Publication Details | Synopsis | Secondary Commentary |Varieties & Dialects | Other
Publication details |
Author: Cumberland, Richard
Author dates: 1732-1811
Title: The Last of the Family
First played: 1797
First published: 1813, in The Posthumous Dramatick Works of the Late Richard Cumberland. In two volumes. London: Printed for G. and W. Nicol ... by W. Bulmer [etc.] 2 v.
C18th availability: Not available.
Modern availability: Available from LION (1997)
http://lion.chadwyck.com/searchFulltext.do?id=Z000070034&divLevel=0&queryId=../session/1216311429_17532&trailId=11A9750BFE6&area=Drama&forward=textsFT&warn=Yes&size=183Kb
Genre: Comedy
Character types: Welsh
Synopsis |
Letitia Manfred is in love with Peregrine, her tutor, who turns out to be her long-lost cousin. Although he was supposed to marry her, Abel ap Onigen, the son of a Welsh nobleman, foregoes any opportunity to marry Letitia, instead deciding to help her pursue Peregrine.
Act I.
Sir John and Lady Manfred discuss their daughter Letitia. Despite their best efforts at educating her to be polished and sophisticated, she remains natural and unspoiled (perhaps this is a positive thing, thinks Sir John). Lady Manfred suspects the tutor Peregrine of trying to seduce Letitia, but Sir John assures her that Peregrine is concerned with loftier matters (namely, the history of the Manfred family). Peregrine enters; he has found a blacksmith in the family pedigree, to Sir John’s horror. Lady Manfred tells Peregrine not to let Letitia interfere with his ability to study. Lady Manfred and Sir John agree that Peregrine should be removed from the house. Alone, Peregrine laments the poverty that has condemned him to work for the Manfreds; only his love for Letitia sustains him. Letitia comes into the room; Peregrine reminds her that her parents have forbidden her to enter. Letitia tells Peregrine that George Ivey informed her that she will receive her own fortune when she turns eighteen (in two years’ time). Peregrine tells her that it will be impossible. Letitia sings a song that he composed for her. Lady Manfred enters just as Letitia leaves; Peregrine denies encouraging her to remain in the room with him. Lady Manfred flirts with Peregrine, to the latter’s secret displeasure; they are interrupted by Ned Flexible. Although she is annoyed by Flexible’s sudden entry, Lady Manfred flirts with him as well then leaves to summon Sir John. Peregrine does not mind the tête-à-tête’s interruption. Peregrine leaves as Flexible has a private conference with Sir John. Flexible tells Sir John that Sir Adam ap Origen has brought his son Abel to London in hopes of marrying him to Letitia. Sir Adam is of an ancient family, to Sir John’s satisfaction.
Act II.
Sir Adam and Flexible discuss Sir John’s reaction to the marriage proposal. Abel appears; his father is displeased with his dress, saying that it is inappropriate for the visit to Sir John’s. Abel tells him that he has dressed badly so that Letitia’s other suitor (Peregrine) may have a fair chance at winning her, as Abel has the advantage of a large fortune. Peregrine arrives and tells the company that he will resign his position at Sir John’s because he realizes he is suspected of seducing Letitia. Everyone approves of this plan. Abel quietly asks him if he loves Letitia Manfred; Peregrine assents. Sir John tells Letitia that he intends to marry her to Abel; Letitia says that he is a kind gentleman, but that he is not an Adonis. They agree that Letitia shall not marry without her own consent, nor without her father’s consent. Sir Adam and Abel arrive. George Ivey summons the two older men to see Lady Manfred; Abel and Letitia are left alone together. To fulfill his promise to his father, Abel begins by “making love” to Letitia, but she refuses his amorous speeches and says that he is her friend, not her husband. Although Abel is disappointed, he vows to help Letitia and Peregrine. Sir Adam comes in; all has been broken off with Sir John because the latter wanted Abel to change his last name to Manfred. George Ivey gives Letitia a portrait of his former master, Sir William Manfred, and says that Peregrine looks exactly like him. Peregrine enters; Letitia pretends to be aloof with him, but she allows him to say that he loves her, dotes upon her, and adores her. At that instant, Lady Manfred returns and hears the confession. She banishes Peregrine from the house.
Act III.
Abel meets with his friend Beau Tiffany, who agrees to take Peregrine into his house. Ned Flexible enters; after some bantering, they ask him about Peregrine’s history. Peregrine was found in the arms of his dead mother in a shipwreck off the coast of America. He was educated there, and only returned to England as a man with a small token of his mother’s with which he had hoped to find his father. Flexible agrees to help Peregrine if he can. Sir John is reluctant to dismiss Peregrine, but Lady Manfred insists that he do so. Lucy, a servant, gives Peregrine a message; he is to go to the house of the gentleman whose name is in the message, where he will find asylum. Sir John enters and reluctantly dismisses Peregrine, giving him some money at their parting. Lucy and Letitia read a passage from Peregrine’s history of the family: Letitia’s namesake went insane at seventeen after her parents separated her from her lover. Taking her example from Ophelia and from her namesake, Letitia decides to pretend to be mad. Sir John comes in to find his daughter suddenly stricken with insanity.
