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# Dramas (Baillie)

DRAMAS.
VOL. I.
London: Printed by A. Spottiswoode, New-Street-Square.
DRAMAS,
BY
JOANNA BAILLIE.
IN THREE VOLUMES.
VOL. I.
LONDON:
PRINTED FOR LONGMAN, REES, ORME, BROWN, GREEN, & LONGMAN, PATERNOSTER-ROW.
1836.
volume 1
Contents
| Advertisement | | | v |
| Romiero | A Tragedy | | 1 |
| | | Act 1 | 3 |
| | | Act 2 | 20 |
| | | Act 3 | 45 |
| | | Act 4 | 66 |
| | | Act 5 | 101 |
| The Alienated Manor | A Comedy | | 121 |
| | | Act 1 | 123 |
| | | Act 2 | 149 |
| | | Act 3 | 182 |
| | | Act 4 | 205 |
| | | Act 5 | 228 |
| Henriquez | A Tragedy | | 251 |
| | | Act 1 | 253 |
| | | Act 2 | 274 |
| | | Act 3 | 302 |
| | | Act 4 | 314 |
| | | Act 5 | 336 |
| The Martyr | A Drama | | 371 |
| | | Preface | 373 |
| | | Cast | 388 |
| | | Act 1 | 389 |
| | | Act 2 | 407 |
| | | Act 3 | 437 |
| Note to the Drama | | | 463 |
volume 2
Contents :
| To the Reader | | | v |
| The Separation | A Tragedy | | 1 |
| | | Act 1 | 3 |
| | | Act 2 | 19 |
| | | Act 3 | 42 |
| | | Act 4 | 63 |
| | | Act 5 | 87 |
| The Stripling | A Tragedy | | 107 |
| | | Act 1 | 113 |
| | | Act 2 | 132 |
| | | Act 3 | 156 |
| | | Act 4 | 171 |
| | | Act 5 | 193 |
| The Phantom | A Musical Drama | | 215 |
| | | Act 1 | 217 |
| | | Act 2 | 272 |
| Enthusiasm | A Comedy | | 321 |
| | | Act 1 | 323 |
| | | Act 2 | 356 |
| | | Act 3 | 404 |
volume 3
Contents :
| Witchcraft | A Tragedy | | 1 |
| | | Act 1 | 3 |
| | | Act 2 | 48 |
| | | Act 3 | 77 |
| | | Act 4 | 102 |
| | | Act 5 | 134 |
| The Homicide | A Tragedy | | 165 |
| | | Act 1 | 167 |
| | | Act 2 | 208 |
| | | Act 3 | 245 |
| The Bride | A Drama | | 279 |
| | | Act 1 | 281 |
| | | Act 2 | 311 |
| | | Act 3 | 344 |
| The Match | A Comedy | | 369 |
| | | Act 1 | 371 |
| | | Act 2 | 408 |
| | | Act 3 | 453 |
| Appendix | | | 481 |
| | Witchcraft | | 483 |
| | The Homicide | | 485 |
| | The Bride | | 491 |
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Dramas (Baillie)/Appendix/Note to "The Homicide"

NOTE TO "THE HOMICIDE."
As it has been thought, by a gentleman professionally conversant on these subjects, that the scene on board of ship is only fitted for a melodrama, and perhaps with justice, I have subjoined what follows, to be substituted in its room by any manager of a theatre, who may be of the same opinion, and who may, at the same time, consider this drama as worthy of representation. The simplest way, no doubt, would have been to have omitted the objectionable part altogether, and to have placed the following scenes in the body of the piece; but as my own opinion on the subject does not entirely coincide with that above mentioned, I have preferred this mode of removing the difficulty. Since our two principal theatres are of such large dimensions, and possess so many capabilities of effect from scenery and from light, I can see no reason why some of the divisions of a regular drama may not occasionally receive the advantage of such powerful auxiliaries. And, indeed, I am scarcely entitled to call this a regular piece, consisting, as it does, of three acts, and written chiefly in prose, that it might be the better adapted to a large theatre, in which blank verse cannot be so readily understood.
SCENE I.
The Entrance-hall of a small Inn on the Sea-shore: knocking heard at the Door.
Enter Landlady.
LANDLADY.
VOICE (without).
LANDLADY.
Enter Claudien.
CLAUDIEN.
LANDLADY (after looking at him steadfastly).
CLAUDIEN.
LANDLADY.
CLAUDIEN.
LANDLADY.
CLAUDIEN.
[Exit, passing her quickly , and she follows him, holding up her hands in amazement.
SCENE II.
The Sea-shore by early dawn.
Enter Mariners and Passengers, carrying small packages and various matters in their hands.
FIRST PASSENGER.
FIRST MARINER.
SECOND MARINER.
FIRST MARINER.
FIRST PASSENGER.
Enter Landlady, with a small basket.
THIRD MARINER.
LANDLADY.
FIRST MARINER.
LANDLADY (pointing).
[Exeunt Mariners, &c. Manent only Landlady and Third Mariner.
THIRD MARINER.
LANDLADY.
THIRD MARINER.
LANDLADY.
THIRD MARINER.
LANDLADY.
THIRD MARINER.
LANDLADY (tossing up her arms).
THIRD MARINER.
LANDLADY.
THIRD MARINER.
LANDLADY.
THIRD MARINER.
LANDLADY.
# Dramas (Baillie)/Advertisement

