, no. (Musing.) I have pleased my father, however, by coming down, and I’ll to-morrow please myself by returning. [Taking out his tablets, and perusing.]
MARLOW. No, no. (Thinking.) I’ve made my dad happy by coming down, and tomorrow I’ll make myself happy by going back. [Pulling out his notes and reading.]
MISS HARDCASTLE. Perhaps the other gentleman called, sir?
MISS HARDCASTLE. Maybe the other gentleman came by, sir?
MARLOW. I tell you, no.
MARLOW. I'm telling you, no.
MISS HARDCASTLE. I should be glad to know, sir. We have such a parcel of servants!
MISS HARDCASTLE. I’d love to know, sir. We have so many servants!
MARLOW. No, no, I tell you. (Looks full in her face.) Yes, child, I think I did call. I wanted—I wanted—I vow, child, you are vastly handsome.
MARLOW. No, no, I'm telling you. (Looks directly at her.) Yes, sweetheart, I think I did call. I wanted—I wanted—I swear, sweetheart, you’re incredibly beautiful.
MISS HARDCASTLE. O la, sir, you’ll make one ashamed.
MISS HARDCASTLE. Oh dear, sir, you’re going to make someone feel embarrassed.
MARLOW. Never saw a more sprightly malicious eye. Yes, yes, my dear, I did call. Have you got any of your—a—what d’ye call it in the house?
MARLOW. I've never seen a more lively, mischievous eye. Yes, yes, my dear, I did call. Do you have any of your—uh—what do you call it in the house?
MISS HARDCASTLE. No, sir, we have been out of that these ten days.
MISS HARDCASTLE. No, sir, we've been out of that for ten days.
MARLOW. One may call in this house, I find, to very little purpose. Suppose I should call for a taste, just by way of a trial, of the nectar of your lips; perhaps I might be disappointed in that too.
MARLOW. I’ve realized that visiting this house doesn’t really serve much purpose. What if I were to ask for just a little taste, as a test, of your lips’ sweetness? I might end up being disappointed by that as well.
MISS HARDCASTLE. Nectar! nectar! That’s a liquor there’s no call for in these parts. French, I suppose. We sell no French wines here, sir.
MISS HARDCASTLE. Nectar! Nectar! That’s a drink we don't need around here. French, I assume. We don't sell any French wines here, sir.
MARLOW. Of true English growth, I assure you.
MARLOW. I assure you, it's genuinely English.
MISS HARDCASTLE. Then it’s odd I should not know it. We brew all sorts of wines in this house, and I have lived here these eighteen years.
MISS HARDCASTLE. Then it’s strange that I don’t know about it. We make all kinds of wines in this house, and I’ve lived here for eighteen years.
MARLOW. Eighteen years! Why, one would think, child, you kept the bar before you were born. How old are you?
MARLOW. Eighteen years! You’d think, kid, you ran the bar before you were even born. How old are you?
MISS HARDCASTLE. O! sir, I must not tell my age. They say women and music should never be dated.
MISS HARDCASTLE. Oh! Sir, I can't reveal my age. They say women and music should never be labeled by a date.
MARLOW. To guess at this distance, you can’t be much above forty (approaching). Yet, nearer, I don’t think so much (approaching). By coming close to some women they look younger still; but when we come very close indeed—(attempting to kiss her).
MARLOW. From this distance, I'd say you're not much over forty (approaching). But up close, I’m not so sure (approaching). Sometimes, when you get closer to certain women, they look even younger; but when we get really close—(attempting to kiss her).
MISS HARDCASTLE. Pray, sir, keep your distance. One would think you wanted to know one’s age, as they do horses, by mark of mouth.
MISS HARDCASTLE. Please, sir, keep your distance. It seems like you want to know someone's age, just like they do with horses, by the way they look.
MARLOW. I protest, child, you use me extremely ill. If you keep me at this distance, how is it possible you and I can ever be acquainted?
MARLOW. I swear, kid, you treat me really badly. If you keep me at this distance, how can we ever get to know each other?
MISS HARDCASTLE. And who wants to be acquainted with you? I want no such acquaintance, not I. I’m sure you did not treat Miss Hardcastle, that was here awhile ago, in this obstropalous manner. I’ll warrant me, before her you looked dashed, and kept bowing to the ground, and talked, for all the world, as if you was before a justice of peace.
MISS HARDCASTLE. And who wants to get to know you? I don’t want any part of that. I’m sure you didn’t treat Miss Hardcastle, who was here a little while ago, in such a rude way. I bet you looked flustered in front of her, kept bowing down, and spoke as if you were in front of a judge.
MARLOW. (Aside.) Egad, she has hit it, sure enough! (To her.) In awe of her, child? Ha! ha! ha! A mere awkward squinting thing; no, no. I find you don’t know me. I laughed and rallied her a little; but I was unwilling to be too severe. No, I could not be too severe, curse me!
MARLOW. (Aside.) Wow, she’s got it right! (To her.) Are you intimidated by her, kid? Ha! ha! ha! Just an awkward little thing; no, no. I see you don’t really know me. I teased her a bit, but I didn’t want to be too harsh. No, I could never be too harsh, damn it!
MISS HARDCASTLE. O! then, sir, you are a favourite, I find, among the ladies?
MISS HARDCASTLE. Oh! So, sir, I see you’re a favorite among the ladies?
MARLOW. Yes, my dear, a great favourite. And yet hang me, I don’t see what they find in me to follow. At the Ladies’ Club in town I’m called their agreeable Rattle. Rattle, child, is not my real name, but one I’m known by. My name is Solomons; Mr. Solomons, my dear, at your service. (Offering to salute her.)
MARLOW. Yes, my dear, I'm quite popular. But honestly, I don't get what they see in me that makes them want to follow. At the Ladies’ Club in town, they call me their charming Rattle. Rattle isn’t my actual name, just a nickname I go by. My name is Solomons; Mr. Solomons, my dear, at your service. (Offering to salute her.)
MISS HARDCASTLE. Hold, sir; you are introducing me to your club, not to yourself. And you’re so great a favourite there, you say?
MISS HARDCASTLE. Wait a second, sir; you’re introducing me to your club, not to you. And you’re such a favorite there, you say?
MARLOW. Yes, my dear. There’s Mrs. Mantrap, Lady Betty Blackleg, the Countess of Sligo, Mrs. Langhorns, old Miss Biddy Buckskin, and your humble servant, keep up the spirit of the place.
MARLOW. Yes, my dear. There’s Mrs. Mantrap, Lady Betty Blackleg, the Countess of Sligo, Mrs. Langhorns, old Miss Biddy Buckskin, and me, keeping the spirit of the place alive.
MISS HARDCASTLE. Then it’s a very merry place, I suppose?
MISS HARDCASTLE. So, it's a really fun place, I guess?
MARLOW. Yes, as merry as cards, supper, wine, and old women can make us.
MARLOW. Yeah, as cheerful as cards, dinner, wine, and old ladies can make us.
MISS HARDCASTLE. And their agreeable Rattle, ha! ha! ha!
MISS HARDCASTLE. And their charming Rattle, ha! ha! ha!
MARLOW. (Aside.) Egad! I don’t quite like this chit. She looks knowing, methinks. You laugh, child?
MARLOW. (Aside.) Wow! I’m not sure about this girl. She seems pretty sharp, I think. You’re laughing, kid?
MISS HARDCASTLE. I can’t but laugh, to think what time they all have for minding their work or their family.
MISS HARDCASTLE. I can’t help but laugh, thinking about how much time they all have to take care of their work or their family.
MARLOW. (Aside.) All’s well; she don’t laugh at me. (To her.) Do you ever work, child?
MARLOW. (Aside.) All's good; she doesn't laugh at me. (To her.) Do you ever work, kid?
MISS HARDCASTLE. Ay, sure. There’s not a screen or quilt in the whole house but what can bear witness to that.
MISS HARDCASTLE. Yes, that's true. Every screen or quilt in this house can attest to that.
MARLOW. Odso! then you must show me your embroidery. I embroider and draw patterns myself a little. If you want a judge of your work, you must apply to me. (Seizing her hand.)
MARLOW. Oh! Then you have to show me your embroidery. I do a bit of embroidery and pattern drawing myself. If you want someone to judge your work, I’m your person. (Seizing her hand.)
MISS HARDCASTLE. Ay, but the colours do not look well by candlelight. You shall see all in the morning. (Struggling.)
MISS HARDCASTLE. Yeah, but the colors don’t look good in candlelight. You’ll see everything in the morning. (Struggling.)
MARLOW. And why not now, my angel? Such beauty fires beyond the power of resistance.—Pshaw! the father here! My old luck: I never nicked seven that I did not throw ames ace three times following. [Exit MARLOW.]
MARLOW. And why not now, my angel? Such beauty sparks a desire that's hard to resist.—Ugh! The father is here! Just my luck: I never rolled a seven without ending up with snake eyes three times in a row. [Exit MARLOW.]
Enter HARDCASTLE, who stands in surprise.
Enter HARDCASTLE, looking surprised.
HARDCASTLE. So, madam. So, I find THIS is your MODEST lover. This is your humble admirer, that kept his eyes fixed on the ground, and only adored at humble distance. Kate, Kate, art thou not ashamed to deceive your father so?
HARDCASTLE. So, madam. So, I see THIS is your MODEST lover. This is your humble admirer, who kept his eyes glued to the ground and only admired from a distance. Kate, Kate, are you not ashamed to trick your father like this?
MISS HARDCASTLE. Never trust me, dear papa, but he’s still the modest man I first took him for; you’ll be convinced of it as well as I.
MISS HARDCASTLE. Don’t believe me, dear dad, but he’s still the humble guy I thought he was; you’ll see it just like I do.
HARDCASTLE. By the hand of my body, I believe his impudence is infectious! Didn’t I see him seize your hand? Didn’t I see him haul you about like a milkmaid? And now you talk of his respect and his modesty, forsooth!
HARDCASTLE. I swear, his boldness is contagious! Didn't I see him grab your hand? Didn't I see him drag you around like a milkmaid? And now you’re talking about his respect and modesty, really!
MISS HARDCASTLE. But if I shortly convince you of his modesty, that he has only the faults that will pass off with time, and the virtues that will improve with age, I hope you’ll forgive him.
MISS HARDCASTLE. But if I can quickly show you his humility, that he only has flaws that will fade with time, and qualities that will get better as he grows older, I hope you’ll forgive him.
HARDCASTLE. The girl would actually make one run mad! I tell you, I’ll not be convinced. I am convinced. He has scarce been three hours in the house, and he has already encroached on all my prerogatives. You may like his impudence, and call it modesty; but my son-in-law, madam, must have very different qualifications.
HARDCASTLE. That girl could seriously drive someone crazy! I’m telling you, I won’t be convinced. I’m already convinced. He’s barely been in the house for three hours, and he’s already stepped on all my rights. You might find his boldness charming and call it modesty, but my son-in-law, ma’am, needs to have very different qualities.
MISS HARDCASTLE. Sir, I ask but this night to convince you.
MISS HARDCASTLE. Sir, I just need tonight to persuade you.
HARDCASTLE. You shall not have half the time, for I have thoughts of turning him out this very hour.
HARDCASTLE. You won't have half the time, because I'm considering kicking him out this very hour.
MISS HARDCASTLE. Give me that hour then, and I hope to satisfy you.
MISS HARDCASTLE. Give me that hour, and I hope to meet your expectations.
HARDCASTLE. Well, an hour let it be then. But I’ll have no trifling with your father. All fair and open, do you mind me.
HARDCASTLE. Alright, let's say an hour then. But I won’t tolerate any nonsense with your father. It should all be fair and straightforward, understand?
MISS HARDCASTLE. I hope, sir, you have ever found that I considered your commands as my pride; for your kindness is such, that my duty as yet has been inclination. [Exeunt.]
MISS HARDCASTLE. I hope, sir, you’ve always seen that I take pride in following your orders; your kindness is so great that my duty has so far felt like a pleasure. [Exeunt.]
ACT THE FOURTH.
Enter HASTINGS and MISS NEVILLE.
Enter HASTINGS and Miss Neville.
HASTINGS. You surprise me; Sir Charles Marlow expected here this night! Where have you had your information?
HASTINGS. You surprise me; Sir Charles Marlow is supposed to be here tonight! Where did you hear that?
MISS NEVILLE. You may depend upon it. I just saw his letter to Mr. Hardcastle, in which he tells him he intends setting out a few hours after his son.
MISS NEVILLE. You can count on it. I just saw his letter to Mr. Hardcastle, where he says he plans to leave a few hours after his son.
HASTINGS. Then, my Constance, all must be completed before he arrives. He knows me; and should he find me here, would discover my name, and perhaps my designs, to the rest of the family.
HASTINGS. Then, my Constance, everything must be finished before he gets here. He knows me; and if he finds me here, he would learn my name and maybe my plans for the rest of the family.
MISS NEVILLE. The jewels, I hope, are safe?
