Chapter I: Front Matter

TRANSCRIBERS' NOTES

This e-book contains the text of _The Fall of British Tyranny_, extracted from Representative Plays by American Dramatists: Vol 1, 1765-1819. Comments and background to all the plays and the other plays are available at Project Gutenberg.

Spelling as in the original has been preserved.

THE FALL

OF

BRITISH TYRANNY

_By_ JOHN LEACOCK

JOHN LEACOCK

Among the elusive figures of early American Drama stands John Leacock, author of "The Fall of British Tyranny,"[1] published in 1776, in Philadelphia. Even more elusive is the identification, inasmuch as his name has been spelled variously Leacock, Lacock, and Laycock. To add to the confusion, Watson's "Annals of Philadelphia," on the reminiscent word of an old resident of that town, declares that Joseph Leacock penned "The Medley."[2] "He wrote also a play, with good humour," says this authority, "called 'British Tyranny.'" On careful search of the files, no definite information in regard to Leacock has been forthcoming. The dedication to "The Fall of British Tyranny" was signed "Dick Rifle," but there is no information to be traced from this pseudonym.

Searching the Colonial Records of Pennsylvania, I discovered no less than three John Leacocks mentioned, all of whom were Coroners, as well as a Joseph Leacock, who occupied the same position. Examining the Records of the Pennsylvania Soldiers of the Revolution, I found several John Leacocks in the ranks as privates, and also one John Laycock.

Professor Moses Coit Tyler, in his "Literary History of the American Revolution" (ii, 198), giving a list of the characters in the play and the names of those supposed to be lampooned, analyzes the piece thoroughly, and says, "From internal evidence, it must be inferred that the writing of the play was finished after the publication of 'Common Sense' in January, 1776, and before the news had reached Philadelphia of the evacuation of Boston, March 17, 1776." Though Sabin takes for granted that Leacock wrote "The Fall of British Tyranny," Hildeburn, in the "Issues of the Press" (ii, 249), states that it is "said to have been written by Mr. Laycock of Philadelphia." If the John Leacock, whose name appears in the Philadelphia Directory of 1802, is the one who wrote "The Fall of British Tyranny," following that clue we find his name disappearing from the Directory in 1804. Hence, he must either have died, or have moved away from Philadelphia.

The elusive name of Leacock is to be considered also in connection with an opera entitled, "The Disappointment; or, The Force of Credulity," signed by Andrew Barton,[3] supposed to be a pseudonym, and attributed variously to "Colonel" Thomas Forrest and to John Leacock. I already have had occasion to mention "The Disappointment" in connection with Godfrey's "The Prince of Parthia." The reader will remember that in 1767 "The Disappointment" was put into rehearsal, but was suddenly withdrawn in preference to Godfrey's piece. This play has been fully and interestingly analyzed by O. G. Sonneck, who gives the reasons for the withdrawal of the play from rehearsal by the American Company of Philadelphia, 1767. These reasons are definitely stated in the _Pennsylvania Gazette_ for April 16, 1767, which contains this warning in the American Company's advertisement of "The Mourning Bride": "N.B. 'The Disappointment' (that was advertised for Monday), as it contains personal Reflections, is unfit for the Stage."

The reason why this piece is attributed to "Colonel" Thomas Forrest is that there is a memorandum in substantiation on the title-page of a copy owned by the Library Company of Philadelphia.

Mr. Sonneck gives further and more extensive treatment of the subject in his excellent book on "Early Opera in America," (Schirmer, 1915) as well as in "Sammelbände der Internationale Musik Gesellschaft," for 1914-1915.

We mention the matter here, because, although Sonneck enters into a long discussion of the life of Forrest, he fails to give any satisfactory account of John Leacock. In fact, he says in closing, "If Andrew Barton, Esq., is to be a pseudonym, it seems to me that John Leacock, claimed (by Mr. Hildeburn) to have written the tragi-comedy of 'The Fall of British Tyranny,' should not be cast aside so cheerfully in favour of Thomas Forrest."

Seilhamer and Durang, referring to the matter, mention Joseph Leacock as a claimant for the authorship of "The Disappointment," and say that he was a jeweler and a silversmith in Philadelphia; they also mention John Leacock, the Coroner. Durang, in the "History of the Philadelphia Stage," throws all weight in favour of Thomas Forrest. Sonneck says further, regarding the matter,--"We may dispose of Joseph by saying that he seems to have been among the dead when, in 1796, the second edition of 'The Disappointment,' revised and corrected by the author, was issued. On the other hand, Coroner John Leacock figures in the Philadelphia Directories even later."