ADVERTISEMENT.
The greater number of the Dramas contained in the following volumes have been written many years ago; none of them very recently. It was my intention not to have them published in my lifetime; but that, after my death, they should have been offered to some of the smaller Theatres of our Metropolis, and thereby have a chance, at least, of being produced to the public with the advantages of action and scenic decorations, which naturally belong to dramatic compositions. But the present circumstances connected with our English Theatres are not encouraging for such an attempt; any promise of their soon becoming so is very doubtful; and I am induced to relinquish what was at one time my earnest wish. This being the case, to keep them longer unpublished would serve no good purpose, and might afterwards give trouble to friends whom I would willingly spare. They are, therefore, now offered to the public, with a ​diffident hope that they may be found deserving of some portion of its favour and indulgence.
The first volume comprises a continuation of the series of Plays on the stronger Passions of the Mind, and completes all that I intended to write on the subject: for envy and revenge are so frequently exposed in our Dramas,—the latter, particularly, has been so powerfully delineated,—that I have thought myself at liberty to exclude them from my plan as originally contemplated. The two following volumes of Miscellaneous Plays will complete the whole of my Dramatic Works.
In thus relinquishing my original intention, there is one thing particularly soothing to my feelings,— that those frendly readers who encouraged my early dramatic writings (alas, how reduced in numbers!) will see the completion of the whole. This will, at least, gratify their curiosity; and it would be ungrateful in me not to believe that they will, also, take some interest in the latter part of a work, the beginning of which their partial favour so kindly fostered.
With the exception of two Dramas, "The Martyr," and "The Bride," the matter of the ​following volumes is entirely new to the public; but, as only one edition of the former, and two small editions of the latter, have been circulated, there are few persons who can be possessed of either. Besides, as they are on subjects particularly fitted to interest and improve a young mind, they may be given away to youthful readers, disjoined from the general stock; and, in that case, will scarcely be considered as useless duplicates.
WORKS
BY THE SAME AUTHOR.
PLAYS on the PASSIONS. In Three Vols. 8vo. Price 1l. 11s. 6d. Boards.
MISCELLANEOUS PLAYS. 8vo. Price 9s. Boards.
The FAMILY LEGEND. 8vo. Price 3s. 6d.
METRICAL LEGENDS of EXALTED CHARACTERS. 2d Edition, 8vo. Price 14s. Boards.
ALSO,
A COLLECTION of POEMS, chiefly Manuscript, and from living Authors. Edited for the benefit of a Friend, by Joanna Baillie. 8vo. Price 1l. 1s. Boards.
# Dramas (Baillie)/Appendix

APPENDIX.
* The Tragedy on Witchcraft
* Note to "The Homicide"
* Preface and Notes to "The Bride"
# Dramas (Baillie)/Appendix/The Tragedy on Witchcraft

