|l57CinaJSSBriS35UijJ 6d -°" 15 CENT1 1 " f FBENCffS ACTlla'EDraON m - ' .. (Late LACY'S). WSLUAM TELL WITH A VENGEANCE. London: SAMUEL FRENCH, PUBLISHER, 89, STRAND. ABERDEEN- Wm. Russel, 19, Broad Street. BATH— -S. J. Cook, The CivetCat, 4, Abbey Churchyard. BELFAST- James Moore, Cheapside, BIRMINGHAM- J. G-uest, 52, Bull Street. BRADFORD— J. Morgan, 1, Dale Street. BRISTOL— E. Toleman, 2, Rupert Street. CORK- W. J. Murray, 90, George’s St. DUBLIN— J. Wiseheart, 23, Suffolk St. EDINBURGH— H. Robinson, ll,Greenside Street. GLASGOW- Wm. Love, 226, Argyle Street. LEEDS- G. Ramsden, 13, 'Vicar Lane. LIVERPOOL— F. R. Wilkins, 22, Christian St. MANCHESTER- John Heywood, 143, Deansgate. (By Order) of all Booksellers in Eng 1 and and Colonies. NEW DESCRIPTIVE CATALOGUE SENT POST FREE. NO BOOKS EXCHANGED. m MAKE-UP BOX. New York: SAMUEL FRENCH & SON, PUBLISHERS, 122, NASSAU STREET. NEWCASTLE-ON-TYNE - Thomas Allen,36, Colliugwood St. PLYMQUTK- A. Burnell & Co.,2,MountPleasant. PORTSMOUTH- JBurrows & Co., 97, High Street. SHEFFIELD— Gio. Slater, 54, Snighill. BOMBAY- Thacker, Yining & Co. CALCUTTA- Thacker, Spink & Co. CANADA- R. B. Butt.and, Toronto. CAPE OF GOOD HOPE- Cyrus J. Martin, Cape Town. MELBOURNE- Charlwood, 7, Bourke Street, B. C. Muskett, 78, Bourke Street, E. ADELAIDE, S.A.- E. S. Wigg & Son. NEW ZEALAND- J. Braithwaive, Dunedin. G. T. Chapmam, Auckland. W. M. Stanton, Nelson. SYDNEY- F. Kirby, 228, Pitt St. 1 Box? Containing Rouge, Pearl Powder, Whiting, Mongolian, Ruddy Rouge, Violet Powder, and Puff; Chrome, Blue, Burnt Cork, Pencils for the eyelids, Spirit Gum, Indian Ink, Camel j; Hair Brushes, Hare’s Foot, Wool, Crape, Hair, Cold Cream, Joining Paste, Miniature Puffs, Burnt Umber, Scissors and Looking Glass, packed neatly in Strong Fancy Card-Board Boxes,! 15s. ; Elegant Tin Cases, 21s. THE ABOVE ARTICLES TO BE HAD SEPARATELY. FOR PRICES SEE CATALOGUE.! MAKE-UP BOOK— HOW TO “ MAKE UP.” A practical guide foi| Amateurs, with Twenty-three colored Illustrations. Price Two Shillings. fpll§| •-V V &s . • ■-•■::; - *»«**«»: U 1 * >’ "'t?*' ■ ' •< '•; - ** -J '■■ •'<. •-*•.’ P* 4 ** V.-A* 'V.'£*/•; V'v-;'"' . .rV if «£***'! t >*s - ^ ■ :> €- - r f/ *&&&> * i- U r' a -, SygVnr*. T '' . iraSK mff- v* Pw. V ..'• ar *. - • -KJagS r ■"■'X.it sMM I • ■: ■.••' »■ 'V^- • •■' ,-.• .....• 1. , i. . • v iwmfc' .4i&- : M % ^BPF^ '' *z * • l?*: >.-• • v.‘i* ?lESft& :.sf: r; :5,s '-■ " »■•: ; V*mv ■■ .'•"■■■ .;- - . ■ ■> .'rVC m£hs^mSj ■ ■ -aMMii r ';■*&»<*. hnd : #|«# -• }y> *••■;. ■ '• '^■VrTO^' ' .M - ' ■• i'4-—‘ ■■ '£■■'•■ ? ' ■ '•'■.•C'' V ■ -• v - a : C: vv',v. -.';• - • . •.. S..-, •:-^'-A. ;■ «.. • .»•»•«*»—»»» ■ . . 1 ;/>•: 1 1 L m I.. JI ■ , f v • ^ ■ ■■’ .' ■ .C4 ~ .? -.y : ,;/ : ■ -.V''- ; - . .'. it •' ■ ■. .. ,v^’« •*’ •-■ ' ■ • * V '- b 3r» *-; , t • *, ,.h" -. > '•> - S 3 €IPi tfA.’. ■r..* ,>JV» V' . SisS'; ; . . • itr' : " - •' vV. /.■ V* i,'4MTv•. ^ ^Tr&Z *j •’BijfflS, mSRBJiS HUffl ill i i l' ! !:i! ; |j:-ii!i^:; ; -'i ; NPlipipi I I HBl ! Bs!:i iiiiiili BufDnUHl : ' : kv 1 ■: ■. 5 ! ".llH i -M li III in"., ' l.r ; hi\ Bffl m liiilpiijf] Mi Return this book on or before the Latest Date stamped below. A charge is made on all overdue books. University of Illinois Library % S JAN DEC -5 1945 u n y < In , HUU -1 '95f OCT 0 5 1:189 epp 0 8 TS8S jO M3 2 7 WILLIAM TELL, WITH A VENGEANCE! OR, THE PET, THE PATRIOT, AND THE PIPPIN. % (Srantr Jieto anti (Drtgmal Burlesque* BY HENRY J. BYRON, AUTHOR OF War to the Knife; The Old Story; Dundreary Married and Done For; Cinderella; Blue Beard from a New Point of Hue; Robinson Crusoe; Little Don Giovanni; Mazeppa ; The Maid and the Magpie, or the Fatal Spoon ; The Babes in the Wood; Bride of Abydos; Fra Diavolo; Jack the Giant Killer; Very Latest Edition of the Lady of Lyons; The Nymph of the Lurleyberg; Pilgrim of Love; The Garibaldi Excursionists; Aladdin, or the Wonderful Scamp ; Esmeralda, or the Sensation Goat; Goldenliair the. Good ; Ivanhoe in Accordance, etc.; Beauty and the Beast; Rival Othellos; Whittington and his Cat; Puss in a New Pair of Boots ; Miss Lily O'Connor ; George de Barmcell; Our Sea-side Lodgings; The Rosebud of Stinging-nettle Farm; The Sensation Fork; My Wife and I; Beautiful Haidec, or the Sea Nymph and the Sallee Rovers; 111 Treated LI Trovatore ; The Motto : “I am all there!" St. George and the Dragon; Lady Belle Belle; Orpheus and Eurydicc, or the Young Gentleman who charmed the Rocks; 18(33, or the Sensations of the Past Year; Mazourka, or the Stick, the Pole, and the Tartar; The "Grin" Bushes; Lion and the Unicorn; Sensation Dramas for the Back Drawing Room; Princess Sprmgtime, or the Envoy that Stole thcKing's Daughter ; La! Sonnambula ! or the Supper, the Sleeper, and the Merry Swiss Boy; Pan; Lucia di Lammermoor; Der Freischutz, or the Belle, the Bill , and the Ball; Pandora's Box; A Hundred Thousand Pounds ; The Lancashire Lass ; §c.,$c. PART AUTHOR OF The Miller and his Men; Valentine and Orson; <§■ Forty Thieves (Savage Club), London: SAMUEL* FRENCH Publisher, 8 9, SJRAND, New York: SAMUEL FRENCH & SON Publishers, 122, NASSAU STREET. ✓ WILLIAM TELL, WITH A VENGEANCE! OK, THE PET, THE PATRIOT, AND THE PIPPIN. Scene First. — Mists, which clear away to Mountain Landscape. Tell's Cottage , r. Emma discovered with her hack to Audience, washing at a tub, at back , c.— Music—she continues washing, wrings out things, wipes her arms, and then turns. After mists have cleared away she sings. Air, “ Trab, Trabf Emma, (c.) All day am I a scrubbing ; You see we wash at home; A popping things the tub in, From morning time ’till gloam. And soap suds is to me No peculiaritee. Scrub, scrub, scrub, scrub, Scrub, scrub, scrub, scrub, For our small familee. My husband’s dander’s riz so At washerwoman’s bills ; And my dear Albert is so Partickler about his frills. The least speck he’ll behold, Of blue or iron mould. Tub, tub, tub, tub, My son and hub, Their ravings turn me cold. Of all the things I hate, well, I must say, Which it’s that weekly noosance, “ washing day When one goes in for starch, and soap, and blue, Which it must come, of course, and come it do. 6 WILLIAM TELL. [Sc. 1. Our stock of clothing luckily ain’t large, As washerwomen know well how to charge, When six strikes on the clock and day’s beginning I gets up sudden, and gets up the linen. I put the clo's in early —an improvement On what is termed the early dose in' movement. Here comes my Albert—what’s he been about? Up with the lark, and at one, I've no doubt. Music.—Enter Albert, l. Albert. ( who is smoking a cigarette) Good morning, ma\ Emma. What’s that the boy’s a doin’— Smoking! my child, you’re going to your ruin. Albert. ( crossing to r.) I'm going to my breakfast. Emma. Going ? pooh I The question is, what you’re a coming to. Albert. Coming to? man’s estate. Emma. Indeed; what’s that ? Albert. The time when one begins to wear one’s hat Cocked on one side; to wear an eye glass so ; Not that one sees a bit the better though; To twist one’s moustache into two thin spikes; To sneer at pastry, and declare one likes A devilled biscuit, or anchovy toast, Better by far than wholesome boiled or roast; When the least crease in one’s shirt front is frightful; Most snobbish, to think anything delightful ; When, “not baad,” is the strongest praise you hear, Taking one’s pleasure with a languid sneer; When one goes in for clubs, latch keys, gin sling, Brandy and soda, and that sort of thing. ( crosses to L.) That age, when, too oft, as one must confess, Man’s attained everything, but manliness . Emma. Manliness! Pooh! what business, pray, have you with it? You’re penniless. Albert. Why, what’s that got to do with it? Though no one trusts me—(this life long I’ve led it) If you can pay for things—why, where’s the credit ? I’ve pledged my watch , last week. WILLIAM TELL. 7 fee. 1.] Emma. A pretty trick, You may well say, then, that you live on tick. Albert. Oh, bother, mother! You’re a downright railer. I like to see. life. Emma. Sea life ! then, turn sailor. Albert. Bother ! an archer , is the life for me. Give me the mountain peak, the forest free; Give me the chamois wild, the bounding roe; Give me the whizzing shaft, the bending bow; Give me the glorious days of Robin Hood. Emma. I haven’t got ’em, boy, or else I would. Duet. Emma. Billy Tell, he was a brisk young fellow, Very full of mirth and very full of glee ; Until in a rash moment, when my William took up politics, And went in a buster for libertee. No chorus , but dance across to symphony—crosses to l. Albert, (r.) Our woes are great, you will confess ’em, Emma. (i>.) And my clothes is as shabby as they can be; Albert. When folks have wrongs, they must redress ’em! Emma. I only wish as William would redress me. Short dance to symphony — Emma jumping up Albert- Albert lifting up Emma, who exits , r.