University of Virginia Library

The Four Seasons or Love in every Age. A Musical Interlude.

[_]

Set to Music by Mr. Jeremy Clarke.

This Entertainment is perform'd at the End of the last Act, but was design'd for another Season, and another Occasion: And what is mark'd thus (“) is omitted.
The Overture is a Symphony, lofty, yet gay: At the latter part, it changes to a flat adagio; to which mournful Movement

[_]

Mr. Leveridge.

The Genius of the Stage appears in a melancholic Posture, with attendants.
Genius.
“Mourn, drooping Seat of Pleasures, mourn.
“Mourn what all others bless, the Summer's warm Return.

Chorus.
“Mourn, drooping Seat of Pleasures, mourn!
“Thy darling Guests, thy fair, thy best Supports,
“For rival Fields forsake our lovely Sports:
“We grieve alone, while Birds and Shepherds Sing.
“Alas, we bear a Winter in the Spring.

Chorus.
“Mourn, drooping Seat of Pleasures, Mourn!

While a gay March is perform'd Apollo appears.
Apollo.

The Chorus
repeat from
Revive, ev'ry Pleasure, and die ev'ry Care! &c.

While the Chorus repeat that verse, the Scene changes, and discovers the four Seasons, on four several Stages. The Genius and some of his Attendants withdraw.
Enter a Girl of Thirteen or Fourteen years old.
Girl.
Must I a Girl for ever be!
Will n'er my Mother marry me!
They tell me I'm Pretty,
They tell me I'm Witty:
But when I would Marry,
She cry's, I must tarry,
Must I a Girl for ever be!
Will ne're my Mother marry me!

[_]

Mr. Magnes's Boy.

Enter a Youth.
Youth.
Oh! Miss! The Spring is come again,
The pretty Birds sing, bill, and cooe
All dance in Couples on the Green:
'Tis time we shou'd be doing too.
My Dear, let's marry; then will you and I,
As Man and Wife together ly.

Girl.
Peace, naughty Thing! I heard one say
That Marriage is no Children's Play.
Think you to have me for a Song?
Besides, they tell me I'm too young:

Boy.
No, now to wed betimes is common:
When e're you marry, you're a Woman.
Come, I must have you, quickly too,

Girl.
Fy, why d'you make so much ado?

(he kisses her.
Boy.
Fy, I'm asham'd! Fy, what d'you do?

Both repeat their last Line together.
Boy.
Be quiet, or I'll call my Mother.

Girl.
Nay, prethee, let me take another.

Both repeat their last Line together.
Boy.
Another Kiss, and then—

Girl.
What then?

Boy.
Another, and another.
Come, never fear, you'll quickly know,
Tho I am little, soon I'll grow.

Girl.
Oh, no, no, no. Oh, no, no, no.

Boy.
Oh let us go. You'll find it so.

They repeat their last Line together for a Chorus.
The Dance of Spring here.
Enter two young Lasses with Baskets of Flowers, and Nosegays in their hands. They Dance.
Enter to them two young Sparks, the Lasses, dancing, offer 'em Nosegays, curtisying, and smiling. The Sparks make love to 'em.

[_]

Mrs. Lindsey.

Enter a Country Lass with a Rake, as at Hay-making.

[_]

Mr. Leveridge.

Enter a Town-spark.
Gent.
(She stands bashfully hiding her face.
(She Curtsies when he kisses her.

(She bashfully puts him off
Lass.
Oh pray, Sir.
Nay, nay, Sir.
Oh fie, Sir.
Oh why, Sir.
Why do you
Now pull me thus to you?
(Aside.)
Oh what shall I say!
When a Gentleman suiters 'tis hard to say nay—
I'm e'en out of Breath; Oh, dear! what d'ye do?
Good La! Is it thus that you Gentlefolks woo!
Good, Sir, do not hold me.

Gent.
Good Lass, do not fly.

Lass.
What good can I do you?

Gent.
Come yonder, we'll try.

Lass.
No, no; I can't find in my heart to comply.

Enter an African Lady, with Slaves who dance with Timbrels. A Negro Lord makes Love to her.

[_]

Mr. Pate.

Enter a Lusty Strapping Middle-ag'd Widow all in Mourning. She weeps and blubbers.
Oh my poor Husband! for ever he's gone!
Alas! I'm undone.
I sigh, and I moan.
Must I these cold Nights lie alone!
Alas! I'm undone—
I did what I list:
We kist, and we kist:
But his Health soon he mist,
And thro Business and Care he ceas'd to be gay;
And at last, poor Soul! he dwindled away,
We wrangled
And jangled
When in an ill mood,
Yet often like Pigeons we bill'd and we coo'd.
'Tis done.
Oh! he's gone
Alack, and alack
I must now for ever do Penance in Black.