APPENDIX.
THE TRAGEDY ON WITCHCRAFT.
The subject of this drama was first suggested to me by reading that very curious and original scene in the "Bride of Lammermuir," when the old women, after the division of largess given at a funeral, are so dissatisfied with their share of it, and wonder that the devil, who helps other wicked people willing to serve him, has never bestowed any power or benefits upon them. It appeared to me that the gifted author had come within one step of accounting for a very extraordinary circumstance, frequently recorded in trials for the crime of witchcraft,—the accused themselves acknowledging the crime, and their having had actual intercourse with Satan and other wicked spirits. This was a confession that was sure to be followed by a cruel death, and the conjectures produced to account for it have never been satisfactory. It has been supposed that, previously to their trial, from cruel treatment and misery of every kind, they desired to have an end put to their wretched existence, even at the stake. But this is surely not very probable; for, if a fair trial by unprejudiced judges acquitted them of the crime,—a circumstance not likely to happen,—it was still in their power to get rid of life in the first river or pond deep enough to drown them, or by some other means less dreadful than fire and faggot. Neither can it be supposed that such confessions, at least all of them, were made in a state of delirium. It is more reasonable to suppose that some of those unhappy creatures, from the state of their minds, and from real ​circumstances leading to it, actually did believe themselves to have had intercourse with the Evil One, consequently to be witches; and the design of the play is to illustrate this curious condition of nature. Soon after the publication of that powerful and pathetic novel, I mentioned my thoughts upon the subject to Sir W. Scott, and urged him to pursue the new path he had just entered into. That I was unsuccessful in my suit, and failed to persuade him to undertake the subject, all his warm admirers—and who are not?—must regret,—a regret that will not be diminished by the perusal of the Tragedy on Witchcraft. The language made use of, both as regards the lower and higher characters, is pretty nearly that which prevailed in the West of Scotland about the period assigned to the event, or at least soon after it; and that the principal witch spoke differently from the other two, is rendered probable from her being a stranger, and her rank in life unknown. Even in those days the well-educated classes were distinguished from their neighbours on the south side of the Tweed, by their accent and pronunciation, rather than any actual difference of words.
The story is entirely imaginary, one circumstance excepted, viz. the piece rent from the gown of the supposed witch, produced in court as a proof that she had actually been present, though invisible, in the chamber of the tormented patient,—a real circumstance, mentioned, I believe, in one of the trials for witchcraft, though I forget where.
# Drakely v. Gregg

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
75 U.S. 242
Drakely v. Gregg

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Dramas (Baillie)/Enthusiasm

ENTHUSIASM:
A COMEDY.
IN THREE ACTS.
PERSONS OF THE DRAMA.
MEN.
Lord Worrymore. Colonel Frankland. Blount. Sir John Crofton. Clermont. Hugh, a Boy. Paterson, Servant of Colonel Frankland. Manhaunslet, a German Vagrant.
Visiters, Servants, &c.
WOMEN.
Lady Worrymore. Lady Shrewdly. Miss Frankland. Mrs. Brown. Barbara, the Attendant of Miss Frankland.
Visiters, Servants, &c.
* Act 1
* Act 2
* Act 3
# Eight or Nine Wise Words about Letter-Writing/How to begin a Letter

§ 2. How to begin a Letter.
If the Letter is to be in answer to another, begin by getting out that other letter and reading it through, in order to refresh your memory, as to what it is you have to answer, and as to your correspondent's present address (otherwise you will be sending your letter to his regular address in London, though he has been careful in writing to give you his Torquay address in full).
Next, Address and Stamp the Envelope. "What! Before writing the Letter?" Most certainly. And I'll tell you what will happen if you don't. You will go on writing till the last moment, and just in the middle of the last sentence, you will become aware that 'time's up!' Then comes the hurried ​wind-up—the wildly-scrawled signature—the hastily-fastened envelope, which comes open in the post—the address, a mere hieroglyphic—the horrible discovery that you've forgotten to replenish your Stamp-Case—the frantic appeal, to every one in the house, to lend you a Stamp—the headlong rush to the Post Office, arriving, hot and gasping, just after the box has closed—and finally, a week afterwards, the return of the Letter, from the Dead-Letter Office, marked "address illegible"!
Next, put your own address, in full, at the top of the note-sheet. It is an aggravating thing——I speak from bitter experience——when a friend, staying at some new address, heads his letter "Dover," simply, assuming that you can get the rest of the address from his previous letter, which perhaps you have destroyed.
​Next, put the date in full. It is another aggravating thing, when you wish, years afterwards, to arrange a series of letters, to find them dated "Feb. 17", "Aug. 2", without any year to guide you as to which comes first. And never, never, dear Madam (N.B. this remark is addressed to ladies only: no man would ever do such a thing), put "Wednesday", simply, as the date!
"That way madness lies."
# Eight or Nine Wise Words about Letter-Writing/How to end a Letter