—Albert skips to l. to tune — Tell enters on note — Picture. Tell. D’ye call this practising? Go, fetch your bow. Albert goes into house , R. A day is coming, when we’ll let ’em know, We mean to shout our woes a little louder! Beneath the tyrant’s heel we’re ground to powder; But different powder, altogether, to That, which they think us: we’re not powder blue; No, nor pearl powder, that expensive rare powder! We are not this here, and we’re not that hair powder! With which, their lackey’s heads—a lackey day ! They pepper! No; gun-powder is the stuff, With which we’ll blow up this inflated muff; 8 WILLMIA TELL. - [Sc. 1. We'll lay the train, then find the hand to match it, A slow, hut sure train; so lie's safe to catch it. That’s well. Enter Albert, with bow , from house , r. Your bow—unstrung 1 ( takes bow ) Why, what’s the Of my observing Bo ? [ use Albert, (r.) What? Tell, (l.) To a g 00Se t ( beginning to string it) Would this were Gesler! Albert. Pa, w ith ra g e y OU shiy^ Iell. Those shafts, like us, are all kept in a quiver. Oh, Gesler ! There ! ( having strung the bo w , gives it to Albert, takes arrow from quiver ) Now then, take aim. Albert. I'm nervous. Tell. Nervous! why nervous ? Gesler don't observe us. Albert. ( dropping his arm ) Oh, bother Gesler! ^ ,ELL * 4 Humph, we will I Stand straight. Now hit the topmost bar of yonder gate. Albert. It’s newly painted, and the blow may spile. Tell. No matter, it's my gate— let's s qc your style. Now then, let go. Albert. ( shoots) Missed ! I shall go clean crazy. Another arrow, pa. Tell, (giving it him ) “ Arrow, be aisy!" Albert, (fixes arrow—takes aim) Now then, the gate once more, (shoots) Missed! Pa, it'syow. Leave off your meddlesome instructions, do. Tell. How dare you, sir, address me at this rate? Albert. Oh, go to Bath ! ^ ELL ‘ # # # Bath! you can't 'Arrow -gate l Albert. This time, I will, (slapping his breast) Tell, (with great intensity) You will, if you'll but think That yonder gate is Gesler. There, don't shrink ; Fancy the tyrant who our lives doth seek, Doubles our taxes every other week,— Prigs all our standing crops, smugs all our cattle, Purloins our every good, our every chattel; Collars our savings, too, imagine he Is standing there, instead of what you see; WILLIAM TELL. 9 Sc. 1.] Grasp tightly in your hand your faithful bow— One final aim !—now steady— now. (Albert shoots ) Emma, (r#, it.) . Oh, oh! Tell. (coming down ) He’s shot his mother. Albert. Didn’t mean it na. Enter Emma, r., with arrow sticking in her waist. Emma. ( crosses c.) You wicked lad, to go and s..oot your ma; I wonder what you could have been about, You took me for a target — tar git out. My newest bodice it has made a cleft in. Tell. Right in ? # Emma. It’s right in. I don’t want it left in. Tell. You have an angry tongue, I wish you’d school it. Albert. ’Twas what we call a foul shot, ma! Emma. Fowl! P ul1 it! Tell. ( pointing to Emma) Gesler, behold thy work, oh tyrant! Emma. . Bother! Gesler’s a party as don’t shoot his mother. (Tell takes out the arrow) You idle boy! ’tis time, sir, that you tried To earn an honest trifle as a guide. Go to the mountains, at this time of year The travellers lose their way, and you should steer Their footsteps to the village—go ! Albert. Oh, ma’ ! Tell, {who has been brooding ) Gesler, thy doom is fixed! ha ! ha ! ha! ha! Albert. The Alpine mountains are so bleak and drear. Emma. But travellers tip guides well, and stand ’em beer. Upon the Alps you’ll earn some tin to-day, And every little Alps, as people say. Trio .—“ Going to the Derby.” Emma. We don’t drive to the Derby in this foreign land, In this foreign land—in this foreign land; We don’t drive to the Derby in this foreign land, We’ve no Derby, don’t you see. 10 WILLIAM TELL. [Sc\ 1. Tell. But night and day, our guides so gay For travellers wlio’ve lost their 'vvay Go looking on the Grands Mulets, For such jolly boys are we. Albert. We don’t drive to the Derby, &c. Chorus. We don't drive, &c. Emma. When they drive to the Derby in a four-in- hand, &c. Tell. As they drive away, spectators say That’s much the best turn-out to-day. The Derby happens every May, Then such jolly boys are we. Albert. As we drive to, &c. All. xYs we drive, &c. Short dance .— Emma and Albert go off, r. Tell. Erni and Furst, Melchthal and Verner, too, Are coming up this afternoon—they’re due! Horns heard from different quarters.' — Enter , at different entrances , Erni, Furst, Melchthal, and Verner— Albert also enters and takes his place , l. ; through music Tell shakes hands ; they range themselves in a row seriously — Emma at one end with a tray — and sing. We’re out of the way of the magistrates, Who haven’t got a clue To what our little game’s about, We’ve got our work to do! We’ve got our work to doo-oo-oo, We’ve got our work to doo-oo-oo, We’re out of the way of the magistrates; And we’ve got our work to do. Air , “ The Millingtary Band ”— Emma accompanies on tray, and at end dances into house. Emma. We’re a-going to tell the public that a day of vengeance soon Will descend upon this Gesler to a most unpleasant tune! Erni. The voice of popularity he can never withstand, Though he’s fenced in -by his regiment so wonderfully grand, With a brass abomination call’d a millingtary band! SC. 1.] WILLIAM TELL. 11 Tell. Clang, clang, his cymbals twang — his cymbals twang—his cymbals twang! Doesn’t he think himself slap bang In the middle of his model of a band. Albert. But we’ll cut his cruel capers, and his sauce we’ll spoil for ever! Emma. In these days of penny papers, when everybody’s clever, It's all up with your tyranny in happy Switzerland! Though he’s fenced in by a regiment, &c. Erni. Now, who shall take the chair ? Tell. ( crossing to c.) Who take the chair? Gesler has taken ’em, as you’re aware. My chairs and tables too—that is to say, A tradesman took ’em—one I couldn’t pay. [fiercely) But it’s all Gesler ! Does lie die? All. [drawing daggers fiercely ) He do ! Tell. ’Tis well! ’tis well ! 1 our hands, my gallant crew! This tyrant, Gesler, soon shall come to grief, Let’s all be equal,—but I’ll be your chief. What do you say? All. Hooray ! Tell. Hooray ! ’Tis well! Who put your great grandfather in a cell— With no amusement, but a spider ? who Nobbles your very last October brew, Grabs it and skips away, upon it pops, And literally takes your malt and hops. Who made you pay your taxes ? [to all —All groan) Who carouses, At home, whilst he shuts up the public houses ! Who, but this most tyrannical of villings, Makes us for every puppy pay five shillings ? Who ran to hurt us when we fell, With furious shout and cruel yell ? Who punched our heads and made ’em swell ? Your Gesler. Draw, archers, draw, your arrows to the head. 12 WILLIAM TELL. [Sc. 2. Enter Emma, in her night cap , r., others go up. Emma. William, excuse me, but it’s time for bed. When gents is gents, they surely ought to know, As nine o’clock's the reg’lar hour to go, If, out of bed beyond that time, I keep, Somehow I never catch my beauty sleep. [aside to Tell) Do let ’em go, I'm aJl on pins and needles, There’s nothing in the larder, 'cept black beadles. Tell. What! no cold meat? Emma. Meat! no! Tell. It’s very clear If that’s so, we can’t hold our meat- ing here. [others come down) Erni. Come to the village then. Emma. That man I hate. I shall sit up for you, I beg to state. Erni. AVe’re sorry we must take your husband, madam. Emma. Take him! You don’t take me. Idem! [aside) There I had ’em. [business with tub ) Concerted Piece .