[_]

Mr. Leveridge.

Enter a Drunken Officer, Reeling, he hickhups.
Offi.
Why, Widow, why Widow! What makes thee so sad? Art thou mad?
If one Husband is gone, there are more to be had.
Come, I'll be thy Hony!—Leave keeping a Pother,
One Man like one Nail serves to drive out another.

Wi.
How! Talk so to me! What, think you I'd Wed?
'Tis scarce a Month yet since my poor Hony's dead.

Offi.
A Month! 'Tis an Age. You're mad to delay.
Most Widows now chuse e're the Funeral Day.

Wi.
Not I: I'll ne're do't. Fy, what would People say?

Offi.
They'll say, you're a Woman: Come, away with this Fan!
See! See!—here's a Shape!—here's a Grace,—here's a Leg! here's a Man,
I'll get thee with Twins, till a hundred and ten.

Wi.
You lie,—go, you'll talk at another rate then.

(She pats him in a smiling way.
Offi.
Then try me.

Wi.
Leave fooling.

Offi.
I'll do't by this Kiss.
By this, this, and this!
I'll be hang'd if I miss.

Wi.
Oh should I do this!

Offi.
Twill ease you of Pain.

Wi.
Go, you're a sad Man!

Offi.
I'll kill thee with Kindness.

Wi.
Ay, do if you can.

A French Country-woman with Grapes and other Fruits comes in, in Wooden Shoes, a French Vintage-maker makes Love to her in a Dance.

[_]

Mr. Crossfield, Mrs. Lindsey, Miss Campion, The Boy.

While four of five Bars are perform'd by a Thorough Base, enter an Old Gentleman, in an Old-fashion'd Dress, following a Young Lass, or Girl, and pushing a Youth from her. An Old Woman, in an Oldfashion'd Dress, comes and Thrusts him away from the Young Couple, The Old Woman sings like one without Teeth.
Old Wom.
Hold good Mr. Fumble, Fy! What do your mean,
To court my my Grand Daughter? She's scarce yet fifteen.
And you H'usi'fe; why stay you? go get you to School.
Your Baby go dandle,
I'll handle
This doating old Tool.

Old Man.
Hold, hold!
Do not scold.
With my Grandson go cooe.
(He points to the Youth
You love him I know.
Together go cooe!
“Good Lad, prethee do.
“Tho he's somewhat bashful, he'll quickly come to.
I'm not yet so old,
I long to be at her, to have and to hold.
I'll wed thee,
(To the Girl.
I'll bed thee,
I'll rouse thee,
I'll touze thee,
I'll give thee what's better and sweeter than Gold.

Girl.
No, no, you're too old.

Old Man.
Dear Girl, why so shy?

Girl.
Old Man why so bold?

Old Wom.
Good Lad, how d'you do?

Boy.
Ne're the better for You

Old Wom.
Hold! Boy! I am brisk yet.
And gayly can frisk it
I've yet three good Teeth, and a Stump.
And see I can caper and jump;

(Jumps
Old Man
Why thus do you shun her? What makes you so bold?

(to the Boy.
Old Wom.
Why thus do you shun him? What makes you so bold?

(To the Girl.
Boy and Girl.
Indeed you're too old.

Old Man.
I find 'tis in vain!
(To the Old Woman.
Come, no longer let's strain.
Let the Young take the Young, Let the Old take the Old.
We'll hug our selves warm, now the Weather is cold.
(The Old Man goes and takes the Old Wom. by the hand, and she him, hugging one another. All the four repeat the last two Lines as a Chorus.

Enter a Dutch-woman with a Stove warming her self, her Cloaths lin'd with Furs. An Old Miser makes Love to her in a Dance.
Enter Cupid, who sings.
Come all, come all—
(Enter the Ages and Seasons.
“Let soft Desires your Heart engage,
“'Tis sweet to Love in ev'ry Age.
“Ev'ry Season, ev'ry Creature,
“Yeilds to Love, and courts his Joys.
“None are Truer, none are Sweeter
“When Discretion guides the Choice.

“Cupid with the Four Ages and the Four Seasons, mingle in a Dance while the following Grand Chorus is sung.
The four Parts of Music answerable to the four Ages of Life and Seasons of the Year, sing each the Line that's suitable to them.
Then all together.