Act IV.
Abel returns home; he asks David Duncan (a servant) if his father would be receptive to a little money-borrowing. David tells Abel about Captain Manfred, Letitia’s uncle; he served under the Captain in America, and took care of his son after their ship was wrecked. Unfortunately, he was separated from the infant while in America, but he left the baby with a picture of his father. Abel realizes that Peregrine is likely Captain Manfred’s son. Sir Adam enters and is surprised to find his son thinking; he mocks his efforts, and believes Abel’s musings to be guided at him. Annoyed, Sir Adam leaves to rearrange the betrothal to Letitia. George Ivey tells Beau Tiffany that Letitia has gone mad for love of Peregrine. Tiffany decides to go see Letitia as Doctor Rainbow. Sir John and Lady Manfred decide to call Peregrine back to see Letitia; if she is suddenly cured of her madness, they will know it was counterfeited; if she remains mad, they will make serious efforts to cure her. Lady Manfred is secretly in love with Peregrine, and makes no objection to having him return to the house. Tiffany (as Rainbow) arrives to diagnose Letitia; he suggests that the malady is hereditary, to Sir John’s displeasure. Lucy informs Letitia that the doctor is a fraud and is there to help reinstate Peregrine within the household. Rainbow begins to badly diagnose Letitia. Having heard that the young lady is ill, Abel arrives; he recognizes Beau but quickly becomes aware of the scheme. Letitia calls Abel “Horatio” and leads him to another room. Tiffany prescribes “a Peregrine” to cure Letitia’s love-sickness. Sir John instructs him to go to Peregrine, but says that he realizes that Rainbow is a sham doctor whose leave is the only thing he can take from Sir John. A suddenly sane Letitia listens to the story of the shipwreck, and gives Abel her picture of Captain Manfred to prove that Peregrine is Captain Manfred’s son. Abel demands a kiss in payment and rejoices in Letitia’s happiness.
Act V.
George Ivey tells Peregrine about the picture of Captain Manfred. A triumphant Abel enters with the picture. He has lost a handkerchief on which questions for Peregrine were written. They inspect the picture and determine that Peregrine was Captain Manfred’s son. They go to hear David Duncan tell them the whole story. Letitia’s parents discuss whether they will forgive her for her feigned madness. She enters, and they do forgive her. Lady Manfred entreats her husband to let Letitia marry Peregrine, who lacks nothing but a father. A flustered George Ivey enters to report that Peregrine is with Abel. Flexible arrives; Sir John tells him that Rainbow was an imposter. Tiffany enters and apologizes to the Manfreds for his deception. Abel arrives: he announces that Peregrine is Sir John’s brother’s long-lost son. Sir Adam arrives, having decided that Abel will change his name to Manfred in exchange for the Manfreds’ estate. However, Sir John tells him that Peregrine will be his son-in-law. Abel, Tiffany and Peregrine express their happiness at the plot’s unfolding.
Secondary commentary |
None.
Varieties & Dialects |
Overview of varieties / dialects
Not much language variation; Sir Adam ap Origen, a Welsh nobleman, uses unusual idioms, his son Abel “makes love” with elevated language (in contrast to his usual hearty speech), Letitia prefixes verbs with ‘a’, and Sir John Manfred uses a few Latin terms.
Varieties / dialectsVariety: Sir Adam ap Origen
a. Sample of dialect
[page 213]
Sir A.
A tolerable good family, master Edward---I hope you told him that; you needn't answer me; I know you did. A pretty fairish parcel of land, all clear, low-tax'd, well let, no encumbrance, every body dead that had a slice of it, no jointures, no younger children, nothing but son Abel, the last chip of the Origens---let old Manfred cudgel all this in his pericranium, and then let us see if he is fool enough to say nay to any question I shall ask him.
b.1 Orthography
b.2 Grammar: “tolerable” used as an adverb
b.3 Vocabulary: “the last chip of the Origens”; “cudgel…in his pericranium” (beat about in his brain)
c. Nationality: Welsh
d. Character profile: Welsh member of the nobility
e. Consistency of representation: consistent in his use of non-standard expressions
Variety: Abel
a. Sample of dialect
[page 221]
Abel.
Never was a truer word spoke by man, for whilst their wise heads are plotting about us, it is fit that you and I should come to an understanding between ourselves. And now, miss Letty, in the first place, to make good my promise to my father, I must begin by making love to you. I must, I must, upon my soul, so don't laugh at me; I am serious.
Let.
Make love to me! How can you be so ridiculous? You'll only set me a tittering, and then you'll say I gigg you.
Abel.
