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Ebook has 211 lines and 11621 words, and 5 pages

Editor: Montrose J. Moses

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THE INDIAN PRINCESS

JAMES NELSON BARKER

In a letter written to William Dunlap, from Philadelphia, on June 10, 1832, James Nelson Barker very na?vely and very fully outlined his career, inasmuch as he had been informed by Manager Wood that Mr. Dunlap wished such an account for his "History of the American Stage."

From this account, we learn that whatever dramatic ability Mr. Barker possessed came from the enthusiasm created within him as a reader of wide range. For example, in 1804, he became the author of a one-act piece, entitled "Spanish Rover," furnished in plot by Cervantes. In 1805, he wrote what he describes as a Masque, entitled "America," in which poetic dialogue afforded America, Science and Liberty the opportunity of singing in unison. He confesses that this Masque was "to close a drama I had projected on the adventures of Smith in Virginia, in the olden time." Then followed a tragedy suggested by Gibbon, entitled "Attila," but Mr. Barker had advanced only two acts when news came to him that John Augustus Stone was at work on a play of the same kind.

Then, having finished with his diatribe against coincidence--a diatribe which excellently well shows the channels in which Barker's literary mind ran, and likewise the closeness with which he followed the literary activity of the period among his associates, he continued in his narrative to Dunlap:

Then, in view of Barker's political tastes which, in consideration of the dramatists of those days, one must always take into account, he wrote a piece called "The Embargo; or, What News?" borrowed from Murphy's "Upholsterer," and produced on March 16, 1808.

Between this play and 1809, "The Indian Princess" was written, and what Barker has to say about it will be quoted in its proper place.

Right now, we are letting him enumerate his own literary activities, which were many and continuous.

In 1809, he Americanized Cherry's "Travellers," a dramatic method which has long been in vogue between America and England, and has, in many respects, spoiled many American comedies for English consumption.

In 1812, at the request of Manager Wood, Mr. Barker made a dramatization of Scott's "Marmion," and, strange to say, it was announced as being written by Thomas Morton, Esq.

We see from it a number of things relative to placing Barker as a literary personage. First, his interest in literature made him draw from all sources, combining Scott with Holinshed, and turning, as was the wont of the cultivated American of that day, to the romantic literatures of the past. Secondly, Barker's interest in Colonial History was manifest by his return, time and time again, to Colonial records for dramatic material. Furthermore, as a participant in the political disputes of his day, it would have been a surprise had Barker not directed his pen to some reflection of the discussions of the period.

James Nelson Barker was the son of the Honourable John Barker, one-time Mayor of Philadelphia, and ex-Revolutionary soldier. He was born in that city on June 17, 1784.

His education was received in Philadelphia, and he must have entered the literary and political arenas at an early age. After the fashion of the day, he was trained in the old-time courtesy and in the old-time manner of defending one's honour with the sword, for it is recorded that he was once severely wounded in a duel.

At the outbreak of the War of 1812, he received a commission, fighting mostly on the Canadian frontier, and winning distinction as a Captain of Artillery. After the close of the War, he was supported by the Democratic Party, and elected Mayor of the City of Philadelphia. Later, he upheld "Old Hickory" for the Presidency, and, after filling the position of the Collector of the Port of Philadelphia from 1829-1838, on the election of Van Buren to the presidency, he was appointed First Controller of the Treasury, and moved to Washington. From that time on, he was connected with the highest offices in the department. His pen was continually dedicated to the support of Democracy, and, during the years from 1832-1836, he figured as a contributor to many papers of the time on political topics. He lived until March 9, 1858.

I have selected his play, "The Indian Princess," as an example of the numberless dramas that grew up around the character of Pocahontas. The reader will find it particularly of interest to contrast with this piece G. W. P. Custis's "Pocahontas; or, The Settlers of Virginia" , and John Brougham's burlesque, "Po-ca-hon-tas; or, The Gentle Savage."

The Indian Drama, in America, is a subject well worth careful attention. There are numberless plays mentioned by Laurence Hutton in his "Curiosities of the American Stage" which, though interesting as titles, have not been located as far as manuscripts are concerned.