—“ Lucia." Oh misfortune, sad misfortune, Vainly I importune—portune. Stay, oh stay now, Don’t away now, Oh, my heart is pierced with anguish! To the meeting, He’s retreating, With these indi-widdy-widdy-widdles. Oh, misfortune, &c. [Scene closes) Scene Second — Interior. Enter Rosetta, reading a letter , l. Oh, happy day; oh, happy sun and sky; Oh, happy trees; oh, more than happy I; Oh, happy roadway, happy fields, and hedges; Oh, happy ponds; thrice happy marshy sedges; Oh, happy birds, that gaily soar and thrill; Oh, happy thoughts, that do my bosom fill; Erni. Tell. Emma. Chorus. WILLIAM TELL. 13 Sc. 2.] Oh, happy something! as the poet saith I’ve no more H’s, and I’ve lost my breath. (takes out letter ) This is his letter, and he must be near, My dearest All&wi which he’s oil but here. Oh, when he comes, I’ll hug him all to pieces, He’ll find my love, like crumpled silky in-creases. {reads) “ Sweetest Rosetta”—that’s me, I'm his sweetest; “ Would that the hours ’twixt then and now were Fleetest of all within the calen-dar; [fleetest— For then , I’ll ask your most excellent par, Par excellence , in fact, the best of paters, ^ With whom, already, I’ve had ‘ tete-d-taters.' _ Whether he’ll come down handsome , which with you, Of course, is the most easy thing to do. If he consents, oh joy, oh bliss;— if not, As some one, somewhere has it, you know what. There’s one word, parents hate, and that is e-lope, A course we shan’t be driven to, dear, we'll ’ope. Instead, we'll ope the subject, dear, sedately j ■ Yours ever, till we meet, affectionately, Albut." All but- ter certain folks might say, But then it’s oft oc -curd, it is his whey. Oh, here comes pa. [hides letter hurriedly) Music.—Enter Sarnem, a bilious-looking fellow, slowly, R. Sarnem. [observing action, starts) Ha, ha! Roset. P a • Sarnem. P’shaw! ( quickly ) But I repeat, ha, ha! Roset. I think Pashaw is most in -sultan, pa, What is there wrong? Sarnem. What! but no matter though, What’s that I saw you hide? Roset. ( innocently ) 'Hide ! hide ont. know, Your wits are wandering, papa, it s clear. Sarnem. What’s that I saw you hide there ? Roset. No ^e-here. Believe Rosetta. Sarnem. Did you get a letter ? Speak out, you’d better, or the prisoner s letter , 14 WILLIAM TELL. [Sc. 2. Et-cetter-cih! Ha, ha! (folds arms and stands gloomily) Koset. I will confess ; The note I was concealing in my dress, It was addressed to me—from— Saknem. Albert Tell. Koset. He, who from all would bear away the bell. Saknem. And you re the belle he’d bear away from me. (tearfully) You, whom I’ve tended from your infancy, Through ups and downs and hardships—quantum suff. I was your tender- R° set * Tender—pooh, that’s s-tujf! I’ve always been a model child, you know; Whenever I was told to bed to go, I never murmured ; when folks came to dine, And I was brought in for a glass of wine, I never spilt it; ne’er replied, when snubbed ; And never “made a scene,” when being tubbed; Kept myself neat, when going out to tea, And always called nurse, “ nurse,” and never “ shed 1 (overcome ) Saknem. (snivelling) This is affecting: Albert’s pa’ re¬ member. I can’t forget those riots last November Pooh, such a union is opposed to natur’! Whilst I’m a jailor , he’s a liberator . Koset. Tell’s only his stepfather—don’t you know? Saknem. And that step father, I refuse to go. (crosses to L.) (to audience) I have a secret here; no matter though_ A time will come—that is—precisely so. Th onglit you spoke— But for the present, mum. Koset. (k.) Yes. Saknem. What? Koset. 1 ou said, “ mum.” Sarn = m - , Did I ? don’t attempt to joke. ^ 01110 no you’re only what a miss we call. Kos./r. Some parties don’t think me ci-miss at all ; In fact, sir, in the matrimonial match, I should be thought no miss, but quite a catch . Saknem. I leave you to reflect. WILLIAM TELL. 15 Sc. 2.] Roset. That quite a farce is ! Reflect! Sarnem. Reflect should all good lookin’ glasses; They are the only friends that never flatter! (: mysteriously ) I had a thing to say. (Rosetta interested) Sarnem. ( with a gurgle) Ha ! ha ! no matter. Exit quickly, l. Roset. Pahs gone, and I’m alone—oh, hitter cup, I am a-loan that might get taken up ; For am I not a thief, all just apart? I am a thief—I’ve stolen Albert’s heart \ But he has mine —he’s taken it away, Exchange is never robbery, they say. Still, when the mutual felony’s found out, We shall be both transported, past a doubt. ’Twill be though with delight. Enter Erni, r. Oh gracious me! Ho go away, and let a body be. Erni. Don’t tell me thus to go away. I am Going away—to nothing —really, ma’am, And all for love of you , Rosetta. Roset. Rubbish! Erni. Why frown upon my aspirations hubbish ! Roset. For 7w5-bish, please read cwi-bish — I’m engaged. Erni. Hem, for engaged read — Roset. What? Erni. Read what?— enraged! Roset. Enraged, indeed, you little wretch—what I? Erni. Rosetta, don’t into a temper fly, ( with impudence) Or I shall have to kiss you. Roset. You? Erni. Don’t brave me, Or else— Roset. ( starting ) You insolent—oh! some one save me! Music — Erni rushes at her—meets Albert, who swings him round, r. Rosetta goes to Albert, l. — picture. 16 WILLIAM TELL. [Sc. 2. Erni. [awkwardly) Oh, how de do? I hope I see you Albert. Respect the future Mrs. Albert Tell J Stars ^ ee P not their motion in one sphere. .Lrm. Oh. lage! (turns up , r.) Al ' riL ( l ;';\, . . x , rm going to the mountains, dear. On the look-out for travellers. IvOSET. r\ 7. mi • i „ , Uon t eo. Plunk of the terrible amount of snow i-KNt; Yes, H- snow joke, (aside) I hope he will go too— T> 0 «„, °tFi 1- PS ’ u , p there > , he ’ 11 get his mountain due. w-ili kmS ,° moun iams due, this eau de vie. Will Keep the cramp away, as you will see. Jo change one word, a small joke to obtain, The “ eau de vie" delight in physics pain. LT! “\ A " d ; tPls cas e, remarks young Albert Tell— It physic Spam and Switzerland, as well Chord.—Enter Tell, r Sarm™ t • 7 ««' a™;, Tell. (r. corner) Away. Sarnem. (it. corner) Just so, on that we are agreed. Trfr 1 ' l' e ™! t a mutual friend to intercede, (goes up) I ell. Certainly not. Vt/ ^ S.U!NEM. (aside) Now, p’raps, would be the time lo tell the story of revenge and crime. btill, on the whole, I won’t, (to Tell) What’s your objection? J Iell. [conceitedly) Low birth—do not approve of the connection. Sarnem. [with ferocity) Low birth ! And yours? q ELL * , .. . Deserted when a baby. Sarnem. (with gratified malignity) Just so. ELL * T , It; ’ s ( l uite uncertain whom I may be. P raps I m a swell. J Sakneii. _ P’raps it’s as well you’re not. i our infancy- Tell * . A period Eve forgot;— / . . Y earliest recollections are the mountains, (with fervour) The crags, the peaks, the plateaus and the 1 know each tree,-each goat- [fountains, WILLIAM TELL. 17 Sc. 2.] Sarnem. What, every Billy? Tell. Each tiny mountain rill. Sarnem. No, do you nlly ? Your birth, though, you forget? (aside) That slightly stung. Tell. Birth ? well at that time I was rather young. Sarnem, Ha! ha! but never mind. T ell . I won’t. You, sir, Up to the mountains—though you may prefer To Alpine kids, that pretty little deal, You are not Ferguson and don’t lodge here. Roset. When mountain high do mind your neck, tor fear— Albert. When mountain eye —why I’m a mountain-ear. Sarnem. ’Tis time we all our business went about: u’d better sing a something and get out. Concerted Piece.