Never mind; I shall do it awkwardly, but it must be done---Beauteous object of my passion, that you should be charming above all things in my eyes, is nothing wonderful; that
[Page 222 ]
I should be so in yours is not to be expected; nevertheless, if you have a heart to bestow upon me, here I am on my knees to receive it; if you have bestow'd it on any other, here I am upon my legs to serve you---Now, in one word answer me---Am I your husband, or your friend?
--
[page 270]
Abel.
Why, this winds up all our happiness at once: I'm dancing drunk for joy; Tiffany's eyes twinkle with delight, and Ned's iron features melt into a smile: I don't believe my good lady here is sorry, and my sweet Miss Letty, though covered with blushes that are lovelier than the rose, will not be very angry if I give her joy of the best, the honestest, (ah! Peregrine, that hint won't stop me,) and the fondest fellow in all England---I've said it---who says to the contrary?
b.1 Orthography
b.2 Grammar: “honestest”
b.3 Vocabulary: “Beauteous object of my passion”; “charming above all things in my eyes” contrast with his usual speech (which includes idioms like “noodle” for “head”).
c. Nationality: Welsh (?)
d. Character profile: son of Sir Adam; unlearned but very good-hearted
e. Consistency of representation: inconsistent; elevated tone for the “love-making”
Variety: Letitia Manfred
a. Sample of dialect
[page 221]
Let. Make love to me! How can you be so ridiculous? You'll only set me a tittering, and then you'll say I gigg you.
[page 224]
Let. Be quiet, Abel! if you go on in that way you'll set me a laughing; then what will sir Adam say?
b.1 Orthography
b.2 Grammar: “a tittering” ; “a laughing”
b.3 Vocabulary: “gigg”
c. Nationality: English
d. Character profile: daughter of a baronet; resists her parents’ efforts to educate her
e. Consistency of representation: consistent use of ‘a’ to prefix verbs
Variety: Ned Flexible
a. Sample of dialect
[page 233]
Flex.
Well said, my gallant Tiffany, thou shalt enjoy thy crotchets and thy Cupids, thy fopperies and thy fripperies, and I'll cut that rascal's windpipe, who dares to vent a sneer at thee. Now tell me what I can do for Peregrine, [150] and behold me ready to undertake it.
b.1 Orthography
b.2 Grammar: “thou” etc (at odds with “you” used elsewhere)
b.3 Vocabulary
c. Nationality: English
d. Character profile: enabling character who changes his alliances repeatedly
e. Consistency of representation: inconsistent
Variety: Sir John Manfred
a. Sample of dialect
[page 265]
Sir J.
So, so! your very humble servant, Mr. Flexible! I am much obliged to you for all your favours; but let me tell you, your Rainbow's a mere watergull, an ignis fatuus, a cheat.
b.1 Orthography
b.2 Grammar
b.3 Vocabulary: ignis fatuus
c. Nationality: English
d. Character profile: baronet
e. Consistency of representation: this instance only
Comment on "dead languages":
[page 229]
Tiff.
Enough said! Your friend is my friend, my house is your house; let him come when he
[Page 230 ]
will, let him do what he likes: If he's sad, I can be silent; if he's merry, I can laugh; if he talks Latin, I shan't understand him; and if he writes verses, I don't wish to read them.
Abel.
No, no, my heart of gold, you and I don't disturb the dead languages, and have little to say to the living ones, but, to the honour of us idle dunces, we can be of some use to mankind without the help of either.
Other points of interest |
On female education:
Lady M.
No matter, so it was. What did we do? we did not set to work with low-pric'd English masters, no; we took teachers of the tip-top ton, French and Italian---And now what have they done?
On man-milliners:
Abel.
No, father, I don't say it is the dress of a gentleman, but if no gentleman dresses any otherwise, what am I to do? You wou'dn't have me rig out in laced ruffles and tambour waistcoat, like my friend Beau Tiffany?
Flex.
No, squire, the same reason does not hold; Beau Tiffany is the son of a man milliner; he inherets the taste of his father.
A courtship ritual:
Abel.
Never was a truer word spoke by man, for whilst their wise heads are plotting about us, it is fit that you and I should come to an understanding between ourselves. And now, miss Letty, in the first place, to make good my promise to my father, I must begin by making love to you. I must, I must, upon my soul, so don't laugh at me; I am serious.
Let.
Make love to me! How can you be so ridiculous? You'll only set me a tittering, and then you'll say I gigg you.
Abel.
Never mind; I shall do it awkwardly, but it must be done---Beauteous object of my passion, that you should be charming above all things in my eyes, is nothing wonderful; that
[page 222 ]
I should be so in yours is not to be expected; nevertheless, if you have a heart to bestow upon me, here I am on my knees to receive it; if you have bestow'd it on any other, here I am upon my legs to serve you---Now, in one word answer me---Am I your husband, or your friend?
©2009 Arden Hegele