MISS NEVILLE. I hope the jewelry is safe?
HASTINGS. Yes, yes, I have sent them to Marlow, who keeps the keys of our baggage. In the mean time, I’ll go to prepare matters for our elopement. I have had the ’squire’s promise of a fresh pair of horses; and if I should not see him again, will write him further directions. [Exit.]
HASTINGS. Yeah, I've sent them to Marlow, who has the keys to our luggage. In the meantime, I’ll go get everything ready for our escape. I've got the squire's promise of a fresh pair of horses; and if I don't see him again, I'll write him more instructions. [Exit.]
MISS NEVILLE. Well! success attend you. In the mean time I’ll go and amuse my aunt with the old pretence of a violent passion for my cousin. [Exit.]
MISS NEVILLE. Well! I wish you success. In the meantime, I'll go entertain my aunt with the same old act of being madly in love with my cousin. [Exit.]
Enter MARLOW, followed by a Servant.
Enter MARLOW, followed by a Servant.
MARLOW. I wonder what Hastings could mean by sending me so valuable a thing as a casket to keep for him, when he knows the only place I have is the seat of a post-coach at an inn-door. Have you deposited the casket with the landlady, as I ordered you? Have you put it into her own hands?
MARLOW. I can't understand why Hastings would ask me to keep such a valuable item as a casket when he knows my only option is the seat of a post-coach at an inn door. Did you give the casket to the landlady like I asked? Did you hand it to her directly?
SERVANT. Yes, your honour.
SERVANT. Yes, your honor.
MARLOW. She said she’d keep it safe, did she?
MARLOW. She said she’d take care of it, right?
SERVANT. Yes, she said she’d keep it safe enough; she asked me how I came by it; and she said she had a great mind to make me give an account of myself. [Exit Servant.]
SERVANT. Yeah, she said she’d keep it safe; she asked me where I got it, and she mentioned she really wanted me to explain myself. [Exit Servant.]
MARLOW. Ha! ha! ha! They’re safe, however. What an unaccountable set of beings have we got amongst! This little bar-maid though runs in my head most strangely, and drives out the absurdities of all the rest of the family. She’s mine, she must be mine, or I’m greatly mistaken.
MARLOW. Ha! ha! ha! They’re safe, though. What an inexplicable group of people we have here! This little barmaid keeps popping into my mind in a really odd way, and she pushes aside all the ridiculousness of the rest of the family. She’s mine; she has to be mine, or I’m completely wrong.
Enter HASTINGS.
Enter Hastings.
HASTINGS. Bless me! I quite forgot to tell her that I intended to prepare at the bottom of the garden. Marlow here, and in spirits too!
HASTINGS. Wow! I totally forgot to mention that I planned to set up at the back of the garden. Marlow is here, and he seems in good spirits too!
MARLOW. Give me joy, George! Crown me, shadow me with laurels! Well, George, after all, we modest fellows don’t want for success among the women.
MARLOW. Give me a cheer, George! Crown me, cover me with laurels! Well, George, after all, we humble guys don’t struggle to find success with the ladies.
HASTINGS. Some women, you mean. But what success has your honour’s modesty been crowned with now, that it grows so insolent upon us?
HASTINGS. Some women, you mean. But what success has your honor’s modesty achieved now that it’s becoming so arrogant towards us?
MARLOW. Didn’t you see the tempting, brisk, lovely little thing, that runs about the house with a bunch of keys to its girdle?
MARLOW. Didn’t you see the charming, lively little thing that runs around the house with a bunch of keys attached to her waist?
HASTINGS. Well, and what then?
HASTINGS. So, what now?
MARLOW. She’s mine, you rogue you. Such fire, such motion, such eyes, such lips; but, egad! she would not let me kiss them though.
MARLOW. She's mine, you scoundrel. Such passion, such energy, such eyes, such lips; but, by golly! she wouldn’t let me kiss them though.
HASTINGS. But are you so sure, so very sure of her?
HASTINGS. But are you really that sure about her?
MARLOW. Why, man, she talked of showing me her work above stairs, and I am to improve the pattern.
MARLOW. Well, she mentioned that she would show me her work upstairs, and I'm supposed to help improve the design.
HASTINGS. But how can you, Charles, go about to rob a woman of her honour?
HASTINGS. But how can you, Charles, go about taking a woman's honor?
MARLOW. Pshaw! pshaw! We all know the honour of the bar-maid of an inn. I don’t intend to rob her, take my word for it; there’s nothing in this house I shan’t honestly pay for.
MARLOW. Oh, come on! We all know the reputation of the barmaid at an inn. I don't plan to steal from her, believe me; I'll pay for everything in this place honestly.
HASTINGS. I believe the girl has virtue.
HASTINGS. I think the girl is virtuous.
MARLOW. And if she has, I should be the last man in the world that would attempt to corrupt it.
MARLOW. And if she has, I would be the last person on earth to try to ruin it.
HASTINGS. You have taken care, I hope, of the casket I sent you to lock up? Is it in safety?
HASTINGS. I hope you've taken care of the casket I sent you to lock up? Is it safe?
MARLOW. Yes, yes. It’s safe enough. I have taken care of it. But how could you think the seat of a post-coach at an inn-door a place of safety? Ah! numskull! I have taken better precautions for you than you did for yourself——I have——
MARLOW. Yeah, yeah. It’s totally safe. I’ve got it covered. But how could you think a spot on a post-coach at an inn door is a safe place? Oh! You fool! I’ve taken better precautions for you than you did for yourself—I have—
HASTINGS. What?
HASTINGS. What’s up?
MARLOW. I have sent it to the landlady to keep for you.
MARLOW. I’ve given it to the landlady to hold onto for you.
HASTINGS. To the landlady!
HASTINGS. To the landlord!
MARLOW. The landlady.
Marlow. The property manager.
HASTINGS. You did?
HASTINGS. Really?
MARLOW. I did. She’s to be answerable for its forthcoming, you know.
MARLOW. I did. She’s responsible for its release, you know.
HASTINGS. Yes, she’ll bring it forth with a witness.
HASTINGS. Yeah, she'll present it with a witness.
MARLOW. Wasn’t I right? I believe you’ll allow that I acted prudently upon this occasion.
MARLOW. Wasn’t I right? I think you’ll agree that I handled this situation wisely.
HASTINGS. (Aside.) He must not see my uneasiness.
HASTINGS. (To himself.) He can’t notice how anxious I am.
MARLOW. You seem a little disconcerted though, methinks. Sure nothing has happened?
MARLOW. You seem a bit uneasy, though. Are you sure nothing's wrong?
HASTINGS. No, nothing. Never was in better spirits in all my life. And so you left it with the landlady, who, no doubt, very readily undertook the charge.
HASTINGS. No, nothing. I've never been in better spirits in my life. And so you left it with the landlady, who, no doubt, gladly took on the responsibility.
MARLOW. Rather too readily. For she not only kept the casket, but, through her great precaution, was going to keep the messenger too. Ha! ha! ha!
MARLOW. A bit too easily. Because she didn't just keep the box, but, being so careful, she was also planning to keep the messenger. Ha! ha! ha!
HASTINGS. He! he! he! They’re safe, however.
HASTINGS. Ha! Ha! Ha! They’re safe, though.
MARLOW. As a guinea in a miser’s purse.
MARLOW. Like a guinea in a miser’s wallet.
HASTINGS. (Aside.) So now all hopes of fortune are at an end, and we must set off without it. (To him.) Well, Charles, I’ll leave you to your meditations on the pretty bar-maid, and, he! he! he! may you be as successful for yourself, as you have been for me! [Exit.]
HASTINGS. (Aside.) So now all hopes of good luck are gone, and we have to leave without any. (To him.) Well, Charles, I’ll let you think about the pretty barmaid, and, ha! ha! ha! I hope you have as much success for yourself as you’ve had for me! [Exit.]
MARLOW. Thank ye, George: I ask no more. Ha! ha! ha!
MARLOW. Thanks, George: I don't need anything more. Ha! ha! ha!
Enter HARDCASTLE.
Enter HARDCASTLE.
HARDCASTLE. I no longer know my own house. It’s turned all topsy-turvy. His servants have got drunk already. I’ll bear it no longer; and yet, from my respect for his father, I’ll be calm. (To him.) Mr. Marlow, your servant. I’m your very humble servant. (Bowing low.)
HARDCASTLE. I no longer recognize my own home. It’s all messed up. His servants are already drunk. I can't take it anymore; but out of respect for his father, I'll stay calm. (To him.) Mr. Marlow, your servant. I'm at your service. (Bowing low.)
MARLOW. Sir, your humble servant. (Aside.) What’s to be the wonder now?
MARLOW. Sir, I'm your humble servant. (Aside.) What's the surprise now?
HARDCASTLE. I believe, sir, you must be sensible, sir, that no man alive ought to be more welcome than your father’s son, sir. I hope you think so?
HARDCASTLE. I believe, sir, you must realize that no one should be more welcome than your father's son. I hope you agree?
MARLOW. I do from my soul, sir. I don’t want much entreaty. I generally make my father’s son welcome wherever he goes.
MARLOW. I truly do, sir. I don’t need much convincing. I usually welcome my father’s son wherever he goes.
HARDCASTLE. I believe you do, from my soul, sir. But though I say nothing to your own conduct, that of your servants is insufferable. Their manner of drinking is setting a very bad example in this house, I assure you.
HARDCASTLE. I genuinely believe you do, sir. But even though I don't say anything about your behavior, the way your servants act is unbearable. Their drinking habits are setting a terrible example in this house, I assure you.
MARLOW. I protest, my very good sir, that is no fault of mine. If they don’t drink as they ought, they are to blame. I ordered them not to spare the cellar. I did, I assure you. (To the side scene.) Here, let one of my servants come up. (To him.) My positive directions were, that as I did not drink myself, they should make up for my deficiencies below.
MARLOW. I swear, my good sir, that’s not my fault. If they’re not drinking like they should, that’s on them. I told them not to hold back in the cellar. I really did. (To the side scene.) Here, let one of my servants come up. (To him.) I was very clear that since I’m not drinking, they should make up for my lack down there.
HARDCASTLE. Then they had your orders for what they do? I’m satisfied!
HARDCASTLE. So they had your instructions for what they should do? I’m good with that!
MARLOW. They had, I assure you. You shall hear from one of themselves.
MARLOW. I promise you, they did. You’ll hear it from one of them.
Enter Servant, drunk.
Enter Servant, intoxicated.
MARLOW. You, Jeremy! Come forward, sirrah! What were my orders? Were you not told to drink freely, and call for what you thought fit, for the good of the house?
MARLOW. You, Jeremy! Step up, man! What were my instructions? Weren't you told to drink freely and order whatever you thought was best for the house?
HARDCASTLE. (Aside.) I begin to lose my patience.
HARDCASTLE. (Aside.) I'm starting to lose my patience.
JEREMY. Please your honour, liberty and Fleet-street for ever! Though I’m but a servant, I’m as good as another man. I’ll drink for no man before supper, sir, damme! Good liquor will sit upon a good supper, but a good supper will not sit upon——hiccup——on my conscience, sir.
JEREMY. Your honor, long live freedom and Fleet Street! Even though I'm just a servant, I'm just as good as anyone else. I won’t drink for anyone before dinner, sir, I swear! Good drinks go well with a good dinner, but a good dinner won’t sit well on—hiccup—on my conscience, sir.
MARLOW. You see, my old friend, the fellow is as drunk as he can possibly be. I don’t know what you’d have more, unless you’d have the poor devil soused in a beer-barrel.
MARLOW. You see, my old friend, this guy is as drunk as can be. I don’t know what more you’d want, unless you’d prefer to have the poor guy soaking in a beer barrel.
HARDCASTLE. Zounds! he’ll drive me distracted, if I contain myself any longer. Mr. Marlow—Sir; I have submitted to your insolence for more than four hours, and I see no likelihood of its coming to an end. I’m now resolved to be master here, sir; and I desire that you and your drunken pack may leave my house directly.
HARDCASTLE. Damn it! He’s driving me crazy if I put up with this any longer. Mr. Marlow—Sir; I’ve tolerated your rudeness for more than four hours, and I don’t see it ending anytime soon. I’m now determined to take charge here, and I ask that you and your drunken crew leave my house immediately.
MARLOW. Leave your house!——Sure you jest, my good friend! What? when I’m doing what I can to please you.
MARLOW. Leave your house!—You must be joking, my good friend! What? When I’m doing my best to make you happy.
HARDCASTLE. I tell you, sir, you don’t please me; so I desire you’ll leave my house.
HARDCASTLE. I’m telling you, sir, you’re not making me happy; so I’d like you to leave my house.
MARLOW. Sure you cannot be serious? At this time o’ night, and such a night? You only mean to banter me.
MARLOW. You can't be serious, can you? At this time of night, on a night like this? You're just trying to mess with me.
HARDCASTLE. I tell you, sir, I’m serious! and now that my passions are roused, I say this house is mine, sir; this house is mine, and I command you to leave it directly.
