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    Lover's Vows: Let her from British hearts no peril fear but, as a stranger, find a welcome here''
    Lover's Vows: Let her from British hearts no peril fear but, as a stranger, find a welcome here''
    Lover's Vows: Let her from British hearts no peril fear but, as a stranger, find a welcome here''
    Ebook104 pages1 hour

    Lover's Vows: Let her from British hearts no peril fear but, as a stranger, find a welcome here''

    By Mrs Inchbald

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    About this ebook

    Elizabeth Simpson was born on 15th October 1753 at Stanningfield, near Bury St Edmunds, Suffolk.

    Despite the fact that she suffered from a debilitating stammer she was determined to become an actress.

    In April 1772, Elizabeth left, without permission, for London to pursue her chosen career. Although she was successful in obtaining parts her audiences, at first, found it difficult to admire her talents given her speech impediment. However, Elizabeth was diligent and hard-working on attempting to overcome this hurdle. She spent much time concentrating on pronunciation in order to eliminate the stammer. Her acting, although at times stilted, especially in monologues, gained praise for her approach for her well-developed characters.

    That same year she married Joseph Inchbald and a few months later they appeared for the first time together on stage in ‘King Lear’. The following month they toured Scotland with the West Digges's theatre company. This was to continue for several years.

    Completely unexpectedly Joseph died in June 1779. It was now in the years after her husband’s death that Elizabeth decided on a new literary path. With no attachments and acting taking up only some of her time she decided to write plays.

    Her first play to be performed was ‘A Mogul Tale or, The Descent of the Balloon’, in 1784, in which she also played the leading female role of Selina. The play was premiered at the Haymarket Theatre.

    One of the things that separated Elizabeth from other contemporary playwrights was her ability to translate plays from German and French into English for an audience that was ever-hungry for new works.

    Her success as a playwright enabled Elizabeth to support herself and have no need of a husband to support her. Between 1784 and 1805 she had 19 of her comedies, sentimental dramas, and farces (many of them translations from the French) performed at London theatres. She is usually credited as Mrs Inchbald.

    Mrs Elizabeth Inchbald died on 1st August 1821 in Kensington, London.

    LanguageEnglish
    PublisherStage Door
    Release dateMay 1, 2019
    ISBN9781787805316
    Lover's Vows: Let her from British hearts no peril fear but, as a stranger, find a welcome here''

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      Book preview

      Lover's Vows - Mrs Inchbald

      Lover's Vows by Mrs. Inchbald

      Elizabeth Simpson was born on 15th October 1753 at Stanningfield, near Bury St Edmunds, Suffolk. 

      Despite the fact that she suffered from a debilitating stammer she was determined to become an actress.

      In April 1772, Elizabeth left, without permission, for London to pursue her chosen career.  Although she was successful in obtaining parts her audiences, at first, found it difficult to admire her talents given her speech impediment.  However, Elizabeth was diligent and hard-working on attempting to overcome this hurdle. She spent much time concentrating on pronunciation in order to eliminate the stammer. Her acting, although at times stilted, especially in monologues, gained praise for her approach for her well-developed characters.

      That same year she married Joseph Inchbald and a few months later they appeared for the first time together on stage in ‘King Lear’.  The following month they toured Scotland with the West Digges's theatre company.  This was to continue for several years.

      Completely unexpectedly Joseph died in June 1779.  It was now in the years after her husband’s death that Elizabeth decided on a new literary path.  With no attachments and acting taking up only some of her time she decided to write plays.

      Her first play to be performed was ‘A Mogul Tale or, The Descent of the Balloon’, in 1784, in which she also played the leading female role of Selina. The play was premiered at the Haymarket Theatre.

      One of the things that separated Elizabeth from other contemporary playwrights was her ability to translate plays from German and French into English for an audience that was ever-hungry for new works.

      Her success as a playwright enabled Elizabeth to support herself and have no need of a husband to support her.  Between 1784 and 1805 she had 19 of her comedies, sentimental dramas, and farces (many of them translations from the French) performed at London theatres. She is usually credited as Mrs Inchbald.

      Mrs Elizabeth Inchbald died on 1st August 1821 in Kensington, London. 

      Index of Contents

      PREFACE

      DRAMATIS PERSONÆ

      LOVER’S VOWS

      PROLOGUE

      ACT I

      SCENE I - A High Road, a Town at a Distance—A Small Inn on One Side of the Road—A Cottage on the Other

      ACT II

      SCENE I - A Room in the Cottage

      SCENE II - An Apartment in the Castle

      ACT III

      SCENE I - An Open Field

      SCENE II - A Room in the Castle

      ACT IV

      SCENE I - A Prison in One of the Towers of the Castle

      SCENE II - A Room in the Castle

      ACT V

      SCENE I - Inside of the Cottage (as in Act II)

      SCENE II. A Room in the Castle

      MRS INCHBALD – A SHORT BIOGRAPHY

      MRS INCHBALD – A CONCISE BIBLIOGRAPHY

      PREFACE

      It would appear like affectation to offer an apology for any scenes or passages omitted or added, in this play, different from the original: its reception has given me confidence to suppose what I have done is right; for Kotzebue's Child of Love in Germany, was never more attractive than Lovers' Vows has been in England.

      I could trouble my reader with many pages to disclose the motives which induced me to alter, with the exception of a few common-place sentences only, the characters of Count Cassel, Amelia, and Verdun the Butler—I could explain why the part of the Count, as in the original, would inevitably have condemned the whole Play,—I could inform my reader why I have pourtrayed the Baron in many particulars different from the German author, and carefully prepared the audience for the grand effect of the last scene in the fourth act, by totally changing his conduct towards his son as a robber—why I gave sentences of a humourous kind to the parts of the two Cottagers—why I was compelled, on many occasions, to compress the matter of a speech of three or four pages into one of three or four lines—and why, in no one instance, I would suffer my respect for Kotzebue to interfere with my profound respect for the judgment of a British audience.  But I flatter myself such a vindication is not requisite to the enlightened reader, who, I trust, on comparing this drama with the original, will at once see all my motives—and the dull admirer of mere verbal translation, it would be vain to endeavour to inspire with taste by instruction.

      Wholly unacquainted with the German language, a literal translation of the Child of Love was given to me by the manager of Covent Garden Theatre to be fitted, as my opinion should direct, for his stage.  This translation, tedious and vapid as most literal translations are, had the peculiar disadvantage of having been put into our language by a German—of course it came to me in broken English.  It was no slight misfortune to have an example of bad grammar, false metaphors and similes, with all the usual errors of feminine diction, placed before a female writer.  But if, disdaining the construction of sentences,—the precise decorum of the cold grammarian,—she has caught the spirit of her author,—if, in every altered scene,—still adhering to the nice propriety of his meaning, and still keeping in view his great catastrophe,—she has agitated her audience with all the various passions he depicted, the rigid criticism of the closet will be but a slender abatement of the pleasure resulting from the sanction of an applauding theatre.

      It has not been one of the least gratifications I have received from the success of this play, that the original German, from which it is taken, was printed in the year 1791; and yet, that during all the period which has intervened, no person of talents or literary knowledge (though there are in this country many of

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