—“ Oh , Mary ” and Dance. Tell. I’m in a quandary, Just like Mister Rarey Felt when Cruiser, Kicked about, and Plung’d away, as parties say. Roset. When you’re upon the mountain, Don’t tumble in a fountain. Erni. I wish he would, ’Twould do him good. And drive his love away. Tell. Oh, were he— Oh, were he— Not so dreadfully contrairy; Oh were he—Oh were he— Not so silly, as to love so. Erni. Mountaineering’s frightful! Some think it delightful ? Or they wouldn’t rove, and couldn’t Pass their time in Alpine climbin’. Albert. Tumbling over ridges— Slipping over bridges— 18 WILLIAM TELL. [Sc. 3. Nature is so obstinate in wild Helvetia!]. Erni. No Rarey—no Rarey E’er tamed filly more contrary! No Rarey—no Rarey Ever fought with a worse tern -par. Dance and exeunt , l. Scene Third.—“ Ye Crags and Peaks.” Music. —Gesler’s legs appear in the air , r. — after a kick or two the umbrella shews, then he sneezes, and comes down the sloping side of rock rapidly—red nose, comforter, and umbrella. Gesler. I thought my boots for holding fast were rippers ; But they slide so—they might as well be slippers. Suppose some wandering bear upon me pops, Amongst these peaks and pines, and mountain tops! Rocks are so plentiful—so rough and blocky, This Switzerland! it’s much more like Mo -rocky : Nothing but fir trees everywhere I stirs— I feel a great soft muff amongst the furs. No public near—oh, for some nice hot flip! With cold I’m pinched , but I can’t get nip. [comes further down) Here, on the Alps, it seems to always freeze; The Alps reminds me of my pair o’ knees, Which are a trembling so, it’s quite a bore; I never thought my lr*gs great shakes before, For they were both too spindle-shanked by half. But now I feel [coughs) I’ve got a calf! So cold, each finger numbed and sleepy grows; As for my feet, they're also coma-foes. [calling) Halloa! halloa ! No answer do I find, And this child's call is borne upon the wind. But bear up, Gesler, man, don’t be a flat. Ge-Gesler, where’s your courage? (Bear roars) Ho! what’s that? What means that roar?—that roar loud and imperial— Can’t say I cotton to that roar material. Oh, it’s a bear ! [goes, l.) and horrible to say, I do believe he’s bearing down this way. 19 SC. 3.] WILLIAM TELL. Don’t he look hungry ? What am I to do? (apause) I’ve somewhere read, I don’t know if it s true, Dead folks they never harm, but pass ’em by ; Which the experiment I’d better try. ' Just play a little music, will you, there, Something composed by—let’s see—by O-bear. [Music — Gesler lies down—Enter the Bear, r.— he walks round Gesler—Gesler watches Bear turn his bach, hits him with umbrella — Bear turns — Gesler pretends to be dead—this is repeated once or twice, at length the Bear retires , R.— Gesler looks up—lades his head — when Bear roars—looks up again—Music very piano) The swindle is successful; he’s retired. The bear’s an animal I once admired; ? But after this, ( laughs immoderately) I must say he s a fool. I think I kept myself uncommon cool. Bear enters , R. 1 e., very quietly and unperceived by Gesler. Ha, ha ! he thought that I was done for quite, And so he went away without a bite. This last, indeed, a most successful dodge I call. Th’ account I’ll forward to the Zoo-logical Society. Bear’s only fit for grease ; As to his common scents — [laughs — Bear has seeded himself by Gesler —looks round in horror and discovers his dangerous propinquity) Police I (Gesler bolts instantly — Music—pantomime rally — over bridge—pause — opens umbrella — meet—under arms, across — Gesler calls out, d la clown — slaps — Gesler gets down, l.—Bear goes r. —Enter Albert— sticks him — Bear up on bridge—into river — bang — Gesler fainting, l.) Albert, [coming down) Luckily I’ve my flask here, cased in wicker, So as our Yankee friends say, “ Stranger, licker.” [kneels—places bottle to lips— Gesler mechanically drinks — Albert draws back bottle, gradually — 20 WILLIAM TELL. [Sc. 3. Gesler sitting up drinking—opens lus eyes — moves bottle—wipes his mouth—drinks again — nods, as if drinking health—takes a long breath — music ceases ) Gesler. Gollopshus! you’re a credit to your mother. Not such bad eau de vie; I’ll take another. ( takes flask) I looks towards you. ( drinks) Albert, [aside) Safe to stand some pelf. Gesler. Uncommonly good cognac. ( drains flask ) Help yourself. Don’t stare, there’s some in it. Albert. Indeed there arn’t. Gesler. Oh, well, if you cant help yourself, you can't. I from my proper pathway, boy, had swerved; By rocks jammed in- Albert. Jammed! Gesler Yes. I’m now preserved! Albert. Where were you going ? Gesler. Altorf ! know the way ? If so, I’m rich, and can afford to pay. Albert. Cut that! for me, ’tis ample satisfaction, To feel that I perform a virtuous action, ’Tis true that father’s poor, and mother too, But as to gold we all despise it. Pooh! What, though we’re hungry, still we proudly know That virtue gilds our humble dwelling. Gesler. Oh! Wish virtue would gild mine, if but a portion 5 My bill for decoration was a caution. Albert. What, though we’re hungry, ain’t we free ? [digs in ribs ) Gesler. [aside) Uncommon! Is your mamma a w T ell conducted womman? Your pa’ respectable? hem, pays his taxes ? And doesn’t grumble ? Albert. Grumble ! why he racks his Poor brains, each day, to find how he can smash The tyrant who imposes them. A crash Must shortly come ; and pa’ will be the wrestler , Of power, from that hateful ruffian, Gesler I WILLIAM TELL. 21 Sc. 3.] _ _ He’s vowed to have his life and now it’s clear That Gesler’s doom’s as good as fixed. Gesler. ( falls against Albert overcome) Oh, dear! [recovering — aside) My life’s a burden; I receive each day Letters anonymous, such things they say— They hear no signature, but threaten fearful: I’d one this morning, one to make me cheerful: Threatening within one’s castle moat to souse one! Called me a rat. Albert, [who has heard last line) Rat! Gesler. An anony -mouse one. It’s dreadful. Albert, (r., aside) Who can this strange party be ? Gesler. You say your pa’s so fond of liberty l [blandly) What is his name ? Albert. The same as mine ! Gesler. Jus! so * What’s yours ? Albert. My pa’s ! Gesler. And his? Albert. Ihs pa’s! Gesler. Halloa. Beware, beware, you’ll tempt me, perhaps too far. Albert. Oh ! then I’ll go, and you’ll be-where you are. Gesler seizes him by arm , alarmed. Gesler. No, no, no, don’t leave me. Is this Gesler what— What you’ve described him ? Albert. Oh! a dreadful lot. Gesler. Good looking? Albert. Frightful, ghoulish, grim, and glum ; The ugliest villain that— Gesler. [conceitedly) Oh, hang it, come; I’ve heard he’s rather, rather, ha, ha! rather t’other. [swaggering conceitedly , twirling his sash ) Albert. Well now, from his description, I should say That he was something rather like yen. Gesler. Eh! Bosh ! most incomprehensible of boys, You really, positively—( sneeze heard, R.) Albert, [clutching Gesler) Ha, that noise 1 22 WILLIAM TELL. [Sc. 3. (Gesler awfully alarmed—his legs give way and clutching Albert’s arm , lie looks rapidly about trembling) Gbsler. Murder-stick by me-oh, don’t go without me, 1 ve got such lots of valleybles about me • Stay, and I’ll pension all of you—the lot; I’ll give you twice what Young, the poet, got. Don t go ! (leans on Albert’s shoulder) Albert It was the family sneeze, (sneeze again) Another! »VJio does that sneeze belong to? Speak* Emma. (without it.) Your mother! a , rn . (Albert starts away— Gesler/^s— drum) Albert. Tis she! ' (Emma rushes in, falls over Gesler — coal scuttle bonnet and old fashioned cloak) Emma * M y boy! {they embrace—picture) I couldn’t bear to know— As you was in the mountains, Albert, so; As your dear pa was out, I came to find you_ You’ve been and left your comforter behind you. (finds herself near Gesler— hops away in a fright) Some victim to the elemental strife. Gesler. (still cowering) Take everything I’ve got but spare my life. Mercy! Albert. Get up, it’s only mother! Gesler. (,sitting up, then rises) What? Emma, (curtseying) Which, sir, my son his comforter forgot. Desler. (shrugging his shoulders and bowing grotesquely) Dis comforter to him you arc, no doubt 5 Likewise your husband. Emma, (ogling, and turning aside) Really, I —Oh, get out! (pokes him in ribs) Your quizzing town ways make a party chuckle. Gesler. (aside) Fine woman,—with a well-developed knuckle. 