HARDCASTLE. I’m serious, sir! Now that I’m fired up, I’m saying this house belongs to me; this house is mine, and I order you to leave it right now.
MARLOW. Ha! ha! ha! A puddle in a storm. I shan’t stir a step, I assure you. (In a serious tone.) This your house, fellow! It’s my house. This is my house. Mine, while I choose to stay. What right have you to bid me leave this house, sir? I never met with such impudence, curse me; never in my whole life before.
MARLOW. Ha! ha! ha! A puddle in a storm. I won’t move an inch, I promise you. (In a serious tone.) Is this your house, friend? It’s my house. This is my house. Mine, as long as I choose to stay. What right do you have to tell me to leave this house, sir? I’ve never encountered such arrogance, I swear; never in my entire life before.
HARDCASTLE. Nor I, confound me if ever I did. To come to my house, to call for what he likes, to turn me out of my own chair, to insult the family, to order his servants to get drunk, and then to tell me, “This house is mine, sir.” By all that’s impudent, it makes me laugh. Ha! ha! ha! Pray, sir (bantering), as you take the house, what think you of taking the rest of the furniture? There’s a pair of silver candlesticks, and there’s a fire-screen, and here’s a pair of brazen-nosed bellows; perhaps you may take a fancy to them?
HARDCASTLE. Not me, I swear I never have. To come to my house, take whatever he wants, kick me out of my own chair, disrespect my family, and make his servants get drunk, then tell me, “This house is mine, sir.” Honestly, it’s so bold it makes me laugh. Ha! ha! ha! Tell me, sir (jokingly), since you’re taking the house, how about taking the rest of the furniture too? There are a pair of silver candlesticks, a fire screen, and a pair of brass bellows; maybe you'd like those as well?
MARLOW. Bring me your bill, sir; bring me your bill, and let’s make no more words about it.
MARLOW. Hand me your bill, sir; hand me your bill, and let’s not waste any more time discussing it.
HARDCASTLE. There are a set of prints, too. What think you of the Rake’s Progress, for your own apartment?
HARDCASTLE. There are also some prints. What do you think of the Rake's Progress for your room?
MARLOW. Bring me your bill, I say; and I’ll leave you and your infernal house directly.
MARLOW. Bring me your bill, I said; and I’ll leave you and your hellish place right away.
HARDCASTLE. Then there’s a mahogany table that you may see your own face in.
HARDCASTLE. Then there’s a mahogany table where you can see your own reflection.
MARLOW. My bill, I say.
MARLOW. My check, I say.
HARDCASTLE. I had forgot the great chair for your own particular slumbers, after a hearty meal.
HARDCASTLE. I had forgotten the big chair for your own personal naps after a good meal.
MARLOW. Zounds! bring me my bill, I say, and let’s hear no more on’t.
MARLOW. Damn it! Bring me my bill, I say, and let’s not talk about it anymore.
HARDCASTLE. Young man, young man, from your father’s letter to me, I was taught to expect a well-bred modest man as a visitor here, but now I find him no better than a coxcomb and a bully; but he will be down here presently, and shall hear more of it. [Exit.]
HARDCASTLE. Young man, young man, from your father’s letter to me, I was expecting a well-mannered, modest person as a visitor here, but now I find him no better than a conceited fool and a bully; but he will be here soon, and he’ll hear more about it. [Exit.]
MARLOW. How’s this? Sure I have not mistaken the house. Everything looks like an inn. The servants cry, coming; the attendance is awkward; the bar-maid, too, to attend us. But she’s here, and will further inform me. Whither so fast, child? A word with you.
MARLOW. Is this right? I can’t believe I’ve got the wrong house. Everything seems like an inn. The staff is shouting, coming; the service is clumsy; even the barmaid is here to help us. But she’s here, and she can tell me more. Where are you rushing off to, kid? I need to talk to you.
Enter MISS HARDCASTLE.
Enter Miss Hardcastle.
MISS HARDCASTLE. Let it be short, then. I’m in a hurry. (Aside.) I believe he begins to find out his mistake. But it’s too soon quite to undeceive him.
MISS HARDCASTLE. Make it quick, then. I’m in a rush. (Aside.) I think he’s starting to realize his mistake. But it’s too early to completely set him straight.
MARLOW. Pray, child, answer me one question. What are you, and what may your business in this house be?
MARLOW. Please, kid, just answer me one question. Who are you, and what are you doing in this house?
MISS HARDCASTLE. A relation of the family, sir.
MISS HARDCASTLE. A relative of the family, sir.
MARLOW. What, a poor relation.
MARLOW. What, an unfortunate relative.
MISS HARDCASTLE. Yes, sir. A poor relation, appointed to keep the keys, and to see that the guests want nothing in my power to give them.
MISS HARDCASTLE. Yes, sir. A distant relative, assigned to hold the keys and to make sure the guests have everything they need that I can provide.
MARLOW. That is, you act as the bar-maid of this inn.
MARLOW. So, you're the barmaid at this inn.
MISS HARDCASTLE. Inn! O law——what brought that in your head? One of the best families in the country keep an inn—Ha! ha! ha! old Mr. Hardcastle’s house an inn!
MISS HARDCASTLE. Wow! What made you think of that? One of the best families in the country runs an inn—Ha! ha! ha! Old Mr. Hardcastle’s house an inn!
MARLOW. Mr. Hardcastle’s house! Is this Mr. Hardcastle’s house, child?
MARLOW. Is this Mr. Hardcastle’s house, kid?
MISS HARDCASTLE. Ay, sure! Whose else should it be?
MISS HARDCASTLE. Yeah, of course! Whose else would it be?
MARLOW. So then, all’s out, and I have been damnably imposed on. O, confound my stupid head, I shall be laughed at over the whole town. I shall be stuck up in caricatura in all the print-shops. The DULLISSIMO MACCARONI. To mistake this house of all others for an inn, and my father’s old friend for an innkeeper! What a swaggering puppy must he take me for! What a silly puppy do I find myself! There again, may I be hanged, my dear, but I mistook you for the bar-maid.
MARLOW: Well, it's all out in the open now, and I've really been played for a fool. Ugh, I can't believe my dumb luck; everyone in town is going to laugh at me. I’ll be caricatured in all the print shops as "The Dullest Macaroni." To mistake this house for an inn and my father’s old friend for an innkeeper! He must think I'm some arrogant fool! What a ridiculous fool I feel like! Honestly, I must admit, I thought you were the barmaid.
MISS HARDCASTLE. Dear me! dear me! I’m sure there’s nothing in my BEHAVIOUR to put me on a level with one of that stamp.
MISS HARDCASTLE. Oh my goodness! I’m sure there’s nothing in my behavior that would put me on the same level as someone like that.
MARLOW. Nothing, my dear, nothing. But I was in for a list of blunders, and could not help making you a subscriber. My stupidity saw everything the wrong way. I mistook your assiduity for assurance, and your simplicity for allurement. But it’s over. This house I no more show MY face in.
MARLOW. Nothing, my dear, nothing. But I got myself into a series of mistakes and couldn't help but make you a subscriber. My foolishness made me see everything the wrong way. I took your hard work for confidence, and your straightforwardness for seduction. But it’s done. I won’t be showing MY face in this place again.
MISS HARDCASTLE. I hope, sir, I have done nothing to disoblige you. I’m sure I should be sorry to affront any gentleman who has been so polite, and said so many civil things to me. I’m sure I should be sorry (pretending to cry) if he left the family upon my account. I’m sure I should be sorry if people said anything amiss, since I have no fortune but my character.
MISS HARDCASTLE. I hope, sir, I haven't done anything to upset you. I’d really feel bad if I offended any gentleman who has been so kind and said so many nice things to me. I’d definitely feel bad (pretending to cry) if you left the family because of me. I’d truly be sorry if people said anything negative, since I have nothing but my reputation.
MARLOW. (Aside.) By Heaven! she weeps. This is the first mark of tenderness I ever had from a modest woman, and it touches me. (To her.) Excuse me, my lovely girl; you are the only part of the family I leave with reluctance. But to be plain with you, the difference of our birth, fortune, and education, makes an honourable connexion impossible; and I can never harbour a thought of seducing simplicity that trusted in my honour, of bringing ruin upon one whose only fault was being too lovely.
MARLOW. (Aside.) Oh my God! She's crying. This is the first sign of affection I've ever received from a modest woman, and it really hits me. (To her.) I apologize, my beautiful girl; you’re the only part of the family I’m leaving behind with regret. But to be honest with you, the differences in our backgrounds, wealth, and education make a respectable relationship impossible; and I could never think about taking advantage of someone innocent who believed in my honor, bringing ruin to someone whose only flaw is being too beautiful.
MISS HARDCASTLE. (Aside.) Generous man! I now begin to admire him. (To him.) But I am sure my family is as good as Miss Hardcastle’s; and though I’m poor, that’s no great misfortune to a contented mind; and, until this moment, I never thought that it was bad to want fortune.
MISS HARDCASTLE. (Aside.) What a generous guy! I'm starting to really admire him. (To him.) But I know my family is just as good as Miss Hardcastle’s; and even though I’m poor, that’s not really a big deal to someone who's content; and until now, I never thought it was wrong to desire wealth.
MARLOW. And why now, my pretty simplicity?
MARLOW. And why now, my sweet simplicity?
MISS HARDCASTLE. Because it puts me at a distance from one that, if I had a thousand pounds, I would give it all to.
MISS HARDCASTLE. Because it keeps me away from someone that, if I had a thousand pounds, I would give it all to.
MARLOW. (Aside.) This simplicity bewitches me, so that if I stay, I’m undone. I must make one bold effort, and leave her. (To her.) Your partiality in my favour, my dear, touches me most sensibly: and were I to live for myself alone, I could easily fix my choice. But I owe too much to the opinion of the world, too much to the authority of a father; so that—I can scarcely speak it—it affects me. Farewell. [Exit.]
MARLOW. (Aside.) This simplicity captivates me, and if I stick around, I’m in trouble. I have to make one bold move and leave her. (To her.) Your affection for me, my dear, really touches me: if I were to live just for myself, I could easily make my choice. But I care too much about what the world thinks, and about my father's authority; it really weighs on me. Goodbye. [Exit.]
MISS HARDCASTLE. I never knew half his merit till now. He shall not go, if I have power or art to detain him. I’ll still preserve the character in which I STOOPED TO CONQUER; but will undeceive my papa, who perhaps may laugh him out of his resolution. [Exit.]
MISS HARDCASTLE. I never realized half of his worth until now. He’s not going anywhere, as long as I have the ability or means to keep him here. I’ll still maintain the persona I adopted to win him over; but I will make sure to set my dad straight, who might just laugh him out of his decision. [Exit.]
Enter Tony and MISS NEVILLE.
Enter Tony and Miss Neville.
TONY. Ay, you may steal for yourselves the next time. I have done my duty. She has got the jewels again, that’s a sure thing; but she believes it was all a mistake of the servants.
TONY. Yeah, you can take what you want next time. I've done my part. She's got the jewels back, that's for sure; but she thinks it was all just a mistake by the staff.
MISS NEVILLE. But, my dear cousin, sure you won’t forsake us in this distress? If she in the least suspects that I am going off, I shall certainly be locked up, or sent to my aunt Pedigree’s, which is ten times worse.
MISS NEVILLE. But, my dear cousin, you won't leave us in this tough situation, will you? If she even thinks for a second that I'm leaving, I'll definitely be locked away or sent to my aunt Pedigree's, which is way worse.
TONY. To be sure, aunts of all kinds are damned bad things. But what can I do? I have got you a pair of horses that will fly like Whistle-jacket; and I’m sure you can’t say but I have courted you nicely before her face. Here she comes, we must court a bit or two more, for fear she should suspect us. [They retire, and seem to fondle.]
TONY. For sure, aunts of all kinds are really annoying. But what can I do? I’ve got you a pair of horses that will fly like Whistle-jacket; and I’m sure you can’t deny that I’ve been sweet on you right in front of her. Here she comes, we need to flirt a little more so she doesn’t get suspicious. [They step back and seem to cuddle.]
Enter MRS. HARDCASTLE.
Enter Mrs. Hardcastle.
MRS. HARDCASTLE. Well, I was greatly fluttered, to be sure. But my son tells me it was all a mistake of the servants. I shan’t be easy, however, till they are fairly married, and then let her keep her own fortune. But what do I see? fondling together, as I’m alive. I never saw Tony so sprightly before. Ah! have I caught you, my pretty doves? What, billing, exchanging stolen glances and broken murmurs? Ah!
MRS. HARDCASTLE. Well, I was really flustered, for sure. But my son tells me it was all a mix-up with the servants. I won’t be at ease, though, until they’re officially married, and then let her keep her own fortune. But what do I see? Snuggling together, unbelievable! I’ve never seen Tony this lively before. Ah! Gotcha, my lovely doves! What’s this, whispering, exchanging secret looks and hushed words? Ah!
