Lop. Past three o'clock!—Soh! a notable hour for one of my regular disposition, to be strolling like a bravo through the streets of Seville! Well, of all services, to serve a young lover is the hardest.—Not that I am an enemy to love; but my love and my master's differ strangely.—Don Ferdinand is much too gallant to eat, drink, or sleep:—now my love gives me an appetite—then I am fond of dreaming of my mistress, and I love dearly to toast her.—This cannot be done without good sleep and good liquor: hence my partiality to a feather- bed and a bottle. What a pity, now, that I have not further time, for reflections! but my master expects thee, honest Lopez, to secure his retreat from Donna Clara's window, as I guess.—[Music without.] Hey! sure, I heard music! So, so! Who have we here? Oh, Don Antonio, my master's friend, come from the masquerade, to serenade my young mistress, Donna Louisa, I suppose: so! we shall have the old gentleman up presently.—Lest he should miss his son, I had best lose no time in getting to my post.
1 Sol. I say you are wrong; we should all speak together, each for himself, and all at once, that we may be heard the better. 2 Sol. Right, Jack, we'll argue in platoons. 3 Sol. Ay, ay, let him have our grievances in a volley, and if we be to have a spokesman, there's the corporal is the lieutenant's countryman, and knows his humour. Flint. Let me alone for that. I served three years, within a bit, under his honour, in the Royal Inniskillions, and I never will see a sweeter tempered gentleman, nor one more free with his purse. I put a great shammock in his hat this morning, and I'll be bound for him he'll wear it, was it as big as Steven's Green. 4 Sol. I say again then you talk like youngsters, like militia striplings: there's a discipline, look'ee in all things, whereof the serjeant must be our guide; he's a gentleman of words; he understands your foreign lingo, your figures, and such like auxiliaries in scoring. Confess now for a reckoning, whether in chalk or writing, ben't he your only man?
A preface to a play seems generally to be considered as a kind of closet-prologue, in which—if his piece has been successful—the author solicits that indulgence from the reader which he had before experienced from the audience: but as the scope and immediate object of a play is to please a mixed assembly in representation (whose judgment in the theatre at least is decisive,) its degree of reputation is usually as determined as public, before it can be prepared for the cooler tribunal of the study. Thus any farther solicitude on the part of the writer becomes unnecessary at least, if not an intrusion: and if the piece has been condemned in the performance, I fear an address to the closet, like an appeal to posterity, is constantly regarded as the procrastination of a suit, from a consciousness of the weakness of the cause. From these considerations, the following comedy would certainly have been submitted to the reader, without any farther introduction than what it had in the representation, but that its success has probably been founded on a circumstance which the author is informed has not before attended a theatrical trial, and which consequently ought not to pass unnoticed.
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