1 Emma, (smoothing her hair) A handsome party, reely ! (Gesler takes her round waist—a little aside from Albert) esler. . # What’s your name? Emma. Which, sir, it’s Emma , if it’s all the same. WILLIAM TELL. 23 Sc. 3.1 Gesler. It isn't all the same; you’ve got another. (one step down ) You are a wife! Emma. I am! Gesler. (another step ) Likewise a mother! Emma. I are —I. am! Gesler. (. secretly and insinuatingly ) Your name’s- (aside, letting her go) It comes 1 Oh, joy ! Your name’s- [one! Albert, (takes Emma away , taking her place) Ain’t got Gesler. (aside) I shall kill that hoy. Albert. The governor’s an archer, good at game. Gesler. How can he shoot, if he’s without an aim ? Perhaps he shoots without a license , too. Emma, (crossing to Gesler) Well, sir, as folks say, entre Gesler. (starting) Ha, ha! \pious, he do. Emma, (hops about as if her corn was trodden on) Oh, oh ! Gesler. (apologising) Excuse me, my regret is most in- Your corn? [tense. Emma. No matter, its no corn-sequence. Indeed, you needn’t make the least apology. (a horn heard , cdl strike altitudes) Wh ence comes that horn ? Albert. Ain’t up in //ornithology! Gesler. Ha, ha, ’tis Sarnem come to my assistance, Albert. Sarnem! Gesler. You may di sarn’im in the distance. Enter Sarnem, l. 2 e. Concerted Piece —“ The Tell Gallop Sarnem. To Altorf we will go, With Gezzy-ler and Co. Emma. To Altorf we will go ; This gent the road doth know. Gesler. I’ll down upon this low Young Vagabond and Co.; I’ll down upon this vagabond, with my tyrannic toe. Dance of cdl the Characters and exeunt , r. * Composed by Frank Musgkavjb, and published by Sinclair and Co., 40, Great Marlborough Street. r 24 WILLIAM TELL. [SC. 4. Scene Fourth. — Before the Gates — Gesler 1 s House — “ Gester 11 on door , black letters on brass plate. Music , piano andniarked—Bitter 1 ell and Erni, stealthily ^ r.—Tell looks r. and l. Tell. Dare we do wliat we said we’d do ? Erni. We ^ are • Tell. Air we prepared to do the deed ? Erni. We air! Tell. Swear we to act upon the square? Erni. We swear! Tell. Good! ’Tis the spot! We are alone—none by— None save those birds who to this deed are fly; A deed which shall resound throughout our clime As something patriotic and sublime, Of which posterity will proudly talk As one most truly noble. Where’s the chalk ? Now for the deed for which we did assemble; j Gesler, thy doom is fixed ! Oppressor, tremble ! (Music during remainder of Tell’s speech) Now, Switzerland, it is.for thee alone I do this virtuous deed—let it atone For many crimes I have committed— see? Thus do I set my foot on tyrannee. Through ages shall this glorious action pass Tyrant ter-emble ! Gesler ( writes) “is a hass F* Eider Rosetta, l. Roset. I’ve watched these fellows many a time and oft. Tell, [to Erni, his hand on his shoulder) But soft, we are observed. Erni. Don t call me soft, I ain't soft. Tell. Go ! I would avoid suspicion. Exit Erni, quickly— Tell following. Roset. ( interposing) Where are you going ? Tell, [hiding his face) To the Exhibition! [crosses to l.) Roset. You’ll wipe that door down, Tell, ere you depart. Tell. Those burning words shall eat into his heart; My hand shall not work their obliteration; Through them, the rage of a half maddened nation WILLIAM TELL. 25 SC. 4.] Bursts forth in simple eloquence—ha, ha! Roset. If you don’t rub it out, I will. Oh, dear! Here’s pa’! * She goes to rub it out , when enter Sarnem, suddenly, chord — Sarnem, r.—Rosetta, c.—Tell, l. Sarnem. What do I see? Tell I Tell, {with great intensity) Yes, indeed, no other. In vain my patriot feelings do I smother, They smoulder and will out 5 within my breast, With ceaseless thump, that will not let me rest, Beats my rebellious heart ; and wildly drumming Against my ribs, declares- Sarnem. Here’s Gesler coming! Tell bolts quickly , l. 1 e. Music.—Enter Albert, r., who crosses to Rosetta — then Gesler —then Emma, with her bonnet crushed and looking very dilapidated. Gesler. Well, here w r e are again, as says the poet j Sarnem, I’ve given you instructions—go it. {goes up) Sarnem. {aside) It likes me not, but down compunction. {crosses to Rosetta) Emma, (r.) Oh! Why did I ever to the mountains go? Rheumatics, rapid, o’er my system gains; The Crystal Palace hasn’t got more pains. Roset. (l. — to Sarnem) What do I hear? {to Gesler) No, tyrant, it can’t be l Gesler. {seeing her) Ha, ha! who is this damsel fail to see. Who is she ? Sarnem. {trembling) Please, my daughter, {to her) Get away ! Gesler. Certainly not. Stay! I repeat, girl, stay! Emma, {aside) A pair of stays. (Gesler beckons to Rosetta to approach) Gesler. {chucks her under the chin) Ha, ha! Sarnem. {aside, l. corner) Oh, rage ! Albert, {having got round to R. c.) I say, We don’t permit folks to go on that way. This lady is engaged to me. c 26 WILLIAM TELL. Halloa! [SC. 4. Gesler. Don’t you know who I am ? Albert. Don’t care to know * Gesler. Who I am don’t seem plain. Koset. Oh, don’t it though t Uncommon plain, but now I look again, You’re much more of the chisel than the plane. Albert, {aside) If lie breaks out, I too, shall soon get clamorous. Koset. Talking of chisels, why he looks quite hammer - ous . Sarnem. (aside) We’re in for it a-pctrvi? Announce me! SaSem. (aside) Oh ! this fright 1 It’s Gesler! {chord) All. Gesler? Gesler. Rather —in fact, quite. Concerted Piece.— u On Yonder RocTc. Sarnem. In yonder form declining, That dark and swarthy form behold, Gesler, the tyrant, who prigs our gold ; That duffer low, that duffer low, duffer low. G esler. Tremble! Poset. Gesler ! Echo around repeating, Air changes to “ Cure.” That ugly man, No other than Ge—Gesler to oe sure. All. Oh, dear, dear, dear, dear, dear, dear, Gesler to be sure. > [all jump down upon last note , striking absurd attitudes) Poset. Pa’, scold me all you mean to do. {kneels to Gesler) Have mercy! . Emma. I don’t feel comfortable—wicey wersey. Poset. Surely you couldn’t put them in a cell. Emma. You won’t shut me up? Sarnem. {who has crossed to n. corner aside) Silence, Mrs. Tell. WILLIAM TELL. 27 Sc. 4.] Emma. Of our condition don’t be a derider; I goes into hysterics at a spider. ( kneels to Gesler) Let’s know our crime. Oh, Gesler, tell us, drat it! What we’ve done ? Gesler. Nothing; —and you’re always at it. You’re too free. Emma. Oh, behold a parent’s tear ! ’Tis in her eye —her rent is in lier-ear ; Gesler won’t get it next time of collecting, Unless I’m free to go. Gesler. This is affecting. (brings out ridiculous pocket handkerchief) Roset. (aside) He weeps. Forth from his breast his mouchoir draggin, is. Emma. Albert—Rosetta—go it—pile the agonies ! (Albert and Rosetta, each bring out handkerchiefs) Gesler. This sight unmans me. (blows his nose — trombone) Roset. Here, upon my knees- Gesler. This is affecting—go ! ( delight of all — Gesler seeing door) What’s that I sees? (lays hold of Emma) Emma. What's that you seize ? It’s me. Gesler. I just said “ go On