TONY. As for murmurs, mother, we grumble a little now and then, to be sure. But there’s no love lost between us.
TONY. About the complaints, Mom, we do grumble a bit now and then, that's for sure. But there's no bad blood between us.
MRS. HARDCASTLE. A mere sprinkling, Tony, upon the flame, only to make it burn brighter.
MRS. HARDCASTLE. Just a little on the fire, Tony, to make it burn even brighter.
MISS NEVILLE. Cousin Tony promises to give us more of his company at home. Indeed, he shan’t leave us any more. It won’t leave us, cousin Tony, will it?
MISS NEVILLE. Cousin Tony promises to spend more time with us at home. He definitely won't be leaving us again. Right, cousin Tony?
TONY. O! it’s a pretty creature. No, I’d sooner leave my horse in a pound, than leave you when you smile upon one so. Your laugh makes you so becoming.
TONY. Oh! it’s such a beautiful creature. No, I’d rather leave my horse in a pound than leave you when you smile like that. Your laugh makes you so charming.
MISS NEVILLE. Agreeable cousin! Who can help admiring that natural humour, that pleasant, broad, red, thoughtless (patting his cheek)—ah! it’s a bold face.
MISS NEVILLE. Nice cousin! Who can resist admiring that natural humor, that cheerful, broad, red, carefree (patting his cheek)—ah! it’s such a bold face.
MRS. HARDCASTLE. Pretty innocence!
Mrs. Hardcastle. Sweet innocence!
TONY. I’m sure I always loved cousin Con.’s hazle eyes, and her pretty long fingers, that she twists this way and that over the haspicholls, like a parcel of bobbins.
TONY. I’m sure I always loved cousin Con’s hazel eyes and her pretty long fingers, which she twists this way and that over the haspicholls, like a bunch of bobbins.
MRS. HARDCASTLE. Ah! he would charm the bird from the tree. I was never so happy before. My boy takes after his father, poor Mr. Lumpkin, exactly. The jewels, my dear Con., shall be yours incontinently. You shall have them. Isn’t he a sweet boy, my dear? You shall be married to-morrow, and we’ll put off the rest of his education, like Dr. Drowsy’s sermons, to a fitter opportunity.
MRS. HARDCASTLE. Ah! He could charm a bird out of a tree. I've never been this happy before. My son is just like his father, the late Mr. Lumpkin. The jewels, my dear Con., will be yours right away. You will have them. Isn’t he a lovely boy, my dear? You will be married tomorrow, and we'll postpone the rest of his education, just like Dr. Drowsy’s sermons, for a better time.
Enter DIGGORY.
Enter Diggory.
DIGGORY. Where’s the ’squire? I have got a letter for your worship.
DIGGORY. Where’s the squire? I have a letter for you.
TONY. Give it to my mamma. She reads all my letters first.
TONY. Give it to my mom. She reads all my letters first.
DIGGORY. I had orders to deliver it into your own hands.
DIGGORY. I was told to hand it over to you personally.
TONY. Who does it come from?
TONY. Who's it from?
DIGGORY. Your worship mun ask that o’ the letter itself.
DIGGORY. You can ask about the letter itself, your honor.
TONY. I could wish to know though (turning the letter, and gazing on it).
TONY. I wish I knew though (turning the letter and looking at it).
MISS NEVILLE. (Aside.) Undone! undone! A letter to him from Hastings. I know the hand. If my aunt sees it, we are ruined for ever. I’ll keep her employed a little if I can. (To MRS. HARDCASTLE.) But I have not told you, madam, of my cousin’s smart answer just now to Mr. Marlow. We so laughed.—You must know, madam.—This way a little, for he must not hear us. [They confer.]
MISS NEVILLE. (Aside.) This is a disaster! A letter from Hastings to him. I recognize the handwriting. If my aunt sees it, we're done for. I'll try to keep her busy for a while if I can. (To MRS. HARDCASTLE.) But I haven't told you, ma'am, about my cousin's witty comeback to Mr. Marlow just now. We had such a laugh.—You should know, ma'am.—This way a little, because he can't hear us. [They confer.]
TONY. (Still gazing.) A damned cramp piece of penmanship, as ever I saw in my life. I can read your print hand very well. But here are such handles, and shanks, and dashes, that one can scarce tell the head from the tail.—“To Anthony Lumpkin, Esquire.” It’s very odd, I can read the outside of my letters, where my own name is, well enough; but when I come to open it, it’s all——buzz. That’s hard, very hard; for the inside of the letter is always the cream of the correspondence.
TONY. (Still staring.) This handwriting is the worst I've ever seen. I can read your block letters just fine. But this is full of strange loops, lines, and squiggles, making it almost impossible to tell the start from the finish. —“To Anthony Lumpkin, Esquire.” It’s strange, I can read the address on my letters perfectly; but when I actually open them, it’s all—buzz. That’s tough, really tough; because the inside of the letter usually has the best part of the message.
MRS. HARDCASTLE. Ha! ha! ha! Very well, very well. And so my son was too hard for the philosopher.
MRS. HARDCASTLE. Ha! ha! ha! Alright, alright. So my son was too much for the philosopher.
MISS NEVILLE. Yes, madam; but you must hear the rest, madam. A little more this way, or he may hear us. You’ll hear how he puzzled him again.
MISS NEVILLE. Yes, ma'am; but you need to hear the rest, ma'am. A little more this way, or he might hear us. You’ll find out how he confused him again.
MRS. HARDCASTLE. He seems strangely puzzled now himself, methinks.
MRS. HARDCASTLE. He seems really confused now, I think.
TONY. (Still gazing.) A damned up and down hand, as if it was disguised in liquor.—(Reading.) Dear Sir,—ay, that’s that. Then there’s an M, and a T, and an S, but whether the next be an izzard, or an R, confound me, I cannot tell.
TONY. (Still looking.) A messed-up hand, like it was dipped in booze.—(Reading.) Dear Sir,—yeah, that’s it. Then there’s an M, and a T, and an S, but whether the next one is a Z, or an R, damn it, I can’t tell.
MRS. HARDCASTLE. What’s that, my dear? Can I give you any assistance?
MRS. HARDCASTLE. What’s that, my dear? Can I help you with anything?
MISS NEVILLE. Pray, aunt, let me read it. Nobody reads a cramp hand better than I. (Twitching the letter from him.) Do you know who it is from?
MISS NEVILLE. Please, aunt, let me read it. Nobody can read messy handwriting better than I can. (Snatching the letter from him.) Do you know who it’s from?
TONY. Can’t tell, except from Dick Ginger, the feeder.
TONY. I can't say, other than from Dick Ginger, the one who feeds them.
MISS NEVILLE. Ay, so it is. (Pretending to read.) Dear ’Squire, hoping that you’re in health, as I am at this present. The gentlemen of the Shake-bag club has cut the gentlemen of Goose-green quite out of feather. The odds—um—odd battle—um—long fighting—um—here, here, it’s all about cocks and fighting; it’s of no consequence; here, put it up, put it up. (Thrusting the crumpled letter upon him.)
MISS NEVILLE. Yeah, that’s right. (Pretending to read.) Dear ’Squire, I hope you’re doing well, just like I am at the moment. The guys from the Shake-bag club have totally put the gentlemen of Goose-green in a tough spot. The odds—um—strange battle—um—long fight—um—here, here, it’s all about roosters and fights; it doesn’t matter; here, take it, take it. (Thrusting the crumpled letter at him.)
TONY. But I tell you, miss, it’s of all the consequence in the world. I would not lose the rest of it for a guinea. Here, mother, do you make it out. Of no consequence! (Giving MRS. HARDCASTLE the letter.)
TONY. But I’m telling you, miss, it matters more than anything. I wouldn't give up the rest of it for a guinea. Here, mother, can you make sense of this? Of no importance! (Handing MRS. HARDCASTLE the letter.)
MRS. HARDCASTLE. How’s this?—(Reads.) “Dear ’Squire, I’m now waiting for Miss Neville, with a post-chaise and pair, at the bottom of the garden, but I find my horses yet unable to perform the journey. I expect you’ll assist us with a pair of fresh horses, as you promised. Dispatch is necessary, as the HAG (ay, the hag), your mother, will otherwise suspect us! Yours, Hastings.” Grant me patience. I shall run distracted! My rage chokes me.
MRS. HARDCASTLE. What’s this?—(Reads.) “Dear Squire, I’m currently waiting for Miss Neville, with a carriage and a pair of horses, at the bottom of the garden, but I find that my horses are still unable to make the trip. I hope you’ll help us with a couple of fresh horses, as you promised. We need to hurry because your mother, the old witch, will otherwise start to suspect us! Yours, Hastings.” Give me strength. I'm going to lose my mind! My anger is suffocating me.
MISS NEVILLE. I hope, madam, you’ll suspend your resentment for a few moments, and not impute to me any impertinence, or sinister design, that belongs to another.
MISS NEVILLE. I hope, ma'am, you'll put your anger on hold for a moment and not think of me as rude or having any ulterior motives that belong to someone else.
MRS. HARDCASTLE. (Curtseying very low.) Fine spoken, madam, you are most miraculously polite and engaging, and quite the very pink of courtesy and circumspection, madam. (Changing her tone.) And you, you great ill-fashioned oaf, with scarce sense enough to keep your mouth shut: were you, too, joined against me? But I’ll defeat all your plots in a moment. As for you, madam, since you have got a pair of fresh horses ready, it would be cruel to disappoint them. So, if you please, instead of running away with your spark, prepare, this very moment, to run off with ME. Your old aunt Pedigree will keep you secure, I’ll warrant me. You too, sir, may mount your horse, and guard us upon the way. Here, Thomas, Roger, Diggory! I’ll show you, that I wish you better than you do yourselves. [Exit.]
MRS. HARDCASTLE. (Curtsying very low.) How eloquently you speak, madam; you are incredibly polite and charming, truly the model of courtesy and discretion. (Changing her tone.) And you, you clumsy oaf, who can barely keep your mouth shut: were you also plotting against me? But I’ll thwart all your schemes in no time. As for you, madam, since you've got a pair of fresh horses ready, it would be unfair to let them down. So, if you don’t mind, instead of running away with your admirer, get ready right now to run off with ME. Your old aunt Pedigree will keep you safe, I can assure you. And you, sir, can mount your horse and escort us on our way. Hey, Thomas, Roger, Diggory! I’ll show you that I care for you more than you care for yourselves. [Exit.]
MISS NEVILLE. So now I’m completely ruined.
MISS NEVILLE. So now I’m totally ruined.
TONY. Ay, that’s a sure thing.
TONY. Yeah, that's a for sure.
MISS NEVILLE. What better could be expected from being connected with such a stupid fool,—and after all the nods and signs I made him?
MISS NEVILLE. What more could I expect from being associated with such an idiot,—especially after all the hints and signals I gave him?
TONY. By the laws, miss, it was your own cleverness, and not my stupidity, that did your business. You were so nice and so busy with your Shake-bags and Goose-greens, that I thought you could never be making believe.
TONY. According to the rules, miss, it was your own cleverness, not my foolishness, that got you into trouble. You were so nice and so caught up with your Shake-bags and Goose-greens that I thought you couldn’t possibly be faking it.
Enter HASTINGS.
Enter Hastings.
HASTINGS. So, sir, I find by my servant, that you have shown my letter, and betrayed us. Was this well done, young gentleman?
HASTINGS. So, sir, I've learned from my servant that you showed my letter and betrayed us. Was that the right thing to do, young man?
TONY. Here’s another. Ask miss there, who betrayed you. Ecod, it was her doing, not mine.
TONY. Here’s another one. Ask her, the one who betrayed you. It was her fault, not mine.
Enter MARLOW.
Enter MARLOW.
MARLOW. So I have been finely used here among you. Rendered contemptible, driven into ill manners, despised, insulted, laughed at.
MARLOW. So I've been treated really poorly here among you. Made to feel worthless, pushed into bad behavior, looked down on, insulted, and laughed at.
TONY. Here’s another. We shall have old Bedlam broke loose presently.
TONY. Here’s another one. We’re about to have old Bedlam break loose soon.
MISS NEVILLE. And there, sir, is the gentleman to whom we all owe every obligation.
MISS NEVILLE. And there, sir, is the man to whom we all owe everything.
MARLOW. What can I say to him, a mere boy, an idiot, whose ignorance and age are a protection?
MARLOW. What am I supposed to say to him, just a kid, an idiot, whose lack of knowledge and youth shield him?
HASTINGS. A poor contemptible booby, that would but disgrace correction.
HASTINGS. A pathetic fool who would just bring shame to discipline.
MISS NEVILLE. Yet with cunning and malice enough to make himself merry with all our embarrassments.
MISS NEVILLE. Still, with enough cleverness and spite to find joy in all our troubles.
HASTINGS. An insensible cub.
HASTINGS. An unresponsive cub.
MARLOW. Replete with tricks and mischief.
MARLOW. Full of tricks and mischief.
TONY. Baw! damme, but I’ll fight you both, one after the other——with baskets.