Barker's "The Indian Princess" is one of the earliest that deal with the character of Pocahontas. The subject has been interestingly treated in an article by Mr. E. J. Streubel .

Barker had originally intended his play, "The Indian Princess," to be a legitimate drama, instead of which, when it was first produced, it formed the libretto for the music by a man named John Bray, of the New Theatre. In his letter to Dunlap, he says:

"'The Indian Princess,' in three acts ... begun some time before, was taken up in 1808, at the request of Bray, and worked up into an opera, the music to which he composed. It was first performed for his benefit on the 6th of April, 1808, to a crowded house; but Webster, particularly obnoxious, at that period, to a large party, having a part in it, a tremendous tumult took place, and it was scarcely heard. I was on the stage, and directed the curtain to be dropped. It has since been frequently acted in, I believe, all the theatres of the United States. A few years since, I observed, in an English magazine, a critique on a drama called 'Pocahontas; or, the Indian Princess,' produced at Drury Lane. From the sketch given, this piece differs essentially from mine in the plan and arrangement; and yet, according to the critic, they were indebted for this very stupid production 'to America, where it is a great favourite, and is to be found in all the printed collections of stock plays.' The copyright of the 'Indian Princess' was also given to Blake, and transferred to Longworth. It was printed in 1808 or 1809. George Washington Custis, of Arlington, has, I am told, written a drama on the same subject."

An account of the riot is to be found in Durang's "History of the Philadelphia Stage," and the reader, in order to gain some knowledge of the popularity of "The Indian Princess," may likewise obtain interesting material in Manager Wood's "Diary," the manuscript of which is now in possession of the University of Pennsylvania. When the play was given in Philadelphia, the advertisement announced, "The principal materials forming this dramatic trifle are extracted from the General History of Virginia, written by Captain Smith, and printed London, folio, 1624; and as close an adherence to historic truth has been preserved as dramatic rules would allow of."

It was given its first New York production at the Park Theatre on June 14, 1808.

PREFACE While I am proud to acknowledge my grateful sense of those flattering marks of liberal kindness with which my dramatic entr?e has been greeted by an indulgent audience, I feel so fully conscious of the very humble merit of this little piece, that perhaps nothing but the peculiar circumstances under which it was acted should have induced me to publish it. In sending it to the press I am perfectly apprized of the probability that it goes only to add one more to the list of those unfortunate children of the American drama, who, in the brief space that lies between their birth and death, are doomed to wander, without house or home, unknown and unregarded, or who, if heeded at all, are only picked up by some critic beadle to receive the usual treatment of vagrants. Indeed, were I disposed to draw comfort from the misfortunes of others, I might make myself happy with the reflection, that however my vagabond might deserve the lash, it would receive no more punishment than those who deserved none at all; for the gentlemen castigators seldom take the pains to distinguish Innocence from Guilt, but most liberally bestow their stripes on all poor wanderers who are unhappily of American parentage. Far, however, from rejoicing at this circumstance, I sincerely deplore it. In all ages, and in every country, even the sturdiest offspring of genius have felt the necessity and received the aid of a protecting hand of favour to support and guide their first trembling and devious footsteps; it is not, therefore, wonderful, that here, where every art is yet but in its infancy, the youthful exertions of dramatic poetry, unaided and unsupported, should fail, and that its imbecile efforts should for ever cease with the failure; that chilled by total neglect, or chid with undeserved severity; depressed by ridicule, starved by envy, and stricken to the earth by malevolence, the poor orphan, heartless and spirit-broken, should pine away a short and sickly life. I am not, I believe, quite coxcomb enough to advance the most distant hint that the child of my brain deserves a better fate; that it may meet with it I might, however, be indulged in hoping, under the profession that the hope proceeds from considerations distinct from either it or myself. Dramatic genius, with genius of every other kind, is assuredly native of our soil, and there wants but the wholesome and kindly breath of favour to invigourate its delicate frame, and bid it rapidly arise from its cradle to blooming maturity. But alas! poor weak ones! what a climate are ye doomed to draw your first breath in! the teeming press has scarcely ceased groaning at your delivery, ere you are suffocated with the stagnant atmosphere of entire apathy, or swept out of existence by the hurricane of unsparing, indiscriminating censure!