that permission I put my wee-toe. (stamps on Sarnem’s foot — Sarnem glowers) Albert. What means this change ? Depart, you said, you’d let us. Gesler. Let us ! Pooh! let us ! Bring your heaviest fettus ! Some one shall pay for this, (crosses up and down) Albert. For what ? Gesler. See there ! (voinfs to door — music ) Albert. Agony ! pa’s handwriting, I declare. Emma. My William’s writing—flourishing and roomy— His blessed pot hooks is familiar to me. Gesler. He who wrote that shall swing. Emma. With awe I’m dumb ! Gesler. Pot hooks and hangers go together, mum. 28 WILLIAM TELL. "*—[Sc. 4 e Sarnem, I’ll make the people tremble yet. Go, get a pole. Sarnem. A pole ? Gesler. And on it set A hat. Make people bow. Albert. . My rage won’t melt. Gesler. A wide awake. My power shall be jclt. Roset. Bow to a hat? a frequent act, I vow; To things as empty, people often bow. Gesler. Shoot those who disobey me in the matter. Sarnem. If any one should ask me, who’s your hatter ? Gesler. No. matter who’s my hatter, don’t you chatter. Smash in their pudding heads! Sarnem. Pudding! Gesler - ' You’d batter. Enter Tell, l. Tell. Emma ! and Sarnem ! Gesler too, all here ! I can’t go off again it’s very clear; So I’ll stay on and brave it out— in plainer Language, I’m wanted for the tragic scena. This patriot’s voice, says one who knows it well, In the concerted piece we sing Will Tell. Concerted Piece. Recitative , arranged by F. Musgrave, Tell. Oh, dear ! oh, gracious ! Koset. Oh, dear ! oh, gracious! EEL * We’re all in for it; What shall we do ? G esler. You had best beware of Gesler— 1 ou had best mind your eye. ^ LL * You had best, &c. Roset. Oh, dreadful go now ! ELL - A fearful blow now ; Oh, yes a terrible, terrible, terrible, terrible foe now; Oh, sad quandary, it’s quite contrairy, ()h, dear, it s horrible, horrible, horrible, horrible, oh— All. Oh! ’ Emma. Ri fol de riddle um-wack fol de riddle iddle um. WILLIAM TELL. 29 Sc. 5.] » Gesler. Ri fol de riddle iddle whack fol de riddle iddle, Ri fol de riddle, fol de ray. Roset. Anthropoglossos—oh Japanesey. Sarnem. Oh, oh, Jerusalem! All. And Holborn Circus ! Gesler. You had best beware of Gesler; You had best mind your eye —(chorus second time) Away! away! it’s break of day, to Altorf we will toddle oh! Away! away! without delay, although we scarce can waddle oh! We scarce can wuddle, yet will toddle off to Altorf gaily oh ! With cold we're numb, and nearly dumb, oh yes, we are, mum, railly oh! Scene Fifth. — Market. Girls with baskets of fruit — Ballet—Enter Sarnem with two Myrmidons —Ballet up — All groan. Sarnem. (after ringing bell) It’s no use groaning at the pole, so cease, Or else I call the aid of the pole -ice; (sticks pole , c.) Behold the emblem of your master’s power! To which we hope you’ll be a pleasant bower,— In fact, I might add, quite a bower of roses. They stand defiant; I don’t like their poses. You needn’t look so wonderfully surly. Now then, as candidates observe, “ Pole early.” (Music .— Peasants bow till Erni, Melchtiial, Furst, and Verner come on at back) Erni. They’re actually bowing. They obey ; Gesler shall live to rue this wretched day. Sarnem. I say, my sprightly friend, you only nodded, You bow respectfully, or you’ll be quodded. Now then, another. (Peasant bows) Enter Tell, l. Come now, make your bows. Tell. What do I see? I see we’re in for rows. 30 WILLIAM TELL. [Sc. 5. Sarnem. (collaring Erni) Here, you bow down. Erni. Tell. Erni, you surely won’t. Erni. Please, sir, it wasn’t me. Well, sir, you see, I really— Sarnem. Bow! Tell. ( crosses to Sarnem) Bow wow ! Sarnem. [looking round) Who dares to lark? Come; u When I ope my lips let no dog bark.” (All laugh derisively —Sarnem rings bell) Tell. Silence that dreadful bell! Sarnem. A rescue, eh ? You vagabond, take that, (about to strike Erni) Tell, (interposing — picture) Well, strike away. Sarnem. Hit my child’s pa’-in-law as is to be ? Tell. Your daughter struck my son, why not strike me? Hit me. Sarnem. I can’t. Erni. Ha! he’s afraid. All. Hooray! Tell. I said a time would come—it’s come to-day. (Sarnem rings bell —Conspirators talk pluckily) The last straw breaks the camel’s back. In us See thou whose state has grown from wuss to wuss, Until o’erflowing in each bitter cup, Our wrongs are boiling over, (to Erni) Back me up; D’ye think with that to crush each ardent soul ? Would Gesler thus appal us with a pole ? Take it away, or our revenge we’ll slake it. What say! All. Hurray! Tell, (to Sarnem) That hint—you’d better take it. My blood is on the simmer—and of late Each party here’s been in a simmer- lar state. Sarnem. (aside) I’m losing my position—Here you snobs, Bow! Tell. He’s our gold, and now he wants our bobs. We won’t. All. No! Sarnem. (aside) Really, this is most unpleasant, Perhaps, we’d best postpone it for the present. WILLIAM TELL. 31 Sc. 5.] Tell. Our blood is up; this tyranny shall down. Sarnem, Skedaddle, if you’d save your crown. (Tell snatches up the pole , goes l., rushes to strike down Sarnem, Gesler enters , r., receives the blow — Picture —Sarnem, r.—Gesler, r. c. Tell, l. c.— Mob, l.—Gesler sits up) Tell. Down with the nobs—in all ways we’ll attack em ! Gesler. You may dislike nobs, but you needn’t crack em. ( to Sarnem) The hat, to which I fancied all had bowed, Don’t seem to have been pop’lar with the crowd. Sarnem. It isn’t pop’lar—which to own I grieve , The pole’s a poplar one, as you perceive. Gesler. Where’s the ringleader ? Tell. ( blustering forward ) Here! Gesler. ( retiring ) Your name? quick tell! Tell. Just so! Gesler. Just what? Tell. Just that! Gesler. Which ? Tell. Very wel11 You’ve said it. Gesler. What ? Tell. You’ll catch it if you’re keen. Gesler. Will you tell ? Tell. You Tell ! Double u Tell you mean. Gesler. ( after a pause ) Humph 1 Tell. No, that isn’t it. Gesler. What! Tell. Humph ! Gesler. (aside) Hem ! altogether, Don’t quite like the appearance of the weather. (all laugh —Sarnem is about to laugh , Gesler catches his eye , and he restrains himself) Gesler. What’s there ridic’lous in that hat ? take care ! Tell. Nothing ridic’lous when your head s not there. (all laugh —Sarnem again nearly goes off) Gesler. That’s emblematical of me — -be quick. Tell. ’Tis emblematical of you—a stick. (Sarnem roars out —Gesler hits him) Gesler. You hold your row. I say, you seem a wag. Tell. Of my abilities I scorn to brag ; 32 WILLIAM TELL. [SC. 5. I’m simply, p’raps, the smartest party out, And I’ve a step-son, who is p’raps about The smartest after me. Gesler. Tell. A son! Yes,—rather. Gesler. You have a son—then you must be a father? Exit Sarnem, r. Erni, I sink with fear. {to Sarnem) Fetch forth that boy! Tell, {to Erni) Can it be Albert ? Sarnem. (entering , l.) Now young man, come here. Enter Albert, in chains .* (chord— Conspirators give a jump — Tell, a violent start — Albert, ditto — Gesler dodging about , looking from one to the other — Gesler beckons Sarnem, v)ho goes to him) Gesler. Ha, ha ! (to Sarnem) Now, when the wind is southerly, I can tell A hawk from hernshaw, Sarnem, very well; I can from lark likewise distinguish widgeon, Of these two birds I have a strong sus -pigeon. This is his son. (turns and sees Tell making signs and Albert returning them) Ha, ha! (business —brings down Albert) D’ye see your father anywhere ? ha, ha! Albert. It’s a wise child, they say, that knows his pa’. Gesler. D’ye see him ! there are tortures ready. Albert. Are there? No—I’m short sighted and I can’t see farther. Gesler. Who’s he ? Albert. My father. What that ugly chap ? Sarnem. (aside) This boy is evidently up to trap. Gesler. (aside) We’ll see. Just have that youthful party led off.