TONY. Oh, come on, I’ll take you both on, one after the other—with baskets.
MARLOW. As for him, he’s below resentment. But your conduct, Mr. Hastings, requires an explanation. You knew of my mistakes, yet would not undeceive me.
MARLOW. As for him, he’s beyond resentment. But your behavior, Mr. Hastings, needs an explanation. You knew about my mistakes, yet you didn’t set me straight.
HASTINGS. Tortured as I am with my own disappointments, is this a time for explanations? It is not friendly, Mr. Marlow.
HASTINGS. I'm struggling with my own disappointments; is this really the time for explanations? It’s not very friendly, Mr. Marlow.
MARLOW. But, sir——
MARLOW. But, sir—
MISS NEVILLE. Mr. Marlow, we never kept on your mistake till it was too late to undeceive you.
MISS NEVILLE. Mr. Marlow, we never let your mistake go on until it was too late to correct you.
Enter Servant.
Enter Servant.
SERVANT. My mistress desires you’ll get ready immediately, madam. The horses are putting to. Your hat and things are in the next room. We are to go thirty miles before morning. [Exit Servant.]
SERVANT. My mistress wants you to get ready right away, madam. The horses are being harnessed. Your hat and things are in the next room. We need to travel thirty miles before morning. [Exit Servant.]
MISS NEVILLE. Well, well: I’ll come presently.
MISS NEVILLE. Alright, I’ll be there shortly.
MARLOW. (To HASTINGS.) Was it well done, sir, to assist in rendering me ridiculous? To hang me out for the scorn of all my acquaintance? Depend upon it, sir, I shall expect an explanation.
MARLOW. (To HASTINGS.) Was it a good idea, man, to make me look ridiculous? To put me on display for everyone I know to laugh at? You can count on it, I’ll be expecting an explanation.
HASTINGS. Was it well done, sir, if you’re upon that subject, to deliver what I entrusted to yourself, to the care of another sir?
HASTINGS. Was it really a good idea, sir, if we’re talking about that, to hand over what I entrusted to you to someone else, sir?
MISS NEVILLE. Mr. Hastings! Mr. Marlow! Why will you increase my distress by this groundless dispute? I implore, I entreat you——
MISS NEVILLE. Mr. Hastings! Mr. Marlow! Why do you have to make my distress worse with this unfounded argument? I'm begging you, I’m pleading with you——
Enter Servant.
Enter Helper.
SERVANT. Your cloak, madam. My mistress is impatient. [Exit Servant.]
SERVANT. Here’s your cloak, ma'am. My boss is getting impatient. [Exit Servant.]
MISS NEVILLE. I come. Pray be pacified. If I leave you thus, I shall die with apprehension.
MISS NEVILLE. I'm here. Please calm down. If I leave you like this, I'll be filled with worry.
Enter Servant.
Enter Assistant.
SERVANT. Your fan, muff, and gloves, madam. The horses are waiting.
SERVANT. Here are your fan, muff, and gloves, ma'am. The horses are ready.
MISS NEVILLE. O, Mr. Marlow! if you knew what a scene of constraint and ill-nature lies before me, I’m sure it would convert your resentment into pity.
MISS NEVILLE. Oh, Mr. Marlow! If you only knew what a situation of tension and bad vibes I’m facing, I’m sure it would turn your anger into sympathy.
MARLOW. I’m so distracted with a variety of passions, that I don’t know what I do. Forgive me, madam. George, forgive me. You know my hasty temper, and should not exasperate it.
MARLOW. I'm so overwhelmed with different feelings that I don't even know what I'm doing. Please forgive me, ma'am. George, please forgive me. You know how quick-tempered I can be, so you shouldn't provoke it.
HASTINGS. The torture of my situation is my only excuse.
HASTINGS. The pain of my situation is my only excuse.
MISS NEVILLE. Well, my dear Hastings, if you have that esteem for me that I think, that I am sure you have, your constancy for three years will but increase the happiness of our future connexion. If——
MISS NEVILLE. Well, my dear Hastings, if you have the regard for me that I believe you do, and that I'm sure you have, your loyalty for the past three years will only enhance the joy of our future together. If——
MRS. HARDCASTLE. (Within.) Miss Neville. Constance, why Constance, I say.
MRS. HARDCASTLE. (From inside.) Miss Neville. Constance, why Constance, I’m calling you.
MISS NEVILLE. I’m coming. Well, constancy, remember, constancy is the word. [Exit.]
MISS NEVILLE. I’m on my way. Remember, consistency is key. [Exit.]
HASTINGS. My heart! how can I support this? To be so near happiness, and such happiness!
HASTINGS. My heart! How can I handle this? To be so close to happiness, and such happiness!
MARLOW. (To Tony.) You see now, young gentleman, the effects of your folly. What might be amusement to you, is here disappointment, and even distress.
MARLOW. (To Tony.) You see now, young man, the consequences of your foolishness. What might be fun for you is disappointment and even distress here.
TONY. (From a reverie.) Ecod, I have hit it. It’s here. Your hands. Yours and yours, my poor Sulky!—My boots there, ho!—Meet me two hours hence at the bottom of the garden; and if you don’t find Tony Lumpkin a more good-natured fellow than you thought for, I’ll give you leave to take my best horse, and Bet Bouncer into the bargain. Come along. My boots, ho! [Exeunt.]
TONY. (Snapping out of a daydream.) Wow, I’ve got it. It’s right here. Your hands. Yours and yours, my poor Sulky!—My boots are over there, hey!—Meet me in two hours at the bottom of the garden; and if you don’t find Tony Lumpkin to be a nicer guy than you expected, I’ll let you take my best horse and Bet Bouncer too. Let’s go. My boots, hey! [Exeunt.]
ACT THE FIFTH.
(SCENE continued.)
(SCENE continued.)
Enter HASTINGS and Servant.
Enter HASTINGS and Servant.
HASTINGS. You saw the old lady and Miss Neville drive off, you say?
HASTINGS. You saw the elderly woman and Miss Neville leave in a car, right?
SERVANT. Yes, your honour. They went off in a post-coach, and the young ’squire went on horseback. They’re thirty miles off by this time.
SERVANT. Yes, sir. They left in a coach, and the young squire rode off on a horse. They are thirty miles away by now.
HASTINGS. Then all my hopes are over.
HASTINGS. So, all my hopes are gone.
SERVANT. Yes, sir. Old Sir Charles has arrived. He and the old gentleman of the house have been laughing at Mr. Marlow’s mistake this half hour. They are coming this way.
SERVANT. Yes, sir. Old Sir Charles has arrived. He and the elderly gentleman of the house have been laughing at Mr. Marlow’s mistake for the past half hour. They are coming this way.
HASTINGS. Then I must not be seen. So now to my fruitless appointment at the bottom of the garden. This is about the time. [Exit.]
HASTINGS. Then I can't be seen. So, off I go to my pointless meeting at the back of the garden. This is around the right time. [Exit.]
Enter SIR CHARLES and HARDCASTLE.
Enter SIR CHARLES and HARDCASTLE.
HARDCASTLE. Ha! ha! ha! The peremptory tone in which he sent forth his sublime commands!
HARDCASTLE. Ha! ha! ha! The way he issued his grand orders with such a forceful tone!
SIR CHARLES. And the reserve with which I suppose he treated all your advances.
SIR CHARLES. And the way he held back with all your attempts.
HARDCASTLE. And yet he might have seen something in me above a common innkeeper, too.
HARDCASTLE. And yet he might have seen something in me beyond just a regular innkeeper, too.
SIR CHARLES. Yes, Dick, but he mistook you for an uncommon innkeeper, ha! ha! ha!
SIR CHARLES. Yeah, Dick, but he thought you were just an unusual innkeeper, haha!
HARDCASTLE. Well, I’m in too good spirits to think of anything but joy. Yes, my dear friend, this union of our families will make our personal friendships hereditary; and though my daughter’s fortune is but small—
HARDCASTLE. Well, I’m feeling too happy to think of anything but joy. Yes, my dear friend, this joining of our families will make our personal friendships a lasting legacy; and even though my daughter’s fortune is rather small—
SIR CHARLES. Why, Dick, will you talk of fortune to ME? My son is possessed of more than a competence already, and can want nothing but a good and virtuous girl to share his happiness and increase it. If they like each other, as you say they do—
SIR CHARLES. Why, Dick, do you want to talk to ME about fortune? My son already has more than enough, and all he needs is a good and virtuous girl to share his happiness and make it even greater. If they like each other, as you say they do—
HARDCASTLE. IF, man! I tell you they DO like each other. My daughter as good as told me so.
HARDCASTLE. I'm telling you, they really like each other! My daughter practically told me that.
SIR CHARLES. But girls are apt to flatter themselves, you know.
SIR CHARLES. But girls tend to flatter themselves, you know.
HARDCASTLE. I saw him grasp her hand in the warmest manner myself; and here he comes to put you out of your IFS, I warrant him.
HARDCASTLE. I saw him take her hand in the warmest way myself; and here he comes to mess with your IFS, I guarantee it.
Enter MARLOW.
Enter MARLOW.
MARLOW. I come, sir, once more, to ask pardon for my strange conduct. I can scarce reflect on my insolence without confusion.
MARLOW. I'm here again, sir, to apologize for my weird behavior. I can barely think about my rudeness without feeling embarrassed.
HARDCASTLE. Tut, boy, a trifle! You take it too gravely. An hour or two’s laughing with my daughter will set all to rights again. She’ll never like you the worse for it.
HARDCASTLE. Come on, kid, it’s just a little thing! You're taking it way too seriously. A couple of hours of laughing with my daughter will fix everything. She won’t think any less of you for it.
MARLOW. Sir, I shall be always proud of her approbation.
MARLOW. Sir, I will always be proud of her approval.
HARDCASTLE. Approbation is but a cold word, Mr. Marlow; if I am not deceived, you have something more than approbation thereabouts. You take me?
HARDCASTLE. Approval is just a lukewarm term, Mr. Marlow; if I'm not mistaken, you have something more than just approval going on there. Do you understand what I mean?
MARLOW. Really, sir, I have not that happiness.
MARLOW. Honestly, sir, I can't say I'm that happy.
HARDCASTLE. Come, boy, I’m an old fellow, and know what’s what as well as you that are younger. I know what has passed between you; but mum.
HARDCASTLE. Come on, kid, I’m an old guy and I know what's going on just as well as you younger folks. I see what’s happened between you, but let’s keep it quiet.
MARLOW. Sure, sir, nothing has passed between us but the most profound respect on my side, and the most distant reserve on hers. You don’t think, sir, that my impudence has been passed upon all the rest of the family.
MARLOW. Of course, sir, nothing has transpired between us except the deepest respect on my part and her extreme distance. You don’t believe, sir, that my boldness has been assumed by the rest of the family.
HARDCASTLE. Impudence! No, I don’t say that—not quite impudence—though girls like to be played with, and rumpled a little too, sometimes. But she has told no tales, I assure you.
HARDCASTLE. Cheekiness! No, I wouldn’t call it that—not exactly cheekiness—though girls like to be teased and messed around with a bit sometimes. But she hasn’t spilled any secrets, I promise you.
MARLOW. I never gave her the slightest cause.
MARLOW. I never gave her the slightest reason.
HARDCASTLE. Well, well, I like modesty in its place well enough. But this is over-acting, young gentleman. You may be open. Your father and I will like you all the better for it.
HARDCASTLE. Well, well, I appreciate modesty when it's appropriate. But this is too much, young man. You can be straightforward. Your father and I will respect you even more for it.
MARLOW. May I die, sir, if I ever——
MARLOW. I swear, sir, if I ever——
HARDCASTLE. I tell you, she don’t dislike you; and as I’m sure you like her——
HARDCASTLE. I’m telling you, she doesn’t dislike you; and since I know you like her——
MARLOW. Dear sir—I protest, sir——
MARLOW. Sir, I must protest—
HARDCASTLE. I see no reason why you should not be joined as fast as the parson can tie you.
HARDCASTLE. I don’t see any reason why the pastor shouldn’t marry you as quickly as he can.
MARLOW. But hear me, sir—
MARLOW. But listen to me, sir—
HARDCASTLE. Your father approves the match, I admire it; every moment’s delay will be doing mischief. So—
HARDCASTLE. Your dad is okay with the match; I think that's great. Every moment we wait is only going to cause problems. So—
MARLOW. But why won’t you hear me? By all that’s just and true, I never gave Miss Hardcastle the slightest mark of my attachment, or even the most distant hint to suspect me of affection. We had but one interview, and that was formal, modest, and uninteresting.
MARLOW. But why won’t you listen to me? Honestly, I never showed Miss Hardcastle the slightest sign of my feelings, or even the faintest hint that I liked her. We only had one meeting, and it was formal, modest, and completely unremarkable.
HARDCASTLE. (Aside.) This fellow’s formal modest impudence is beyond bearing.
HARDCASTLE. (Aside.) This guy's overly polite arrogance is hard to take.