ADVERTISEMENT

The principal materials that form this dramatic trifle are extracted from the General History of Virginia, written by Captain Smith, and printed London, folio, 1624; and as close an adherence to historic truth has been preserved as dramatic rules would allow of. The music was furnished by Mr. John Bray, of the New Theatre.

DRAMATIS PERSONAE

EUROPEANS.

DELAWAR, Mr. Warren. CAPTAIN SMITH, Mr. Rutherford. LIEUTENANT ROLFE, Mr. Wood. PERCY, Mr. Charnock. WALTER, Mr. Bray. LARRY, Mr. Webster. ROBIN, Mr. Jefferson. TALMAN, Mr. Durang.

GERALDINE, Mrs. Francis. KATE, Miss Hunt. ALICE, Mrs. Mills.

VIRGINIANS.

SCENE, Virginia.

FOOTNOTES:

The music is now published and sold by Mr. G. E. Blake, No. 1, South Third-street, Philadelphia.

THE INDIAN PRINCESS

SMITH. Once more, my bold associates, welcome. Mark What cheery aspects look upon our landing: The face of Nature dimples o'er with smiles, The heav'ns are cloudless, whiles the princely sun, As glad to greet us in his fair domain, Gives us gay salutation--

WALTER. Plague! He burthens us with favours till we sweat.

SMITH. What think ye, Percy, Rolfe, have we not found Sir Walter Raleigh faithful in his tale? Is 't not a goodly land? Along the bay, How gay and lovely lie its skirting shores, Fring'd with the summer's rich embroidery!

PERCY. Believe me, sir, I ne'er beheld that spot Where Nature holds more sweet varieties.

SMITH. The gale was kind that blew us hitherward. This noble bay were undiscover'd still, Had not that storm arose propitious, And, like the ever kindly breath of heav'n, Which sometimes rides upon the tempest's wing, Driv'n us to happiest destinies, e'en then When most we fear'd destruction from the blast.

ROLFE. Let our dull, sluggish countrymen at home Still creep around their little isle of fogs, Drink its dank vapours, and then hang themselves. In this free atmosphere and ample range The bosom can dilate, the pulses play, And man, erect, can walk a manly round.

ROBIN. Aye, and be scalp'd and roasted by the Indians.

SMITH. Now, gallant cavalier adventurers, On this our landing spot we'll rear a town Shall bear our good king's name to after-time, And yours along with it; for ye are men Well worth the handing down; whose paged names Will not disgrace posterity to read: Men born for acts of hardihood and valour, Whose stirring spirits scorn'd to lie inert, Base atoms in the mass of population That rots in stagnant Europe. Ye are men Who a high wealth and fame will bravely win, And wear full worthily. I still shall be The foremost in all troubles, toil, and danger, Your leader and your captain, nought exacting Save strict obedience to the watchful care Which points to your own good: be wary then, And let not any mutinous hand unravel Our close knit compact. Union is its strength: Be that remember'd ever. Gallant gentlemen, We have a noble stage, on which to act A noble drama; let us then sustain Our sev'ral parts with credit and with honour. Now, sturdy comrades, cheerly to our tasks!

And then she gave me this beautiful keep-sake , which if ever I part with, may a tailor clip me in two with his big shears. Och! when Katy took you in hand, how nicely did you snip and snap my bushy, carroty locks; and now you're cutting the hairs of my heart to pieces, you tieves you--

Och! Hubbaboo--Gramachree--Hone!

When I went in the garden, each bush seem'd to sigh Because I was going--and nod me good-bye; Each stem hung its head, drooping bent like a bow, With the weight of the water--or else of its woe; And while sorrow, or wind, laid some flat on the ground, Drops of rain, or of grief, Fell from every leaf, Till I thought in a big show'r of tears I was drown'd.

ALICE. Master Robin, if you follow me about any longer with your fooleries, my Walter shall know of it.

ROBIN. A fig for Walter! is he to be mentioned the same day with the dapper Robin? can Walter make sonnets and madrigals, and set them, and sing them? besides, the Indians have eat him by this, I hope.

WALTER. Oh, the rascal!

ROBIN. Come, pretty one, quite alone, no one near, even that blundering Irishman away.

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