- And when you’ve taken him off, take his head off. (Albert, Tell and Conspirators repeat action , as does Gesler — Albert goes to Tell—Gesler crosses to Sarnem) Sarnem. Albert. Gesler. Tell. CONSPIRATORS- SC. 5.] WILLIAM TELL. 33 Albert, (aside) Governor, bear up. Come, I’ll look after mother. Tell. All filial feelings, Albert dearest, smother. Be firm. Emma, (outside) Where is he? (business of u Ha, ha!”— Albert and Tell give another jump — Gesler as before) What are they about ? Sarnem. (aside) It strikes me Mrs. Tell has broken out. Music.—enter Emma, l., with straw in her hair , stands c. Sarnem. How she could break her bonds, I can’t divine. Tell. Tyrant, she's lost her head—I needn't mine. Emma. Where’s William, Albert— both those luckless chaps ? G'esler. Somebody seize her. Emma. Somebody seize her! Julius Caesar, p’raps? Ha, ha! (cuts a ridiculous caper) Where’s Gesler? (with furious grasp) Gesler. (hops behind Sarnem) Keep her off! She’s mad! Albert, (aside) We’re done for, if she recognises dad. Emma. Where is my William? (sees and recognizes Tell) Ha! Gesler. This is the son. Emma. William! ( seizes him round neck) Tell. ( coldly ) Now, ma’am—when you’ve completely done. (disengages himself) Thank you. Who is this person ? Emma. Person! Me! Tell. Some slight mistake. Don’t know you. Emma. ^ ie • Albert, your pa disowns me. Albert. Does he, though ? Why, father’s miles away, as well you know. (nudges her — Gesler looks at them — Albert whistles unconcernedly) Gesler. (winks, aside) I see. (aloud) No doubt you re a prime shot, sir. Tell. t . . Well! Emma. Why, everybody’s heard of W illiam Tell. (great alarm on the parts of Tell, Sarnem, and Albert) 34 WILLIAM TELL. [SC. 5. The crack shot of the Canton, when he sups, His table is one mass of silver cups— Prizes; and then he's goblets, too, in plenty. Gesler. Which he’s won. Emma. . Which he's one, pooh ! which he's twenty. Gesler. Bring me an apple! Albert. What ? Tell. An apple?—queer! Emma. All’s going to end apple-y, my clear. Gesler. Ladies and gentlemen, behold this boy! Emma. His father’s hope—likewise his mother’s joy. Gesler. Upon his head, this interesting chap’ll Balance a moderate sized eating apple ; Which with an arrow you will hit. Tell. Oh, wife. That’s what I call a narrow squeak for life. (Tell, overcome, leans on Emma’s shoulder — Albert, plucky, taps his chest, and stands defiant —Guard brings on a basket of apples from r.) Albert. All right! (Guard comes down with basket, l. of Albert) Tell. . My own brave boy, so staunch and true. Albert. Go it, my pippins—here’s a chap’ll do! (selects enormous apple) Gesler. Why, nobody could miss that — let 'em bake it! Emma. If nobody can miss it, I shall take it. (takes apple and commences eating it — Gesler selects small one, holds it up — Albert pretends not to see it —then shuts one eye — Guard retires) Gesler. Now, there’s some skill in hitting that, you see. Albert. Some skill in hitting it—it’s killin me ! Down with the tyrant! (all groan) Gesler. Ha! (rushes into a crowd, and brings out a very small boy) Hulking, rebellious ruffian, bully me ! The real fact is, you’re all a deal to free; Load him with chains—we’ll teach these chaps to scoff. When I say load him—don’t you let him off. Now lead this other traitor forth, and put him Under yon tree, and let’s see if you’ll shoot him. 35 ■ Sc. 5.J WILLIAM TELL. Tell, (to Albert, taking his hand) Albert, don’t shake— all chance that would destroy; You’ve never been a very steady boy. Remember that my aim’s as true as steel, Albert, my noble fellow—how d’ye feel? Your poor step father’s pride, your mother’s pet. Albert. First rate. Tell. Fust rate! “Then we’ll frustrate him yet.” Enter Rosetta, l. Concerted Piece (sung with great expression ). Tell. Terrible thing to do, terrible thing to do, Terrible thing to do, to do, to doo-ooli. Roset. Horrible act you’ll rue, horrible act you’ll rue, Horrible act you’ll rue-oo-oo-ooh. Emma. Hoopity dooden doo, hoopity dooden doo, Hoopity dooden doo-oo-ooh. Gesler. Villanous hullabaloo, shut up you, Vagabond crew— Shallabala, baloo, baloo. All. ( coming down, demonstrating) Rub-a-dnb, rub-a-dub, Rub-a-dub, rub-a-dub, Rub-a-dub, rub-a-dub, dido, Row-de-dow, row-de-dow, Row-de-dowdy, dowdy, dow, dow, dow. Tell. Oh! Cavilling now won’t do, cavilling now won’t do, Cavilling now won’t doo-oo-ooh-oooh-ooh. Albert. Archery’ll pull us through, archery’ll pull us through; Archery’ll pull us through, oo-oo-oo. Sarnem. Regular case of su—regular case of su- Erni. Regular case of suicide for you. Emma. ( slower) Calomel and tolu, riddle kim dinky doo, Paddle your own canoe, canoe. All. Rub-a-dub, &c. (Albert goes off— Gesler coming down Jto sym - phony—he sings — All tilling intently) 36 WILLIAM TELL. [Sc. 5 Air , u Pal o' mine." Gesler. My dear boys, My dear boys. It’s, it’s a fad of mine, It’s a fad of mine; My dear boys, my dear boys, It’s a fad, a fad of mine. All. My dear boys, &c. (All dance to repeat, jumping down on last note — Symphony played through dialogue — Tell pre¬ pares to shoot — Everybody simultaneously pulls out telescope, and looks off at Albert) G esler. He falters. Erni. No, he don’t. Roset. He’s turning blue— Now white—now green. (Tell shoots — ALBERTcroius, “Cock a doodle doo!” —All rush down l., except Sarnem, Emma and Gesler, who go r.) Sarnem. Hit. Tell. What! My boy? Sarnem. The apple. Wondrous shot! Tell. ( turning fiercely on Gesler) Tyrant! Gesler. Hulloa! Tell. Another one I’ve got, See here, it is for you ! tyrannic lot! [adjusting arrow to how) Gesler. Murder! [putting Emma before him) Tell. That subterfuge shan’t shield ye. Emma. Oh! Where’s the police. Gesler [snatching a sword from Sarnem, and rushing upon Tell) Come on ! detested foe ! (Erni gives Tell a sword) Albert. Our pa shall win. Go it, my bricksy wicksies. A broadsword combat —Hicks’s favourite “ sixes.” (Tell gives Gesler a tremendous blow — Gesler falls) Sc. 5.] WILLIAM TELL. 37 Gesler. {on ground) Gesler's fate’s sealed so fell a blow you caught him. Wherever did you learn to fight? Emma. ( curtseying ) I taught him. * His present prime state of efficiencee Results from frequent practising with me. Teel. Upon the tyrant now I'll set my heel. Erni. What 'tis to be ground down, Bill, let him feel. Roset. Contented be with what you just did deal him. He must feel very sore. Tell. Sore! I shall heel him. ^ {going to do so — Sarnem interposes, crossing to Tell) Sarnem. The time has now arrived when I should tell The secret dire that doth my bosom swell. Gesler, you had a child ! Gesler. I had, an °hly one He vanished ; and my life has been a lonely one. His loss completely soured my loving natur'. The child, the nurse, and the perambulator Fell into a ravine one morning, smack; They literally went down in a crack. Sarnem. 'Tis true, the child went down, but then you see, Though he went down, he was brought up by me. rj.rcT Npvpr I Tell. What’s this? my childhood I forget! Nevertheless—but still—that is—and yet. Emma. Good. Very clear. ( applauding ) # ^ Sarnem. Yes, though perhaps bewilderm, I brought him up like one of my own childerin\ Behold him, there ! Gesler. Where? Sarnem. Here. Gesler. Here—where? Sarnem. There. (, folding his arms i Gesler. Bother! Sarnem. Why don’t you see the likeness to his mother ? Gesler. {looking round vaguely) Her living image— which is it you mean ? Tell. Me? Gesler. He? the Sarnem. Ouij —distressing scene! \ 38 WILLIAM TELL. [SC. 5. Tell. It seems that I’m your son. Gesler. Ha, ha ! my child. (they embrace) Emma. ’Sense me, I’m getting just the least bit wild. (to Gesler) If Dick’s father is Tom’s son- All. Yes, yes. Emma. AY hat relation are you to me ? (All intent ) Gesler. Mother-in-law! (Gesler and Emma 7nake a mutual rush — Gesler misses her and embraces Erni, r.