SIR CHARLES. And you never grasped her hand, or made any protestations?
SIR CHARLES. So, you never took her hand or made any declarations?
MARLOW. As Heaven is my witness, I came down in obedience to your commands. I saw the lady without emotion, and parted without reluctance. I hope you’ll exact no farther proofs of my duty, nor prevent me from leaving a house in which I suffer so many mortifications. [Exit.]
MARLOW. I swear to God, I came down here because you asked me to. I saw the lady without feeling anything, and I left without hesitation. I hope you won’t demand any more proof of my loyalty, nor stop me from leaving a place where I feel so humiliated. [Exit.]
SIR CHARLES. I’m astonished at the air of sincerity with which he parted.
SIR CHARLES. I’m amazed by how sincere he seemed when he said goodbye.
HARDCASTLE. And I’m astonished at the deliberate intrepidity of his assurance.
HARDCASTLE. And I’m amazed by the boldness of his confidence.
SIR CHARLES. I dare pledge my life and honour upon his truth.
SIR CHARLES. I would bet my life and honor on his honesty.
HARDCASTLE. Here comes my daughter, and I would stake my happiness upon her veracity.
HARDCASTLE. Here comes my daughter, and I would bet my happiness on her honesty.
Enter MISS HARDCASTLE.
Enter Miss Hardcastle.
HARDCASTLE. Kate, come hither, child. Answer us sincerely and without reserve: has Mr. Marlow made you any professions of love and affection?
HARDCASTLE. Kate, come here, dear. Answer us honestly and openly: has Mr. Marlow expressed any feelings of love and affection for you?
MISS HARDCASTLE. The question is very abrupt, sir. But since you require unreserved sincerity, I think he has.
MISS HARDCASTLE. That's a pretty direct question, sir. But since you want complete honesty, I believe he has.
HARDCASTLE. (To SIR CHARLES.) You see.
HARDCASTLE. (To SIR CHARLES.) You see.
SIR CHARLES. And pray, madam, have you and my son had more than one interview?
SIR CHARLES. So, may I ask, have you and my son met more than once?
MISS HARDCASTLE. Yes, sir, several.
Miss Hardcastle. Yes, sir, several.
HARDCASTLE. (To SIR CHARLES.) You see.
HARDCASTLE. (To SIR CHARLES.) You see.
SIR CHARLES. But did be profess any attachment?
SIR CHARLES. But did he express any feelings?
MISS HARDCASTLE. A lasting one.
Miss Hardcastle. A lasting impact.
SIR CHARLES. Did he talk of love?
SIR CHARLES. Did he mention love?
MISS HARDCASTLE. Much, sir.
Miss Hardcastle. A lot, sir.
SIR CHARLES. Amazing! And all this formally?
SIR CHARLES. Incredible! And all of this officially?
MISS HARDCASTLE. Formally.
Ms. Hardcastle. Formally.
HARDCASTLE. Now, my friend, I hope you are satisfied.
HARDCASTLE. Now, my friend, I hope you're satisfied.
SIR CHARLES. And how did he behave, madam?
SIR CHARLES. So, how did he act, ma'am?
MISS HARDCASTLE. As most profest admirers do: said some civil things of my face, talked much of his want of merit, and the greatness of mine; mentioned his heart, gave a short tragedy speech, and ended with pretended rapture.
MISS HARDCASTLE. Like most devoted admirers do: he said some nice things about my looks, talked a lot about his lack of worth and how great I am; brought up his feelings, gave a brief dramatic speech, and finished with fake excitement.
SIR CHARLES. Now I’m perfectly convinced, indeed. I know his conversation among women to be modest and submissive: this forward canting ranting manner by no means describes him; and, I am confident, he never sat for the picture.
SIR CHARLES. Now I’m completely convinced. I know that when he talks to women, he’s modest and respectful; this overly confident and theatrical behavior doesn’t represent him at all, and I’m sure he never posed for that image.
MISS HARDCASTLE. Then, what, sir, if I should convince you to your face of my sincerity? If you and my papa, in about half an hour, will place yourselves behind that screen, you shall hear him declare his passion to me in person.
MISS HARDCASTLE. So, what if I prove my sincerity to you right here? If you and my dad will stand behind that screen in about half an hour, you'll hear him confess his feelings for me in person.
SIR CHARLES. Agreed. And if I find him what you describe, all my happiness in him must have an end. [Exit.]
SIR CHARLES. Alright. And if I find him the way you described, all my happiness with him will come to an end. [Exit.]
MISS HARDCASTLE. And if you don’t find him what I describe—I fear my happiness must never have a beginning. [Exeunt.]
MISS HARDCASTLE. And if you don’t find him as I’ve described— I’m afraid my happiness will never start. [Exeunt.]
SCENE changes to the back of the Garden.
SCENE switches to the back of the Garden.
Enter HASTINGS.
Enter HASTINGS.
HASTINGS. What an idiot am I, to wait here for a fellow who probably takes a delight in mortifying me. He never intended to be punctual, and I’ll wait no longer. What do I see? It is he! and perhaps with news of my Constance.
HASTINGS. What an idiot I am, to wait here for someone who probably loves to make me feel bad. He never meant to be on time, and I won't wait any longer. What do I see? It's him! And maybe he has news about my Constance.
Enter Tony, booted and spattered.
Enter Tony, booted and splattered.
HASTINGS. My honest ’squire! I now find you a man of your word. This looks like friendship.
HASTINGS. My loyal friend! I can see you're a man of your word. This feels like true friendship.
TONY. Ay, I’m your friend, and the best friend you have in the world, if you knew but all. This riding by night, by the bye, is cursedly tiresome. It has shook me worse than the basket of a stage-coach.
TONY. Yeah, I’m your friend, and the best friend you’ve got in the world, if you only knew. This night riding, by the way, is really tiring. It’s shaken me up more than the back of a stagecoach.
HASTINGS. But how? where did you leave your fellow-travellers? Are they in safety? Are they housed?
HASTINGS. But how? Where did you leave your travel companions? Are they safe? Do they have a place to stay?
TONY. Five and twenty miles in two hours and a half is no such bad driving. The poor beasts have smoked for it: rabbit me, but I’d rather ride forty miles after a fox than ten with such varment.
TONY. Twenty-five miles in two and a half hours isn't bad driving. The poor animals have worked hard for it: honestly, I'd rather ride forty miles after a fox than ten with such pests.
HASTINGS. Well, but where have you left the ladies? I die with impatience.
HASTINGS. So, where did you leave the ladies? I'm dying to know!
TONY. Left them! Why where should I leave them but where I found them?
TONY. Left them! Why should I leave them anywhere but where I found them?
HASTINGS. This is a riddle.
HASTINGS. This is a puzzle.
TONY. Riddle me this then. What’s that goes round the house, and round the house, and never touches the house?
TONY. Here’s a riddle for you. What goes around the house, and around the house, and never actually touches the house?
HASTINGS. I’m still astray.
HASTINGS. I'm still lost.
TONY. Why, that’s it, mon. I have led them astray. By jingo, there’s not a pond or a slough within five miles of the place but they can tell the taste of.
TONY. That's it, man. I've led them off track. Seriously, there’s not a pond or a swamp within five miles of here that they can't identify the taste of.
HASTINGS. Ha! ha! ha! I understand: you took them in a round, while they supposed themselves going forward, and so you have at last brought them home again.
HASTINGS. Ha! Ha! Ha! I get it: you led them in circles while they thought they were making progress, and that's how you finally brought them back home.
TONY. You shall hear. I first took them down Feather-bed Lane, where we stuck fast in the mud. I then rattled them crack over the stones of Up-and-down Hill. I then introduced them to the gibbet on Heavy-tree Heath; and from that, with a circumbendibus, I fairly lodged them in the horse-pond at the bottom of the garden.
TONY. You'll hear. First, I took them down Feather-bed Lane, where we got stuck in the mud. Then I jolted them over the stones of Up-and-down Hill. After that, I showed them the gallows on Heavy-tree Heath; and from there, with a roundabout way, I finally put them in the horse-pond at the bottom of the garden.
HASTINGS. But no accident, I hope?
HASTINGS. But I hope there wasn't an accident?
TONY. No, no. Only mother is confoundedly frightened. She thinks herself forty miles off. She’s sick of the journey; and the cattle can scarce crawl. So if your own horses be ready, you may whip off with cousin, and I’ll be bound that no soul here can budge a foot to follow you.
TONY. No, no. Only mother is really scared. She thinks we’re forty miles away. She’s tired of the trip, and the cattle can barely move. So if your horses are ready, you can head off with cousin, and I bet no one here will be able to follow you.
HASTINGS. My dear friend, how can I be grateful?
HASTINGS. My dear friend, how can I express my gratitude?
TONY. Ay, now it’s dear friend, noble ’squire. Just now, it was all idiot, cub, and run me through the guts. Damn YOUR way of fighting, I say. After we take a knock in this part of the country, we kiss and be friends. But if you had run me through the guts, then I should be dead, and you might go kiss the hangman.
TONY. Yeah, now it’s “dear friend,” noble squire. Just a moment ago, it was all “idiot,” “cub,” and “run me through the guts.” Damn YOUR way of fighting, I say. After we take a hit in this part of the country, we kiss and make up. But if you had actually run me through the guts, I’d be dead, and you might as well go kiss the hangman.
HASTINGS. The rebuke is just. But I must hasten to relieve Miss Neville: if you keep the old lady employed, I promise to take care of the young one. [Exit HASTINGS.]
HASTINGS. The criticism is fair. But I need to quickly help Miss Neville: if you keep the older woman occupied, I promise to look after the younger one. [Exit HASTINGS.]
TONY. Never fear me. Here she comes. Vanish. She’s got from the pond, and draggled up to the waist like a mermaid.
TONY. Don’t be afraid of me. Here she comes. Disappear. She’s come from the pond, and she’s soaking wet up to her waist like a mermaid.
Enter MRS. HARDCASTLE.
Enter Mrs. Hardcastle.
MRS. HARDCASTLE. Oh, Tony, I’m killed! Shook! Battered to death. I shall never survive it. That last jolt, that laid us against the quickset hedge, has done my business.
MRS. HARDCASTLE. Oh, Tony, I’m done for! Shaken! Battered to pieces. I’ll never get over this. That last bump, which slammed us against the thorny hedge, has finished me off.
TONY. Alack, mamma, it was all your own fault. You would be for running away by night, without knowing one inch of the way.
TONY. Alas, mom, it was all your fault. You wanted to run away at night without knowing even a bit of the way.
MRS. HARDCASTLE. I wish we were at home again. I never met so many accidents in so short a journey. Drenched in the mud, overturned in a ditch, stuck fast in a slough, jolted to a jelly, and at last to lose our way. Whereabouts do you think we are, Tony?
MRS. HARDCASTLE. I wish we were back home. I've never experienced so many mishaps on such a short trip. Covered in mud, flipped over in a ditch, stuck in a swamp, shaken up to the point of feeling like jelly, and now we've lost our way. Where do you think we are, Tony?
TONY. By my guess we should come upon Crackskull Common, about forty miles from home.
TONY. I estimate we should reach Crackskull Common, which is about forty miles from home.
MRS. HARDCASTLE. O lud! O lud! The most notorious spot in all the country. We only want a robbery to make a complete night on’t.
MRS. HARDCASTLE. Oh my gosh! Oh my gosh! The most infamous place in the whole country. We just need a robbery to make it a perfectly chaotic night.
TONY. Don’t be afraid, mamma, don’t be afraid. Two of the five that kept here are hanged, and the other three may not find us. Don’t be afraid.—Is that a man that’s galloping behind us? No; it’s only a tree.—Don’t be afraid.
TONY. Don’t worry, Mom, don’t worry. Two of the five who were here are hanged, and the other three might not find us. Don’t worry.—Is that a guy galloping behind us? No; it’s just a tree.—Don’t worry.
MRS. HARDCASTLE. The fright will certainly kill me.
MRS. HARDCASTLE. The scare will definitely be the end of me.
TONY. Do you see anything like a black hat moving behind the thicket?
TONY. Do you see something that looks like a black hat moving behind the bushes?
MRS. HARDCASTLE. Oh, death!
MRS. HARDCASTLE. Oh no!
TONY. No; it’s only a cow. Don’t be afraid, mamma; don’t be afraid.
TONY. No; it’s just a cow. Don’t worry, mom; don’t worry.
MRS. HARDCASTLE. As I’m alive, Tony, I see a man coming towards us. Ah! I’m sure on’t. If he perceives us, we are undone.
MRS. HARDCASTLE. Wow, Tony, I see a guy coming towards us. Ah! I’m really worried. If he sees us, we're done for.
TONY. (Aside.) Father-in-law, by all that’s unlucky, come to take one of his night walks. (To her.) Ah, it’s a highwayman with pistols as long as my arm. A damned ill-looking fellow.
TONY. (Aside.) My father-in-law, of all things, is out for one of his late-night walks. (To her.) Ah, it’s a robber with pistols as long as my arm. A seriously shady character.