§ 4. How to end a Letter
If doubtful whether to end with 'yours faithfully', or 'yours truly', or 'yours most truly', &c. (there are at least a dozen varieties, before you reach 'yours affectionately'), refer to your correspondent's last letter, and make your winding-up at least as friendly as his: in fact, even if a shade more friendly, it will do no harm!
A Postscript is a very useful invention: but it is not meant (as so many ladies suppose) to contain the real gist of the letter: it serves rather to throw into the shade any little matter we do not wish to make a fuss about. For example, your friend had promised to execute a commission for you in town, but forgot it, thereby putting you to ​great inconvenience: and he now writes to apologize for his negligence. It would be cruel, and needlessly crushing, to make it the main subject of your reply. How much more gracefully it comes in thus! "P.S. Don't distress yourself any more about having omitted that little matter in town. I won't deny that it did put my plans out a little, at the time: but it's all right now. I often forget things, myself: and 'those who live in glass-houses, mustn't throw stones', you know!"
When you take your letters to the Post, carry them in your hand. If you put them in your pocket you will take a long country-walk (I speak from experience), passing the Post-Office twice, going and returning, and, when you get home, will find them still in your pocket.
# Eight or Nine Wise Words about Letter-Writing/On Stamp-Cases

§ I. On Stamp-Cases.
Some American writer has said "the snakes in this district may be divided into one species—the venomous." The same principle applies here. Postage-Stamp-Cases may be divided into one species, the "Wonderland." Imitations of it will soon appear, no doubt: but they cannot include the two Pictorial Surprises, which are copyright.
You don't see why I call them 'Surprises'? Well, take the Case in your left-hand, and regard it attentively. You see Alice nursing the Duchess's Baby? (An entirely new combination, by the way: it doesn't occur in the book.) Now, with your right thumb and forefinger, lay hold of the little book, and ​suddenly pull it out. The Baby has turned into a Pig! If that doesn't surprise you, why, I suppose you wouldn't be surprised if your own Mother-in-law suddenly turned into a Gyroscope!
This Case is not intended to carry about in your pocket. Far from it. People seldom want any other Stamps, on an emergency, than Penny-Stamps for Letters, Sixpenny-Stamps for Telegrams, and a bit of Stamp-edging for cut fingers (it makes capital sticking-plaster, and will stand three or four washings, cautiously conducted): and all these are easily carried in a purse or pocket-book. No, this is meant to haunt your envelope-case, or wherever you keep your writing-materials. What made me invent it was the constantly wanting Stamps of other values, for foreign Letters, Parcel Post, &c., and finding it very bothersome to get at the ​kind I wanted in a hurry. Since I have possessed a "Wonderland Stamp Case", Life has been bright and peaceful, and I have used no other. I believe the Queen's laundress uses no other.
Each of the pockets will hold 6 stamps, comfortably. I would recommend you to arrange the 6, before putting them in, something like a bouquet, making them lean to the right and to the left alternately: thus there will always be a free corner to get hold off, so as to take them out, quickly and easily, one by one: otherwise you will find them apt to come out two or three at a time.
According to my experience, the 5d., 9d., and 1s. Stamps are hardly ever wanted, though I have constantly to replenish all the other pockets. If your experience agrees with mine, you may find it convenient to ​keep only a couple (say) of each of these 3 kinds, in the 1s. pocket, and to fill the other 2 pockets with extra 1d. stamps.
# Dictionary of National Biography, 1912 supplement/Luke, Jemima

​LUKE, Mrs. JEMIMA (1813–1906), hymn-writer, daughter of Thomas Thompson, was born at Islington, London, on 19 Aug. 1813. Her father was one of the pioneers of the Bible Society, assisted is the formation of the Sunday School Union, and helped to support the first floating chapel for sailors. In 1843 she married Samuel Luke, a congregational minister, who died in 1873. After his death she resided at Newport, Isle of Wight, where she died on 2 Feb. 1906. An ardent nonconformist, she was an active opponent of the Education Act of 1902, and was summoned among the Isle of Wight 'passive resisters' in September 1904— the oldest 'passive resister' in the country.
Mrs. Luke, who edited 'The Missionary Repository,' published among other books: 'The Female Jesuit' (1851), 'A Memoir of Eliza Ann Harris of Clifton' (1860), and 'Early Years of my Life' (1900), an autobiography. She is best known by her children's hymn, 'I think when I read that sweet story of old,' which became became classical. It was written in 1841 while Mrs. Luke was travelling in a stage-coach between Wellington and Taunton, prompted by a previous hearing at the Normal Infant School in Gray's Inn Road, London, of the time associated with it. The hymn was printed first in the 'Sunday School Teachers' Magazine' (1841); in 1863 it appeared, anonymously, in 'The Leeds Hymn Book,' and has since been admitted to all hymn-books of repute.
[Private information; Julian's Dictionary of Hymnology; British Weekly, 8 Feb. 1906; Musical Times, February 1905.]
J. C. H.
# Dictionary of National Biography, 1912 supplement/Lutz, Wilhelm Meyer