—Emma embraces somebody else , l. — both are flung ofl] indignantly) Roset. (to Albert, coquetlishly) Now your stepfather proves the governor’s son, Against your wedding me it’s two to one. Albert, (his arm round her) “Two to one bar one,” dear, to quote the ring—a, That one is you and on that tiny finga, The ring will Albert pop , if you’ll but let it;— (aside) Though something else he first must pop to get it. Are we all happy? Emma. Oh yes, all. Sarnem. « But we: I shall retire to solitude and tea; My tastes are gloomy, spectral, dark, and mopy, Miss Anne Radcliffe , yes, and Miss-An-Thropy. Tell. But ere our piece is quite concluded, you Must lend your kindly aid to pull us through; The hour we’ve passed we’ll scarce consider waste, That’s if our apple sauce is to your taste. Emma. Hem! apple sauce goes nicely with roast pork. Apples indeed !—don’t listen to his stalk. Roset. Talking of apples it would be in keepin’ If you but make a point each night to peep-in .’ Emma. And to his apple remarks to add a rider, Please of our merits will you be d e-cider. Albert. I see a joke with which you’d be amused, On “ Pip’s Diary,” but it’s confused ; In fact, upon mature consideration, I don’t exactly see its apply- cation. - WILLIAM TELL. 39 Sc. 5.] Tell. ’Twill not be fruitless if each beam and rafter Echo each night your apple peals of laughter, And every night I’ll shoot at it once more, If to our apple you’ll but cry en-core. Emma. Gesleii. Tell, All. Finale.— u Flying Scud Galop." Now when our curtain falls, oh pray Our efforts don’t despise; Our faults forgive, likewise our play, Nor coldly criticize. Our author’s ta’en a story old. Whereon to string some fun; Remember, if inclined to scold, That everything’s been done. Oh my ! oh why ! what is a chap to do When a burlesque he’s got to write, Within a week or two. Oh my ! oh why ! (jockey dance by Characters — picture) Curtain,. 4 S No Goods Exchanged or Sent on Approval DESCRIPTIVE CATALOGUE OF PLAYS AND 5 DRAMATIC WORKS, With a Complete List oj Amateur Plays and Articles. CONTENTS. PAGE. Amateur Operas.36 Amateur Plays ..26 Articles needed by Amateurs .. ..45 Bits of Burlesques.32 Bound Set of Plays .23 Brought Burlesques.36 Bulwer Lytton’s Plays.22 Burnt Cork .45 Charades.32 Comic Dramas for Male Characters.. 36 Costumes, Male .39 Costumes, Female.42 Cumberland’s Edition.15 Darkey Drama .. 33 Dramas for Boys.. .. 36 English Operas .37 Ethiopian Dramas.33 Evening’s Entertainment.34 Fairy and Home Plays.. .. .. ..34 French Opera Bouffe’s.36 French’s (Late Lacy’s) Edition .. .. 2 French’s Standard and Minor Drama 13 Guide Books.35 Italian Operas. * ..36 Juvenile Plays .34 Knight’s Cabinet Shakespeare .. ..23 Ladies’ Plays.85 Lightning for Private Theatrioals .. 46 Make-up Book .48 Make-up Box.48 Male Character Pieces.31 PAGE" Miscellaneous Plays .20 Miscellaneous Works . . .. .. .. 23 Mrs. Jarley’s Wax Works.31 Music for Sale.37 Music to Loan .24 Nigger Jokes and Stump Speeches .. 34 Operettas. 31 Pantomimes .. .. .22 Parlour Comedies .. .. .. .. 35 Parlour Magic . ..35 Parlour Pantomimes .. .38 Pieces of Pleasantry .32 Reciters and Speakers.38 Ristori’s Plays.23 Rouad Games.35 RoU£e .46 Scenes for Amateurs ..23 Scriptural Plays.36 Sensation Dramas.32 Sensation Series .32 Serio-Comic Dramas. Male Characters 36 Shadow Pantomimes.37 Shakespearian Costumes .47 Shakespeare’s Plays .22 Tableaux Lights.45 Tableaux Vivants.48 Temperance Plays.30 Tom Taylor’s Comedies .. ., ..22 Vocal Music of Shakespeare's Plays 37 Wigs, Beards, Moustaches, &c.. . .. 47 Works on Costumes .47 ALL MAILABLE ARTICLES IN THIS CATALOGUE SENT POST FREE IN GREAT BRITAIN. FOREIGN POSTAGE MUST BE ADDED. IN ORDERING AND REMITTING BY MAIL ALWAYS SEND P.O.O. IF POSSIBLE. London: SAMUEL FRENCH, PUBLISHED, 8 9, STRAND. New York: SAMUEL FRENCH & SON, PUBLISHERS, 122, NASSAU STREET. Payment MUST accompany each Order . Those who receive extra Catalogues kindly hand them to Friends FRENCH’S ACTING per Vol., 6d.' each. isn 1502 1503 1501 1505 1506 15)7 1503 15 >!) 1510 1511 1512 1513 1511 1515 VOLUME 101. Blow for Blow Bought Cherry and Fair Star State Prisoner Waltz, by Arditi The William Simpson An Optical Delusion Green-eyed Monster Crimeless Criminal Billy Doo Phantom Breakfast Barnaby Rudge Popocatapetl Midnight, the 13th Chime Country Girl 1516 1517 1518 1519 1520 1521 1522 1523 1524 1525 1526 1527 1528 1529 1530 VOLUME 102. Jaques Strop London Bridge. Is. Absent Man Race for a Dinner Sweeny Todd Fast Coach My Very Last Proposal Shipmates A Love Test Two Blinds All atC. My Husband’s Secret His own Enemy Plots for Petticoats Hugger Mugger 1531 1532 1533 1534 1535 1536 1537 1538 1539 1510 1541 1542 1543 15*44 1545 VOLUME 103. Alone Madame Angot. O. Bouffe Roll of the Drum Eugene Aram Green Old Age A Lucky Sixpence The Last Life The Miser Trip to Scarborough Belphegor. (Webb.) 5 oan of Arc East Lynne Mary Edmonstone Cast King of Granada Pygmalion and Galatea 1546 1547 1548 1519 1550 1551 1552 1553 1554 1555 1556 1657 1558 1559 1560 VOLUME 104. Keeper of the Seals The Fair Penitent Grace Darling Miss Chester The Soul of Honor Ready Money Hans Von Stein Laugh when you can Plague of my Life Atonement. Les Mis- Charms [erables. Staff of Diamonds A Fail Encounter Cabin Boy Wheel of Fortune 1561 1562 1563 VOLUME 105. Caught in his own Trap Laid up in Port For Better or Worse 1564 Love Wins 1565 Deeds, not Words 1566 Lottery of Life 1567 Tramp’s Adventure 1568 Tradesman’s Son 1569 Sixteen String Jack 1570 The Miller’s Maid 1571 Allow me to Apologise 1572 D'ye know me now lo73 The Sea 1574 Our Pet 1575 Stolen Jewess VOLUME 106. 1576 20 min. under Umbrella 1577 Mr. Joffin’s Latch Key 1578 Watch and Wait 1579 Family Pictures 1580 Agnes De Vere 1581 The Two Orphans Is. 1582 The Fatal Glass 1583 Ashore and Afloat 1584 Jeannette and Jeannot 1585 By Royal Command 1586 Blow in the Dark 15"7 Painless Dentistry 1588 Taking the Veil 1589 Rely on my Discretion 1590 Who Stole the Clock 1 1628 Seven Sins 1629 Good Natured Man 1630 Hand and Glove 1631 Keep your Eye on 11 1632 British Boru 1633 Jessamy’s Courtship 1634 False Alarm 1685 Up in the World VOLUME 107. 1591 The Bridal Wreath 1592 The Gold Fiend 1593 Tom Bowling 1594 Narcisse the Vagrant 1595 Everyone has his fault 159 > The Devil’s Ducat 1597 Parted 1598 Love and Honour 1599 On the Clyde 1600 Mary’s Dream 1601 Bitter Reckoning 1602 The Vampire 1603 Headless Horseman 1604 Oor Geordie 1605 Eileen Oge 1636 1637 1638 1639 1640 1641 1642 1643 1644 1645 1646 1647 1648 1649 1650 VOLUME 110. Uncle’s Will, Is. Fame One in the Hand, &c Chain of Guilt Peter Bell Little Sunshine Insured at Lloyds Demon of the Desert Dice of Death False Colours Rose of Corbeil The Signal Tower of Lochlain Vidocq Weaver of Lyons VOLUME 111. 1651 Who’ll lend me a Wit 1652 Extremes meet 1653 Bould Soger Boy 16 54 Golden Plough 1655 Sweethearts 16‘6 Little Back Parlour 1657 Anchor of Hope 1658 Home Again 1659 Sylvester Daggerwoo 1660 Tale of a Comets 1661 Deep Red Rover, Br 1662 Unprotected Female 1663 Under False Colours 1664 Heroes "V , r VOLUME 108. 1606 Cracked Heads burl. 1607 Jacket of Blue 1608 Bathing 1609 Ladies Battle 1610 An Old Score 1611 For Honor Sake 1612 My Sister from India 1613 Our Bitterest Foe 1614 Maria Martin 1615 Among the Relics 1616 Nabob for an hour 1617 An Old Man 1618 Village Nightingale 1619 Our Nelly 1620 Partners for Life VOLUME 109. 1621 Chopstick and Spfkins 1622 Chiselling 1623 Barbarossa 1624 Birds in their little, &c. 1625 Pretty Predicament 1626 The Wife, Is. 1627 Brian Boroihme LACY’S COSTUMES. —Dramatic and Historical, Male and Female, er in Thirty-four Parts of Six Plates each, beautifully coloured, 3s. per part, or plain. # Complete in two Vols., handsomely bound in red, £5 5s. each; plain 3 “Lacy’s invaluable Books on Costume give full particulars of eve variety of Dramatic and Historical Costume from the period of the Ancic Briton to the present day .”—Court Journal.