MRS. HARDCASTLE. Good Heaven defend us! He approaches.
MRS. HARDCASTLE. Good heavens! He's coming.
TONY. Do you hide yourself in that thicket, and leave me to manage him. If there be any danger, I’ll cough, and cry hem. When I cough, be sure to keep close. (MRS. HARDCASTLE hides behind a tree in the back scene.)
TONY. Are you hiding in that bush, leaving me to deal with him? If there's any trouble, I’ll cough and call out. When I cough, make sure to stay hidden. (MRS. HARDCASTLE hides behind a tree in the background.)
Enter HARDCASTLE.
Enter HARDCASTLE.
HARDCASTLE. I’m mistaken, or I heard voices of people in want of help. Oh, Tony! is that you? I did not expect you so soon back. Are your mother and her charge in safety?
HARDCASTLE. I’m mistaken, or I heard voices of people needing help. Oh, Tony! Is that you? I didn’t expect you back so soon. Are your mom and her charge safe?
TONY. Very safe, sir, at my aunt Pedigree’s. Hem.
TONY. Very safe, sir, at my aunt Pedigree’s. Hem.
MRS. HARDCASTLE. (From behind.) Ah, death! I find there’s danger.
MRS. HARDCASTLE. (From behind.) Ah, no! I see there's trouble.
HARDCASTLE. Forty miles in three hours; sure that’s too much, my youngster.
HARDCASTLE. Forty miles in three hours? That's definitely too much, my young friend.
TONY. Stout horses and willing minds make short journeys, as they say. Hem.
TONY. Strong horses and eager minds make for quick trips, as they say. Hem.
MRS. HARDCASTLE. (From behind.) Sure he’ll do the dear boy no harm.
MRS. HARDCASTLE. (From behind.) I'm sure he won't hurt the dear boy.
HARDCASTLE. But I heard a voice here; I should be glad to know from whence it came.
HARDCASTLE. But I heard a voice here; I'd like to know where it came from.
TONY. It was I, sir, talking to myself, sir. I was saying that forty miles in four hours was very good going. Hem. As to be sure it was. Hem. I have got a sort of cold by being out in the air. We’ll go in, if you please. Hem.
TONY. It was me, sir, just talking to myself. I was saying that forty miles in four hours is pretty impressive. Hm. And it really is. Hm. I’ve caught a bit of a cold from being out in the air. Let’s go inside, if that’s alright. Hm.
HARDCASTLE. But if you talked to yourself you did not answer yourself. I’m certain I heard two voices, and am resolved (raising his voice) to find the other out.
HARDCASTLE. But if you were talking to yourself, you didn’t respond to yourself. I’m sure I heard two voices, and I’m determined (raising his voice) to figure out the other one.
MRS. HARDCASTLE. (From behind.) Oh! he’s coming to find me out. Oh!
MRS. HARDCASTLE. (From behind.) Oh! He's coming to look for me. Oh!
TONY. What need you go, sir, if I tell you? Hem. I’ll lay down my life for the truth—hem—I’ll tell you all, sir. [Detaining him.]
TONY. Why do you need to go, sir, if I tell you? Um. I’d lay down my life for the truth—um—I’ll tell you everything, sir. [Detaining him.]
HARDCASTLE. I tell you I will not be detained. I insist on seeing. It’s in vain to expect I’ll believe you.
HARDCASTLE. I'm telling you I won't be held back. I insist on seeing. It's pointless to think I'll believe you.
MRS. HARDCASTLE. (Running forward from behind.) O lud! he’ll murder my poor boy, my darling! Here, good gentleman, whet your rage upon me. Take my money, my life, but spare that young gentleman; spare my child, if you have any mercy.
MRS. HARDCASTLE. (Running forward from behind.) Oh no! He’s going to kill my poor boy, my darling! Please, kind sir, take your anger out on me. Take my money, my life, but spare that young man; spare my child, if you have any mercy.
HARDCASTLE. My wife, as I’m a Christian. From whence can she come? or what does she mean?
HARDCASTLE. My wife, I swear I'm a Christian. Where can she be coming from? Or what does she mean?
MRS. HARDCASTLE. (Kneeling.) Take compassion on us, good Mr. Highwayman. Take our money, our watches, all we have, but spare our lives. We will never bring you to justice; indeed we won’t, good Mr. Highwayman.
MRS. HARDCASTLE. (Kneeling.) Please, have mercy on us, kind Mr. Highwayman. Take our money, our watches, everything we have, but spare our lives. We promise we won't report you; honestly, we won't, kind Mr. Highwayman.
HARDCASTLE. I believe the woman’s out of her senses. What, Dorothy, don’t you know ME?
HARDCASTLE. I think the woman has lost her mind. What, Dorothy, don't you recognize ME?
MRS. HARDCASTLE. Mr. Hardcastle, as I’m alive! My fears blinded me. But who, my dear, could have expected to meet you here, in this frightful place, so far from home? What has brought you to follow us?
MRS. HARDCASTLE. Mr. Hardcastle, I can't believe it! I let my fears get the best of me. But who could have thought I would run into you here, in this terrible place, so far from home? What made you come after us?
HARDCASTLE. Sure, Dorothy, you have not lost your wits? So far from home, when you are within forty yards of your own door! (To him.) This is one of your old tricks, you graceless rogue, you. (To her.) Don’t you know the gate, and the mulberry-tree; and don’t you remember the horse-pond, my dear?
HARDCASTLE. Of course, Dorothy, you haven't lost your mind, have you? You're so close to home, just forty yards from your own door! (To him.) This is one of your old tricks, you shameless scoundrel, you. (To her.) Don’t you recognize the gate, and the mulberry tree? Don't you remember the horse pond, my dear?
MRS. HARDCASTLE. Yes, I shall remember the horse-pond as long as I live; I have caught my death in it. (To TONY.) And it is to you, you graceless varlet, I owe all this? I’ll teach you to abuse your mother, I will.
MRS. HARDCASTLE. Yes, I’ll remember the horse pond for the rest of my life; I nearly froze to death in it. (To TONY.) And it's because of you, you worthless rascal, that this happened? I’ll show you what happens when you mistreat your mother!
TONY. Ecod, mother, all the parish says you have spoiled me, and so you may take the fruits on’t.
TONY. Look, mom, everyone in the community says you’ve spoiled me, so you can deal with the consequences.
MRS. HARDCASTLE. I’ll spoil you, I will. [Follows him off the stage. Exit.]
MRS. HARDCASTLE. I'm going to spoil you, I really am. [Follows him off the stage. Exit.]
HARDCASTLE. There’s morality, however, in his reply. [Exit.]
HARDCASTLE. There’s a sense of morality in his response. [Exit.]
Enter HASTINGS and MISS NEVILLE.
Enter HASTINGS and Miss Neville.
HASTINGS. My dear Constance, why will you deliberate thus? If we delay a moment, all is lost for ever. Pluck up a little resolution, and we shall soon be out of the reach of her malignity.
HASTINGS. My dear Constance, why are you hesitating like this? If we wait just a moment longer, everything will be lost forever. Gather some courage, and we’ll soon be beyond her spiteful reach.
MISS NEVILLE. I find it impossible. My spirits are so sunk with the agitations I have suffered, that I am unable to face any new danger. Two or three years’ patience will at last crown us with happiness.
MISS NEVILLE. I find it impossible. My spirits are so low from the struggles I've endured that I can't face any new challenges. A couple of years of patience will finally bring us happiness.
HASTINGS. Such a tedious delay is worse than inconstancy. Let us fly, my charmer. Let us date our happiness from this very moment. Perish fortune! Love and content will increase what we possess beyond a monarch’s revenue. Let me prevail!
HASTINGS. This long wait is more frustrating than inconsistency. Let’s escape, my love. Let’s make our happiness start right now. Forget about fortune! Love and happiness will make what we have worth more than a king’s wealth. Let me convince you!
MISS NEVILLE. No, Mr. Hastings, no. Prudence once more comes to my relief, and I will obey its dictates. In the moment of passion fortune may be despised, but it ever produces a lasting repentance. I’m resolved to apply to Mr. Hardcastle’s compassion and justice for redress.
MISS NEVILLE. No, Mr. Hastings, no. Prudence comes to my rescue once again, and I will follow its guidance. In the heat of the moment, we might disregard fortune, but it always leads to a lasting regret. I've decided to appeal to Mr. Hardcastle's compassion and sense of justice for a solution.
HASTINGS. But though he had the will, he has not the power to relieve you.
HASTINGS. But even though he wants to help, he doesn't have the ability to do so.
MISS NEVILLE. But he has influence, and upon that I am resolved to rely.
MISS NEVILLE. But he has power, and I am determined to depend on that.
HASTINGS. I have no hopes. But since you persist, I must reluctantly obey you. [Exeunt.]
HASTINGS. I have no expectations. But since you keep insisting, I have to follow your lead, even though I don't want to. [Exeunt.]
SCENE changes.
Scene changes.
Enter SIR CHARLES and MISS HARDCASTLE.
Enter SIR CHARLES and MISS HARDCASTLE.
SIR CHARLES. What a situation am I in! If what you say appears, I shall then find a guilty son. If what he says be true, I shall then lose one that, of all others, I most wished for a daughter.
SIR CHARLES. What a situation I'm in! If what you say is true, I'll have a guilty son. If what he says is right, I'll lose the one person I wanted most to be my daughter.
MISS HARDCASTLE. I am proud of your approbation, and to show I merit it, if you place yourselves as I directed, you shall hear his explicit declaration. But he comes.
MISS HARDCASTLE. I'm proud of your approval, and to show I deserve it, if you position yourselves as I instructed, you'll hear his clear declaration. But he’s coming.
SIR CHARLES. I’ll to your father, and keep him to the appointment. [Exit SIR CHARLES.]
SIR CHARLES. I’ll go to your dad and make sure he sticks to the appointment. [Exit SIR CHARLES.]
Enter MARLOW.
Enter MARLOW.
MARLOW. Though prepared for setting out, I come once more to take leave; nor did I, till this moment, know the pain I feel in the separation.
MARLOW. Even though I'm ready to leave, I come once again to say goodbye; I didn't realize until this moment how much the separation hurts.
MISS HARDCASTLE. (In her own natural manner.) I believe sufferings cannot be very great, sir, which you can so easily remove. A day or two longer, perhaps, might lessen your uneasiness, by showing the little value of what you now think proper to regret.
MISS HARDCASTLE. (In her own natural manner.) I believe that the sufferings you’re experiencing can’t be too severe if you can remove them so easily. Maybe a day or two longer will help ease your worries by showing you how little worth there is in what you currently feel is worth regretting.
MARLOW. (Aside.) This girl every moment improves upon me. (To her.) It must not be, madam. I have already trifled too long with my heart. My very pride begins to submit to my passion. The disparity of education and fortune, the anger of a parent, and the contempt of my equals, begin to lose their weight; and nothing can restore me to myself but this painful effort of resolution.
MARLOW. (Aside.) This girl keeps impressing me more and more. (To her.) It can't be, ma'am. I've already toyed with my heart for too long. My pride is starting to give in to my feelings. The differences in education and wealth, the anger of a parent, and the judgment from my peers are starting to lose their impact; and nothing can bring me back to myself but this tough struggle of determination.
MISS HARDCASTLE. Then go, sir: I’ll urge nothing more to detain you. Though my family be as good as hers you came down to visit, and my education, I hope, not inferior, what are these advantages without equal affluence? I must remain contented with the slight approbation of imputed merit; I must have only the mockery of your addresses, while all your serious aims are fixed on fortune.
MISS HARDCASTLE. Then go, sir: I won’t try to keep you any longer. Even though my family is just as good as hers and my education, I hope, is not lacking, what are these advantages without equal wealth? I have to be satisfied with the little approval of supposed worth; I can only receive the mockery of your attention while all your real intentions are focused on money.
Enter HARDCASTLE and SIR CHARLES from behind.
Enter HARDCASTLE and SIR CHARLES from behind.
SIR CHARLES. Here, behind this screen.
SIR CHARLES. Right here, behind this screen.
HARDCASTLE. Ay, ay; make no noise. I’ll engage my Kate covers him with confusion at last.
HARDCASTLE. Yeah, yeah; keep it down. I’ll bet my Kate will finally make him feel embarrassed.
MARLOW. By heavens, madam! fortune was ever my smallest consideration. Your beauty at first caught my eye; for who could see that without emotion? But every moment that I converse with you steals in some new grace, heightens the picture, and gives it stronger expression. What at first seemed rustic plainness, now appears refined simplicity. What seemed forward assurance, now strikes me as the result of courageous innocence and conscious virtue.
MARLOW. I swear, ma'am! Fortune has never been my biggest concern. Your beauty caught my eye at first; who wouldn't feel something when they see that? But with every moment I spend talking to you, I discover a new charm, which enhances the image and makes it more vivid. What I initially saw as simple rusticity now looks like elegant simplicity. What I thought was boldness now seems like brave innocence and self-aware virtue.