So the matter stands. The play, however, is a very definite contribution, illustrating how quickly the American spirit changed in the days preceding the Revolution. Imagine, in 1762, the students of the College of New Jersey giving a piece entitled "The Military Glory of Great Britain;"[4] and so short a time afterwards, only fourteen years, in fact, a piece with the title, "The Fall of British Tyranny," being greeted by the theatre-going public! Leacock's attempt may be taken as the first example that we have of an American chronicle play. And it is likewise significant as being the first literary piece in which George Washington appears as a character. In the advertisement, the play is thus described (see Ford):

"A pleasing scene between Roger and Dick, two shepherds near Lexington.

"Clarissa, etc. A very moving scene on the death of Dr. Warren, etc., in a chamber near Boston, the morning after the battle of Bunker's Hill.

"A humorous scene between the Boatswain and a Sailor on board a man-of-war, near Norfolk in Virginia.

"Two very laughable scenes between the Boatswain, two Sailors and the Cook, exhibiting specimens of seafaring oratory, and peculiar eloquence of those sons of Neptune, touching Tories, Convicts, and Black Regulars: and between Lord Kidnapper and the Boatswain.

"A very black scene between Lord Kidnapper and Major Cudjo.

"A religious scene between Lord Kidnapper, Chaplain, and the Captain.

"A scene, the Lord Mayor, etc., going to St. James's with the address.

"A droll scene, a council of war in Boston, Admiral Tombstone, Elbow Room, Mr. Caper, General Clinton and Earl Piercy.

"A diverting scene between a Whig and a Tory.

"A spirited scene between General Prescott and Colonel Allen.

"A shocking scene, a dungeon, between Colonel Allen and an officer of the guard.

"Two affecting scenes in Boston after the flight of the regulars from Lexington, between Lord Boston, messenger and officers of the guard.

"A patriotic scene in the camp at Cambridge, between the Generals Washington, Lee, and Putnam, etc., etc."

It is interesting to note that in the Abbé Robin's discerning remarks, concerning the effect of drama on the pupils of Harvard in 1781, and on the general appeal of drama among the American Patriots, he mentions "The Fall of British Tyranny" without giving the author's name.

FOOTNOTES:

[1] The Fall/of/British Tyranny;/or,/American Liberty/Triumphant./The First Campaign./A Tragi-Comedy of Five Acts,/as Lately Planned/at the Royal Theatrum Pandemonium,/at St. James's./The Principal Place of Action in America./Publish'd According to Act of Parliament./Quis furor ô cives! quæ tanta licentia ferri?/Lucan. lib. I. ver. 8./What blind, detested madness could afford/Such horrid licence to the murd'ring sword?/Rowe./Philadelphia:/Printed by Styner and Cist, in Second-street,/near Arch-street. M DCC LXXVI.

[2] "The Medley; or, Harlequin Have At Ye All." A pantomime produced at Covent Garden, and published in 1778.

[3] From Sabin, I take the following:

BARTON (A.) "The Disappointment; or, The Force of Credulity." A new American Comic Opera, of two Acts. By Andrew Barton, Esq. [Motto.] _New York, Printed in the year_ M, DCC, LXVIII. 8vo. pp. v., 58. P. t. Second edition, revised and corrected, with large additions, by the Author. _Philadelphia_, Francis Shallus, 1796. 12 mo. pp. iv., 94, p. 3801. [Sabin also notes that the Philadelphia Library copy is very rare, with MS Key to the characters, who were Philadelphians. Air No. iv is Yankee Doodle (1767).]

[4] The Title-page runs as follows:

The/Military Glory/of/Great-Britain,/an/Entertainment,/given by the late Candidates for/Bachelor's Degree,/At the close of the/Anniversary Commencement, held/in/Nassau-Hall/New-Jersey/September 29th, 1762./Philadelphia:/Printed by William Bradford, M, DCC, LXII.

OF

BRITISH TYRANNY

OR,

AMERICAN LIBERTY

_TRIUMPHANT_.

THE FIRST CAMPAIGN.

