The Exhibition Drama: Comprising Drama, Comedy, and Farce, Together with Dramatic and Musical EntertainmentsBaker, George M. (George Melville)
History
The Exhibition Drama: Comprising Drama, Comedy, and Farce, Together with Dramatic and Musical Entertainments
Baker, George M. (George Melville)
Amateur plays; Drama
_Tom._ I beg your pardon, Mrs.—Excuse me, miss: a slip of the
tongue. But you look so much like my Aunt Matilda! But then, she's
forty-five; and you can't be over thirty—
_Patience._ Sir!
_Tom._ Not quite, miss. I'm still very young, and not entitled
to that address. But I couldn't think of infringing upon the rules; oh,
no! I should have been pleased to spend half an hour in such agreeable
society; but, as you object, I will go.
_Girls_ (_in chorus_). Oh, no; don't go; stay!
_Patience._ I insist upon his immediately quitting the room. I did
not come here to flirt and frolic with young men, but to improve my
mind, to store it—
_Maria._ Oh, bosh, Patience! I've no patience with you.
_Tom._ "Let Patience have her perfect work."
_Maria_ (_aside_). She's a humbug, Tom. Our Job is in love with
her, and she with him; and they are billing and cooing every chance
they can get.
_Tom_ (_aside_). Maria, you're a jewel. You have enlightened my
understanding. You shall see some fun. (_Aloud._) Miss Patience, you
are right: I was wrong to disturb your peaceful meditation. Forgive me.
I will go, and in the quiet of my chamber contemplate—the basin of
gruel which my fond aunt has left me for consolation.—Sorry, girls; but
the rules must be obeyed.
[_Exit_, R.
_Maria._ Patience Plunkett, you're a hateful old thing!
_Augusta._ Yes; just as mean as you can be.
_Jane._ If you are so fond of seclusion, why don't you go to your
own room?
_Maria._ Yes; and study the Book of Job.
_Bessie._ Hush, Maria!
_Patience._ You know I am right; and I am not at all stu-stu-pefied
by your ob-ob-jackulations. I am a few years older than you—only a few;
and I have wisdom to guide—
_Maria._ Oh, fiddlesticks! We have all the preaching we want, and
don't believe in yours.
_Tom_ (_outside_). Oh, oh! My hand! my hand!
_Bessie._ Tom has hurt himself.
_Tom_ (_outside_). Oh! gracious goodness, how it smarts!
(_Enters_ R. _hurriedly, his left hand concealed in a large piece of
white cloth. He should also have in his hand apiece of wood, under the
cloth; a string in his right hand._) O girls! I've done it now! That
hand I was so proud of, oh! so white and delicate, oh!
_Bessie._ What is it, Tom? Have you cut it?
_Lucy._ Burnt it?
_All_ (_in chorus_). Oh! what is the matter? (_They gather
about him._)
_Tom._ Oh! don't come near me. The slightest touch is agony,
agony, agony! I went up stairs—oh! to my basin of gruel—oh! Beside the
gruel—oh! there was a knife—oh! I took it up—oh! and—and—and oh, oh,
oh!
_Jane._ I've got some Russia salve in my room.
_Maria._ Let me run for it.
_Tom._ No. I've spread on the salve an inch thick. Oh! it's all
right. It will soon be well. If I only had some one to tie it up for
me!
Public-domain text, read in full here on John Shaqi.
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