​LUTZ, WILHELM MEYER, commonly known as Meyer Lutz (1829–1903), musical composer, was born probably in 1829, though other dates have been given, at Münnerstadt, near Kiasingen, Bavaria where his father was organist and harmony professor at the Schullehier Anstalt Meyer Lutz, growing up in a musical atmosphere became a good pianist in childhood, and at twelve years old played in public with orchestral accompaniment. He afterwards studied at the Gymnasium, Würzburg. passing in due course to the university, and pursued his musical studies under Eisenhofer and Keller. In 1848 he was in England where he remained for life. He was organist of St. Chad's, Birmingham, and then of St. Ann's, Leeds. He conducted at the Surrey Theatre, London, 1861-6, and went on tours through the provinces with Italian operatic artists and the Pyne-Harrison company. He finally settled in as conductor at the newly opened Gaiety ​Theatre. He held the office from March 1869 till 1896. He was also organist and choirmaster at St. George's Roman catholic cathedral, Southwark. For the church he composed several grand masses, five Magnificats (published), a Tantum Ergo, and much other music. He edited a complete collection of motets for the ecclesiastical year, including some of his own, which were rather trivial. He was far better known by the very many settings of the lightest kind of musical entertainments which he composed for the Gaiety Theatre (cf. for details, the Sketch, 18 April 1894). His most successful tune was the 'Pas de Quatre' in 'Faust Up to Date' (1888). In a rather larger style he produced the operettas 'Faust and Marguerite' (1855), 'Blonde and Brunette' (1862), 'Zaida' (1868), 'Miller of Milburg' (1872), 'Legend of the Lys' (1893), and a concert-cantata 'Herne the Hunter' (1863). He left also unpublished works in the more ambitious forms of instrumental music. Lutz died in West Kensington, London, on 31 Jan. 1903. He married in succession two sisters, whose maiden name was Cooke.
[Meyer Lutz's works in Brit. Mus. Library ; Grove's Dict. of Music ; John Hollingshead's Gaiety Chronicles, 1898 (with portrait); Musical Times, and Musical Herald, March 1903; information from Dr. Hornsey Casson and Mr. Leopold Stern.]
H. D.
# Domestic Encyclopædia (1802)/Hog-weed

Edition of 1802.
​Hog-weed. See Cow-parsnip.
# Domestic Encyclopædia (1802)/Horse-balls

Edition of 1802.
​Horse-balls, among farriers, are given only for the purpose of ​conveying into the stomach of that nice and noble animal, the more disagreeable drugs which it would not swallow in drenches. Hence these balls should not exceed the size of a pullet's egg, and be dipped in sweet oil previous to their administration, that they may pass down the throat with greater facility. But as some horses have a straight gullet, and are remarkably averse to this method of taking medicine, it would be preferable to give them drenches, or mixtures with bran, or other mashes.—See Farriery.
# Domestic Encyclopædia (1802)/Horse-radish

Edition of 1802.
​HORSE-RADISH, or Cochlearia Armoracia, L. an indigenous perennial plant, growing on the sides of ditches, the banks of rivers, and other damp places; flowering in the month of May.
It has a strong pungent smell; a penetrating acrid taste; and is refused by every kind of cattle.—The root, when scraped, is much used at the table as a condiment for fish, roast beef, &c.; it is also employed for many other culinary purposes; and might, in times of scarcity, afford flour for bread. With this intention, however, the roots ought to be collected in autumn, and treated in the manner already described, vol. i. pp. 447 and 513.—But, if horse-radish be intended for immediate use, it ought to be dug out of the ground fresh, only from October to March; or to be gathered in the spring, then dried, reduced to powder, and preserved in bottles closely stopped, for occasional use; when it should be previously moistened with spring water.—When steeped and digested in vinegar, during a fortnight, this root is said effectually to remove freckles in the face.
In paralytic complaints, horse-radish has sometimes been applied, with advantage, as a stimulating remedy to the parts affected.—A strong infusion of it excites vomiting; and is greatly recommended by Sydenham in dropsies, particularly such as succeed intermittent fevers.—Prof. Beckmann mentions this vegetable among the mosl proper substances for tanning or currying leather.
# Domestic Encyclopædia (1802)/Horehound, the Water

Edition of 1802.
​HOREHOUND, the Water, or Gypsywort, Lycopus Europæus, L. an indigenous perennial plant, which grows on sandy ground, on the banks of streams and ponds; it flowers from July to September.
The French manufacturers are chiefly indebted to this plant for the deep black colour of their cloth; its juice imparts a permanent dye to wool, silk and linen, and is much used by travelling gypsies, for the purpose of staining their faces.