A _TRAGI-COMEDY_ OF FIVE ACTS,

AS LATELY PLANNED

AT THE ROYAL THEATRUM PANDEMONIUM, AT ST. JAMES'S.

THE PRINCIPAL PLACE OF ACTION IN AMERICA.

PUBLISH'D. ACCORDING TO ACT OF PARLIAMENT.

Quis furor ô cives! quæ tanta licentia ferri?

LUCAN. lib. 1. ver. 8.

_What blind, detested madness could afford
Such horrid license to the murd'ring sword?_

ROWE.

_PHILADELPHIA:_

PRINTED BY STYNER AND CIST, IN SECOND-STREET, NEAR ARCH-STREET. M DCC LXXVI.

FAC-SIMILE TITLE-PAGE OF THE FIRST EDITION]

_THE DEDICATION_

To Lord Boston, Lord Kidnapper, and the innumerable and never-ending
Clan of Macs and Donalds upon Donalds, and the Remnant of the
Gentlemen Officers, Actors, Merry Andrews, strolling Players,
Pirates, and Buccaneers in America.

My Lords and Gentlemen:

_Understanding you are vastly fond of plays and farces, and frequently exhibit them for your own amusement, and the laudable purpose of ridiculing your masters (the YANKEES, as you call 'em), it was expected you would have been polite enough to have favoured the world, or America at least (at whose expense you act them), with some of your play-bills, or with a sample of your composition._

_I shall, however, not copy your churlishness, but dedicate the following Tragi-Comedy to your patronage, and for your future entertainment; and as the most of you have already acted your particular parts of it, both comic and tragic, in reality at Lexington, Bunker's-Hill, the Great-Bridge, &c., &c., &c., to the very great applause of yourselves, tho' not of the whole house, no doubt you will preserve the marks, or memory of it, as long as you live, as it is wrote in capital American characters and letters of blood on your posteriors: And however some Whigs may censure you for your affected mirth (as they term it, in the deplorable situation you are now in, like hogs in a pen, and in want of elbow room), yet I can by no means agree with them, but think it a proof of true heroism and philosophy, to endeavour to make the best of a bad bargain, and laugh at yourselves, to prevent others from laughing at you; and tho' you are deprived of the use of your teeth, it is no reason you should be bereaved of the use of your tongues, your eyes, your ears, and your risible faculties and powers. That would be cruel indeed! after the glorious and fatiguing campaign you have made, and the many signal victories obtained over whole herds of cattle and swine, routing flocks of sheep, lambs and geese, storming hen-roosts, and taking them prisoners, and thereby raising the glory of Old England to a pitch she never knew before. And ye Macs, and ye Donalds upon Donalds, go on, and may our gallows-hills and liberty poles be honour'd and adorn'd with some of your heads: Why should Tyburn and Temple-bar make a monopoly of so valuable a commodity?_

_Wishing you abundance of entertainment in the re-acting this Tragi-Comedy, and of which I should be proud to take a part with you, tho' I have reason to think you would not of choice let me come within three hundred yards of your stage, lest I should rob you of your laurels, receive the clap of the whole house, and pass for a second Garrick among you, as you know I always act with applause, speak bold--point blank--off hand--and without prompter._

_I am_, My Lords and Gentlemen Buffoons,

_Your always ready humble servant,_

DICK RIFLE.

THE PREFACE

Solomon said, "Oppression makes a wise man mad:" but what would he have said, had he lived in these days, and seen the oppression of the people of Boston, and the distressed situation of the inhabitants of Charlestown, Falmouth, Stonnington, Bristol, Norfolk, &c.? Would he not have said, "The tongue of the sucking child cleaveth to the roof of his mouth for thirst; the young children ask for bread, but no man breaketh it unto them?" "They that did feed delicately, perish in the streets; they that were brought up in scarlet, embrace the dung." What would he have said of rejected petitions, disregarded supplications, and contemned remonstrances? Would he not have said, "From hardness of heart, good Lord, deliver us?" What would he have said of a freeborn people butchered--their towns desolated, and become an heap of ashes--their inhabitants become beggars, wanderers and vagabonds--by the cruel orders of an unrelenting tyrant, wallowing in luxury, and wantonly wasting the people's wealth, to oppress them the more? Would he not have said, it was oppression and ingratitude in the highest degree, exceeding the oppression of the children of Israel? and, like Moses, have cried out, let the people go? Would he not have wondered at our patience and long-suffering, and have said, "'Tis time to change our master!--'Tis time to part!"--And had he been an American born, would he not have shewed his wisdom by adopting the language of independency? Happy then for America in these fluctuating times, she is not without her Solomons, who see the necessity of heark'ning to reason, and listening to the voice of COMMON SENSE.

