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DRAMAS, BY JOANNA BAILLIE, IN THREE VOLUMES. VOL. III. - WITCHCRAFT A TRAGEDY IN PROSE.IN FIVE ACTS. PERSONS OF THE DRAMA. MEN. ROBERT KENNEDY OF DUNGARREN commonly called DUNGARREN. MURREY. RUTHERFORD, Minister of the Parish. FATHERINGHAM, Friend ofMurrey. THE SHERIFF OF RENFREWSHIRE. THE BAILLIE OR MAGISTRATE OF PAISLEY. BLACK BAWLDY, the Herdboy ofDungarren. ANDERSON, the principal Domestic ofDungarren. WILKIN, an Idiot. Crowd, Jailor, Landlord, fyc. WOMEN. LADY DUNGARREN commonly so called. Mother of Robert Kennedy. VIOLET, Daughter ofMurrey. ANNABELLA, the rich Relation of Lady Dun- garren. GRIZELD BANE, 1 MARY MACMURREN, reputed Witches. ELSPY Low, j PHEMY, Maid to Annabella. Nurse, Maidservants, Crowd, c. Scene in Renfrewshire, in Scotland. WITCHCRAFT. ACT I. SCENE I. A Parlour in the House or Tower ofDungarren. Enter LADY DUNGARREN and ANNABELLA, by different sides. ANNABELLA. You must be surprised, my dear cousin, at my unexpected return. LADY DUNGARREN. I will frankly confess that I am. How did you find your friends in Glenrowan ANNABELLA. With their house full of disagreeable visiters and discomfort another day of it would have cast me into a fever so I will trespass on your hospitality a week longer, knowing how kindly disposed you have always been to the child of your early friend. 4 WITCHCRAFT A TRAGEDY. LADY DUNGARREN. It would be strange, indeed, if the daughter of Duncan Gordon were not welcome here. ANNABELLA. How has poor Jessie been since I left you LADY DUNGARREN shaking her head. I have but a sorrowful account to give of her. ANNABELLA. Had she any rest last night Does she look as wildly as she did Were any strange noises heard in the chamber during the night LADY DUNGARREN. Ay noises that made me start and tremble, and feel a horrid consciousness that some being or other was in the room near me, though to the natural eye invisible. ANNABELLA. What kind of sounds were they Why did you think they were so near you LADY DUNGARREN. I was sitting by the table, with my head resting on my hand, when the door leading from the back staircase, which I am certain I had bolted in the evening, burst open. And what followed ANNABELLA. WITCHCRAFT A TRAGEDY. 5 LADY DUNGARREN. I verily thought to see some elrich form or other make its appearance, and I sat for some moments rivetted to my chair, without power to move hand or foot, or almost to breathe. ANNABELLA. Yet you saw nothing Nothing. LADY DUNGARREN. ANNABELLA. And heard only the bursting of the door LADY DUNGARREN. Only that for a time but afterwards, when I listened intently, I heard strange whisperings near me, and soft steps, as of unshod feet, passing between me and the bed. Footsteps ANNABELLA. LADY DUNGARREN. Ay and the curtains of the bed began to shake as if touched by a hand, or the motion of some passing body. Then I knew that they were dealing with my poor child, and I had no power to break the spell of their witchcraft, for I had no voice to speak. ANNABELLA. You had no power to speak B 3 ... Read more

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TO THE READER. THAT the largeness of our two regular, long- established Theatres, so unfavourable for see- ing and hearing clearly and accurately, have changed in a great measure the character of the pieces generally exhibited within their walls, is a fact on which it would be useless now to dwell. How far the smaller Theatres of later establish- ment, some of which are of a proper size for the production of plays that depend for success on being thoroughly understood by the audience, will in time introduce a better state of things, it would be hazardous for any one to conjecture. At present, however, from various circumstances, from restrictions, from customs, from acquired tastes, c. the prospect is not encouraging. But the cause that more, perhaps, than 3my other depresses the moral and rational effects of the Modern Stage, is an opinion entertained by many grave and excellent people, that dramatic exhibition is unfriendly to the principles arid spirit of Christianity. This deserves to be more seriously examined, because it prevails amongst a most respectableclass of the community, many of whom are possessed of good understanding, of learning and imagination, and cannot, without a great breach of charity, be supposed to be actuated by woiidliness or hypocrisy. It is in the nature of man to delight in representations of passion and character. Children, savages, learned and un- learned of every nation, have with more avidity received instruction in this form than in any other, whether offered to them as a mimic show before their eyes, or a supposed story, en- livened by dialogue and addressed to the ima- gination alone. The blessed Founder of our religion, who knew what was inman, did not contradict nor thwart this propensity of our na- ture, but, with that sweetness and graciousness which peculiarly belonged to his divine cha- racter, made use of it for the instruction of the multitude, as his incomparable parables so beau- tifully testify. The sins and faults which he reproved were not those that are allied to fancy and imagination, the active assistants of all in- tellectual improvement, but woiidliness, uncha- ritableness, selfish luxury, spiritual pride, and hypocrisy. In those days, the representation of Greek dramas prevailed in large cities through the wholeRoman empire yet the Apostles only forbade their converts to feast in the templesVll of idols, and on sacrifices offered to idols, and trusted that the general gentleness and humanity enjoined on them as followers of their blessed Master, would keep them away from spectacles of cruelty and blood. We cannot, therefore, it appears to me, allege that dramatic representations are contrary either to the precepts or spirit of the Christian religion. But probably it is not a real conviction, that going to a theatre is in itself unchristian or wrong, which keeps such persons away, but a conscientious persuasion that it ought to be dis- countenanced, because of the bad tendency of the pieces exhibited there, before the eyes of the innocent and susceptible and because of the disorderly and worthless company who frequent playhouses, and gather about their passages and neighbourhood. These indeed are weighty and plausible reasons, that deserve to be thoroughly examined. And how far the absence of the grave and moral part of society from such places tends to remedy or increase the evils apprehended, ought also to be seriously considered. We shall begin, then, with the bad tendency of the pieces exhibited. A manager must suit his plays to the cha- racter of the most influential part of his audience... ... Read more

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This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature. ... Read more

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This Elibron Classics book is a facsimile reprint of a 1906 edition by Macmillan and Co., Ltd., London. ... Read more