SIR CHARLES. What can it mean? He amazes me!
SIR CHARLES. What could this possibly mean? He's astonishing!
HARDCASTLE. I told you how it would be. Hush!
HARDCASTLE. I told you how this would go. Quiet!
MARLOW. I am now determined to stay, madam; and I have too good an opinion of my father’s discernment, when he sees you, to doubt his approbation.
MARLOW. I’ve decided to stay, ma'am; and I have too much faith in my father’s judgment, when he meets you, to question his approval.
MISS HARDCASTLE. No, Mr. Marlow, I will not, cannot detain you. Do you think I could suffer a connexion in which there is the smallest room for repentance? Do you think I would take the mean advantage of a transient passion, to load you with confusion? Do you think I could ever relish that happiness which was acquired by lessening yours?
MISS HARDCASTLE. No, Mr. Marlow, I won't, and I can't keep you here. Do you really think I could stand being in a relationship where there's even a hint of regret? Do you think I'd take unfair advantage of a fleeting emotion just to embarrass you? Do you think I'd ever enjoy a happiness that came at the cost of yours?
MARLOW. By all that’s good, I can have no happiness but what’s in your power to grant me! Nor shall I ever feel repentance but in not having seen your merits before. I will stay even contrary to your wishes; and though you should persist to shun me, I will make my respectful assiduities atone for the levity of my past conduct.
MARLOW. Honestly, I can’t be happy without what you can give me! I won't regret anything except not recognizing your qualities sooner. I’m going to stay even if you’d rather I didn’t; and even if you keep avoiding me, I’ll prove my respect by making up for my past behavior.
MISS HARDCASTLE. Sir, I must entreat you’ll desist. As our acquaintance began, so let it end, in indifference. I might have given an hour or two to levity; but seriously, Mr. Marlow, do you think I could ever submit to a connexion where I must appear mercenary, and you imprudent? Do you think I could ever catch at the confident addresses of a secure admirer?
MISS HARDCASTLE. Sir, I must ask you to stop. Let's end our acquaintance the way it began, with indifference. I might have been playful for an hour or two; but seriously, Mr. Marlow, do you really think I could ever be part of a relationship where I seem money-driven and you careless? Do you think I could ever accept the bold advances of a self-assured admirer?
MARLOW. (Kneeling.) Does this look like security? Does this look like confidence? No, madam, every moment that shows me your merit, only serves to increase my diffidence and confusion. Here let me continue——
MARLOW. (Kneeling.) Does this look like security? Does this look like confidence? No, ma'am, every moment that reveals your worth just makes me feel more unsure and confused. Let me carry on here——
SIR CHARLES. I can hold it no longer. Charles, Charles, how hast thou deceived me! Is this your indifference, your uninteresting conversation?
SIR CHARLES. I can't take it anymore. Charles, Charles, how have you fooled me! Is this your indifference, your boring conversation?
HARDCASTLE. Your cold contempt; your formal interview! What have you to say now?
HARDCASTLE. Your cold rejection; your formal meeting! What do you have to say now?
MARLOW. That I’m all amazement! What can it mean?
MARLOW. I'm completely shocked! What could it mean?
HARDCASTLE. It means that you can say and unsay things at pleasure: that you can address a lady in private, and deny it in public: that you have one story for us, and another for my daughter.
HARDCASTLE. It means you can say one thing and take it back whenever you want: that you can talk to a lady privately and deny it publicly: that you have one story for us and a different one for my daughter.
MARLOW. Daughter!—This lady your daughter?
Marlow. Daughter! Is this lady your daughter?
HARDCASTLE. Yes, sir, my only daughter; my Kate; whose else should she be?
HARDCASTLE. Yes, sir, my only daughter; my Kate; who else could she possibly be?
MARLOW. Oh, the devil!
MARLOW. Oh, darn!
MISS HARDCASTLE. Yes, sir, that very identical tall squinting lady you were pleased to take me for (courtseying); she that you addressed as the mild, modest, sentimental man of gravity, and the bold, forward, agreeable Rattle of the Ladies’ Club. Ha! ha! ha!
MISS HARDCASTLE. Yes, sir, that exact tall lady with the squint you thought I was (curtsying); the one you called the mild, modest, sentimental man of seriousness, and the bold, forward, charming guy from the Ladies’ Club. Ha! ha! ha!
MARLOW. Zounds! there’s no bearing this; it’s worse than death!
MARLOW. Damn it! I can’t take this; it’s worse than dying!
MISS HARDCASTLE. In which of your characters, sir, will you give us leave to address you? As the faltering gentleman, with looks on the ground, that speaks just to be heard, and hates hypocrisy; or the loud confident creature, that keeps it up with Mrs. Mantrap, and old Miss Biddy Buckskin, till three in the morning? Ha! ha! ha!
MISS HARDCASTLE. Which one of your personalities, sir, would you like us to speak to? As the shy gentleman, staring at the floor, who only speaks to be heard and despises dishonesty; or the loud, self-assured guy who keeps chatting with Mrs. Mantrap and old Miss Biddy Buckskin until three in the morning? Ha! ha! ha!
MARLOW. O, curse on my noisy head. I never attempted to be impudent yet, that I was not taken down. I must be gone.
MARLOW. Ugh, damn my noisy head. Every time I tried to be cheeky, I got knocked down a peg. I need to get out of here.
HARDCASTLE. By the hand of my body, but you shall not. I see it was all a mistake, and I am rejoiced to find it. You shall not, sir, I tell you. I know she’ll forgive you. Won’t you forgive him, Kate? We’ll all forgive you. Take courage, man. (They retire, she tormenting him, to the back scene.)
HARDCASTLE. I swear, you won't. I realize now it was all a misunderstanding, and I'm glad to see that. I’m telling you, you won't, sir. I know she’ll forgive you. Won't you forgive him, Kate? We’ll all forgive you. Be brave, man. (They exit, with her teasing him, to the back scene.)
Enter MRS. HARDCASTLE and Tony.
Enter Mrs. Hardcastle and Tony.
MRS. HARDCASTLE. So, so, they’re gone off. Let them go, I care not.
MRS. HARDCASTLE: Well, they’ve left. Let them go; I don’t care.
HARDCASTLE. Who gone?
HARDCASTLE. Who's gone?
MRS. HARDCASTLE. My dutiful niece and her gentleman, Mr. Hastings, from town. He who came down with our modest visitor here.
MRS. HARDCASTLE. My devoted niece and her boyfriend, Mr. Hastings, from the city. He came down with our humble guest here.
SIR CHARLES. Who, my honest George Hastings? As worthy a fellow as lives, and the girl could not have made a more prudent choice.
SIR CHARLES. Who, my sincere George Hastings? As good a guy as there is, and the girl couldn’t have made a smarter choice.
HARDCASTLE. Then, by the hand of my body, I’m proud of the connexion.
HARDCASTLE. Then, I swear, I’m proud of the connection.
MRS. HARDCASTLE. Well, if he has taken away the lady, he has not taken her fortune; that remains in this family to console us for her loss.
MRS. HARDCASTLE. Well, if he has taken the lady away, he hasn’t taken her fortune; that stays in this family to comfort us for her loss.
HARDCASTLE. Sure, Dorothy, you would not be so mercenary?
HARDCASTLE. Come on, Dorothy, you wouldn’t be so money-driven, would you?
MRS. HARDCASTLE. Ay, that’s my affair, not yours.
MRS. HARDCASTLE. Yeah, that's my business, not yours.
HARDCASTLE. But you know if your son, when of age, refuses to marry his cousin, her whole fortune is then at her own disposal.
HARDCASTLE. But you know if your son, once he’s of age, decides not to marry his cousin, she’ll be able to do whatever she wants with her entire fortune.
MRS. HARDCASTLE. Ay, but he’s not of age, and she has not thought proper to wait for his refusal.
MRS. HARDCASTLE. Yes, but he's not of age, and she hasn't considered it necessary to wait for his refusal.
Enter HASTINGS and MISS NEVILLE.
Enter HASTINGS and MISS NEVILLE.
MRS. HARDCASTLE. (Aside.) What, returned so soon! I begin not to like it.
MRS. HARDCASTLE. (Aside.) What, back already? I’m starting to feel uneasy about this.
HASTINGS. (To HARDCASTLE.) For my late attempt to fly off with your niece let my present confusion be my punishment. We are now come back, to appeal from your justice to your humanity. By her father’s consent, I first paid her my addresses, and our passions were first founded in duty.
HASTINGS. (To HARDCASTLE.) For my recent attempt to run away with your niece, let my current embarrassment be my punishment. We've returned to ask for your compassion instead of your judgment. With her father’s approval, I initially expressed my feelings for her, and our affection was rooted in duty.
MISS NEVILLE. Since his death, I have been obliged to stoop to dissimulation to avoid oppression. In an hour of levity, I was ready to give up my fortune to secure my choice. But I am now recovered from the delusion, and hope from your tenderness what is denied me from a nearer connexion.
MISS NEVILLE. Since his death, I've had to resort to pretending to protect myself from pressure. In a moment of lightheartedness, I was willing to give up my fortune to get what I truly wanted. But I've now come to my senses and hope for your kindness in what I can't have from a closer relationship.
MRS. HARDCASTLE. Pshaw, pshaw! this is all but the whining end of a modern novel.
MRS. HARDCASTLE. Oh, please! This is just the complaining part of a modern novel.
HARDCASTLE. Be it what it will, I’m glad they’re come back to reclaim their due. Come hither, Tony, boy. Do you refuse this lady’s hand whom I now offer you?
HARDCASTLE. Whatever it is, I’m glad they’ve come back to get what they deserve. Come here, Tony, my boy. Are you going to refuse this lady’s hand that I’m offering you?
TONY. What signifies my refusing? You know I can’t refuse her till I’m of age, father.
TONY. What does it matter if I refuse? You know I can’t turn her down until I’m an adult, dad.
HARDCASTLE. While I thought concealing your age, boy, was likely to conduce to your improvement, I concurred with your mother’s desire to keep it secret. But since I find she turns it to a wrong use, I must now declare you have been of age these three months.
HARDCASTLE. While I thought hiding your age, kid, would probably help you improve, I agreed with your mom's wish to keep it a secret. But since I see she's using it the wrong way, I have to say you’ve been of age for three months now.
TONY. Of age! Am I of age, father?
TONY. Am I an adult now, father?
HARDCASTLE. Above three months.
HARDCASTLE. Over three months.
TONY. Then you’ll see the first use I’ll make of my liberty. (Taking MISS NEVILLE’s hand.) Witness all men by these presents, that I, Anthony Lumpkin, Esquire, of BLANK place, refuse you, Constantia Neville, spinster, of no place at all, for my true and lawful wife. So Constance Neville may marry whom she pleases, and Tony Lumpkin is his own man again.
TONY. Then you’ll see how I’m going to use my freedom. (Taking MISS NEVILLE’s hand.) Let it be known to everyone that I, Anthony Lumpkin, Esquire, of BLANK place, reject you, Constantia Neville, single woman, of no place at all, as my true and legal wife. So now Constance Neville can marry whoever she wants, and Tony Lumpkin is his own man once more.
SIR CHARLES. O brave ’squire!
SIR CHARLES. Oh brave squire!
HASTINGS. My worthy friend!
HASTINGS. My dear friend!
MRS. HARDCASTLE. My undutiful offspring!
My disobedient child!
MARLOW. Joy, my dear George! I give you joy sincerely. And could I prevail upon my little tyrant here to be less arbitrary, I should be the happiest man alive, if you would return me the favour.
MARLOW. Congratulations, my dear George! I genuinely give you my best wishes. And if I could convince my little tyrant here to be less demanding, I would be the happiest man alive, if you would do me the same favor.
HASTINGS. (To MISS HARDCASTLE.) Come, madam, you are now driven to the very last scene of all your contrivances. I know you like him, I’m sure he loves you, and you must and shall have him.
HASTINGS. (To MISS HARDCASTLE.) Come on, madam, you’re now at the final act of all your plans. I know you like him, I’m sure he loves you, and you must and will have him.
HARDCASTLE. (Joining their hands.) And I say so too. And, Mr. Marlow, if she makes as good a wife as she has a daughter, I don’t believe you’ll ever repent your bargain. So now to supper. To-morrow we shall gather all the poor of the parish about us, and the mistakes of the night shall be crowned with a merry morning. So, boy, take her; and as you have been mistaken in the mistress, my wish is, that you may never be mistaken in the wife. [Exeunt Omnes.]
HARDCASTLE. (Joining their hands.) I agree with that. And, Mr. Marlow, if she’s as great a wife as she is a daughter, I don’t think you’ll ever regret your choice. Now, let’s go have supper. Tomorrow, we’ll bring all the needy from the parish together, and the mistakes of the night will be celebrated with a joyful morning. So, boy, take her; and since you’ve been wrong about the mistress, I hope you’ll never be wrong about the wife. [Exeunt Omnes.]
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