THE GODDESS OF LIBERTY

Hail! Patriots,[5] hail! by me inspired be!
Speak boldly, think and act for Liberty,
United sons, America's choice band,
Ye Patriots firm, ye sav'ours of the land.
Hail! Patriots, hail! rise with the rising sun,
Nor quit your labour, till the work is done.
Ye early risers in your country's cause,
Shine forth at noon, for Liberty and Laws.
Build a strong tow'r, whose fabric may endure
Firm as a rock, from tyranny secure.
Yet would you build my fabric to endure,
Be your hearts warm--but let your hands be pure.
Never to shine, yourselves, your country sell;
But think you nobly, while in place act well.
Let no self-server general trust betray,
No picque, no party, bar the public way.
Front an arm'd world, with union on your side:
No foe shall shake you--if no friends divide.
At night repose, and sweetly take your rest;
None sleeps so sound as those by conscience blest;
May martyr'd patriots whisper in your ear,
To tread the paths of virtue without fear;
May pleasing visions charm your patriot eyes;
While Freedom's sons shall hail you blest and wise,
Hail! my last hope, she cries, inspired by me,
Wish, talk, write, fight, and die--for LIBERTY.

FOOTNOTES:

[5] The Congress

THE PROLOGUE

_Spoken by_ Mr. Peter Buckstail.

Since 'tis the fashion, preface, prologue next,
Else what's a play?--like sermon without text!
Since 'tis the fashion then, I'll not oppose;
For what's a man if he's without a nose?
The curtain's up--the music's now begun,
What is 't?--Why murder, fire, and sword, and gun.
What scene?--Why blood!--What act?--Fight and be free!
Or be ye slaves--and give up liberty!
Blest Continent, while groaning nations round
Bend to the servile yoke, ignobly bound,
May ye be free--nor ever be opprest
By murd'ring tyrants, but a land of rest!
What say ye to 't? what says the audience?
Methinks I hear some whisper COMMON SENSE.
Hark! what say them Tories?--Silence--let 'em speak,
Poor fools! dumb--they hav'n't spoke a word this week,
Dumb let 'em be, at full end of their tethers,
'Twill save the expense of tar and of feathers:
Since old Pluto's lurch'd 'em, and swears he does not know
If more these Tory puppy curs will bark or no.
Now ring the bell--Come forth, ye actors, come,
The Tragedy's begun, beat, beat the drum,
Let's all advance, equipt like volunteers,
Oppose the foe, and banish all our fears.
We will be free--or bravely we will die, }
And leave to Tories tyrants' legacy, }
And all our share of its dependency. }

DRAMATIS PERSONÆ

LORD PARAMOUNT, Mr. Bute. LORD MOCKLAW, Mr. Mansfield. LORD HYPOCRITE, Mr. Dartmouth. LORD POLTRON, Mr. Sandwich. LORD CATSPAW, Mr. North. LORD WISDOM, Mr. Chatham. LORD RELIGION, Bishop of St. Asaph. LORD JUSTICE, Mr. Camden. LORD PATRIOT, Mr. Wilkes. BOLD IRISHMAN, Mr. Burke. JUDAS, Mr. Hutchinson. CHARLEY, Mr. Jenkinson. BRAZEN, Mr. Wedderburne. COLONEL, Mr. Barre. LORD BOSTON, Mr. Gage. ADMIRAL TOMBSTONE, Mr. Graves. ELBOW ROOM,[6] Mr. Howe. MR. CAPER, Mr. Burgoyne. LORD KIDNAPPER, Mr. Dunmore. GENERAL WASHINGTON. GENERAL LEE. GENERAL PUTNAM.

_Officers, Soldiers, Sailors, Citizens, Negroes, &c., &c., &c._

FOOTNOTES:

[6] It seems to be generally thought that the expression of "Elbow Room" is to be attributed to General Howe, and not to General Burgoyne.

THE FALL

OF

BRITISH TYRANNY, &c.