Читать книгу The Life and Romances of Mrs. Eliza Haywood - George Frisbie Whicher - Страница 8
Act I. The German princes hail Frederick, recently elected Emperor. Count Waldec and Ridolpho, in league with the Archbishop of Metz, conspire against him. Waldec urges his sister Adelaid to marry the gallant Wirtemberg. Sophia, her woman and confidant, also urges her to marry, but Adelaid can only reply, "I charge thee Peace, Nor join such distant Sounds as Joy and Wirtemberg," and during the rest of the act proclaims the anguish inspired by her unrequited passion for Frederick, married three years before to a Saxon princess. Act II. The conspirators plan to kill Frederick. Adelaid reproaches him for abandoning her. He welcomes his imperial consort, Anna, and takes occasion to deliver many magnanimous sentiments. Act III. Adelaid declares that she cannot love Wirtemberg. Waldec excites the impatient lover to jealousy of Frederick. Ridolpho is banished court for murder. Act IV. Frederick is distressed by Wirtemberg's discontent. The Empress, seeking to learn the reason for it, is infected by Wirtemberg's suspicions. Adelaid overhears Ridolpho and Waldec plotting to slay Frederick, but hesitates to accuse her own brother. Wirtemberg reproaches her for her supposed yielding to Frederick, and resolves to leave her forever. Act V. Adelaid, in order to warn him, sends to ask the Emperor to visit her. Waldec intercepts the letter and resolves to murder Frederick in her chamber. Wirtemberg learns that he has been duped and defends the Emperor. Waldec and Ridolpho are killed, though not before they succeed in mortally wounding Frederick, who dies amid tears.
ОглавлениеGenest says with truth that the love scenes are dull, and that the subject is not well calculated for dramatic representation. The play was acted only the usual three times, and fully deserved the deep damnation of its taking off.
In 1730 Mrs. Haywood took part in the "Rival Father, or the Death of Achilles," written by her friend, the actor and playwright William Hatchett, and performed at the Haymarket.[13] Three years later she joined with him to produce an adaptation of Fielding's "Tragedy of Tragedies, or the Life and Death of Tom Thumb the Great" on the model of Gay's popular "Beggar's Opera." The "Opera of Operas" follows its original closely with a number of condensations and omissions. Almost the only additions made by the collaborators were the short lyrics, which were set to music by the ingenious Mr. Frederick Lampe.[14] The Hatchett-Haywood version was acted at the Haymarket on 31 May, 1733, and according to Genest, was repeated eleven times at least with Mrs. Clive as Queen Dollalolla.[15] It was published immediately. On 9 November a performance was given at Drury Lane. Although unusually successful, it was Mrs. Haywood's last dramatic offering.[16]
The aspiring authoress apparently never found in dramatic writing a medium suitable to her genius, and even less was she attracted by a stage career. The reasons for her abandoning the theatre to develop her powers as a writer of fiction are stated in a characteristic letter still filed among the State Papers.[17]
Sir
The Stage not answering my Expectation, and the averseness of my Relations to it, has made me Turn my Genius another Way; I have Printed some Little things which have mett a Better Reception then they Deservd, or I Expected: and have now Ventur'd on a Translation to be done by Subscription, the Proposalls whereof I take the Liberty to send You: I have been so much us'd to Receive favours from You that I can make No Doubt of y'r forgiveness for this freedom, great as it is, and that You will alsoe become one of those Persons, whose Names are a Countenance to my undertaking. I am mistress of neither words nor happy Turn of thought to Thank You as I ought for the many Unmeritted favours You have Conferr'd on me, but beg You to believe all that a gratefull Soul can feel, mine does who am Sir
Yo'r most humble & most Obedient Serv't
