The spoil'd child: A farce, in two acts, as performed at the Theatre Royal, Drury Lane — Text and Context

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Bickerstaff, Isaac, 1735-1812, Ford, Richard, Sir, -1806, Hoare, Prince, 1755-1834, Jordan, Dorothy, 1761-1816 Project Gutenberg 2022 Not confirmed
English drama -- 18th century; Farces Readers of public-domain and historical texts
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Edition facts

Words 10,771
Reading time 47 min
Text sections 5

The source record for The spoil'd child: A farce, in two acts, as performed at the Theatre Royal, Drury Lane — Text and Context measures this digital text at 10,771 words, 47 min estimated reading time, and 5 detected text sections.

The text analysis averages about 20.6 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “English drama -- 18th century,” connecting these edition facts with the source record’s subject description.

This farce, performed at Drury Lane in 1805, uses rapid dialogue and exaggerated schemes to expose the folly of spoiling children. The prologue, spoken by Dorothy Jordan, sets a meta-theatrical tone, while Little Pickle's escalating pranks drive the two-act structure. Observations focus on the play's self-aware humor, rhythmic prose, and the contrast between affected sentiment and farcical action.
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  • Title & short description10 pts
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  • Text length15 pts
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e you, and so shall John too; aye, aye.——But I had forgot poor Poll—what did you roast the parrot for, you young dog?

_Little P._ Why, sir, I knew you and my aunt were both so fond of it, I thought you would like to see it well dress’d.

_Pick._ Ha!—ha!—ha!——

_Little P._ But dear aunt, I know you must be angry with me, and you think with reason.

_Miss P._ Don’t speak to me, I am not so weak as your father, whatever you may fancy.

_Little P._ But indeed, aunt, you must hear me, had I not loved you as I do, I should not have thus offended you, but it was merely my regard for your _character_.

[_Exit, PICKLE kicks him off._

_Little P._ My dear aunt, I always heard that no lady’s keep parrots or lap-dogs, ’till they can no longer keep lovers—and when at school, I told ’em you had a parrot, the boys all said, then you must be a foolish old maid.

_Miss P._ Indeed!—impudent young wretches.

_Little P._ Yes, aunt, and so I resolved you should no longer be thought so—for I think you are a great deal too young, and too handsome for an old maid. (_taking her hand_)

_Pick._ Come, sister, i’faith you must forgive him, no female heart can withstand that.

_Miss P._ Brother, you know I can forgive where I see occasion; but though these faults are thus excused, how will you answer to a charge of scandal and ill-nature.

_Little P._ Ill-nature, madam—I’m sure nobody can accuse me of that.

_Miss P._ How will you justify the report you spread, of my being locked up in my closet with Mr. Tagg, the author—can you defend so vile an attempt to injure my reputation?

_Pick._ What, that too, I suppose, was from your care of her character—and so to hinder your aunt from being an old maid, you locked her up in her closet with this author, as he is called.

_Little P._ Nay, indeed, dear madam, I beseech you—’twas no such thing, all I said was, you were amusing yourself in your closet with a favourite author.

_Miss P._ I amuse myself in my closet with a favourite author! worse and worse.

_Pick._ Sister have patience—hear——

_Miss P._ I am ashamed to see you support your boy in such insolence—I, indeed! who am scrupulous to a fault; but no longer will I remain subject to such impertinence, I quit your house, sir, and you shall quit all claim to my fortune—this moment will I alter my will, and leave my money to a stranger, sooner than to your family.

_Pick._ Her money to a stranger, leave her money to a stranger! Oh! the three per-cent. consols—oh, the India stock—go, child—fly, throw yourself at your aunt’s feet—say any thing to please her—I shall run distracted.—Oh! those _consols_——

_Little P._ I am gone, sir—shall I say she may die as soon as she pleases, but she must not give her money to a stranger.

_Pick._ Aye, aye, there’s a good boy, say any thing to please her, that will do very well—say she may die as soon as she pleases, but she must not leave her money to a stranger. (_Exit LITTLE P._) Sure never man was so tormented—well, I thought when my poor dear wife, Mrs. Pickle died, and left me a disconsolate widower, I stood some chance of being a happy man, but I know not how it is, I could bear the vexation of my wife’s bad temper better than this woman’s. All my married friends were as miserable as myself—but now—faith here she comes, and in a fine humour, no doubt.

_Miss P._ Brother, I have given directions for my immediate departure, and am now come to tell you, I will persist in my design, unless you this moment adopt the scheme I yesterday proposed for my nephew’s amendment.

_Pick._ Why, my dear sister you know there is nothing I would not readily do to satisfy and appease you, but to abandon my only child, to pretend that he is not mine—to receive a beggar brat into my arms—impossible——

_Miss P._ (_going_) Very well, sir, then I am gone.

_Pick._ But sister, stop—was ever man so used—how long is this scheme of yours to last? how long am I to be deprived of him?

The prologue, spoken by Mrs. Jordan, immediately establishes a self-conscious theatricality. She enters reading a letter from a desperate author, then directly addresses the audience: “You’re all spoilt children of a larger growth.” This meta-theatrical framing, combined with the play’s subtitle “A Farce, in Two Acts,” signals that the work will use exaggerated situations and quick-paced dialogue to critique indulgence. The prologue’s playful tone—mocking both playwrights and spectators—sets the stage for a comedy that delights in its own artifice.

Rhythmic Prose and Exclamatory Speech

The dialogue relies heavily on exclamations and rhythmic patterns that mimic spoken farce. Characters frequently break into interjections like “ha! ha! ha!” or “egad,” and the text is punctuated with dashes and repeated phrases. For instance, Old Pickle’s repeated “yeo, yeo, yeo” becomes a verbal tic that underscores his agitation. The prose often shifts into near-verse, as when Maria declares, “The generous youth shall own, I love him for himself alone.” This blend of colloquial outbursts and stilted declarations creates a distinct vocal texture that propels the action forward without pausing for naturalistic reflection.

Escalating Schemes and Structural Pacing

The two-act structure is built around a series of escalating tricks. Little Pickle, after revealing his identity, immediately proposes a new deception: “Suppose you pretend to fall in love with me, and we run away together.” Each scene introduces a fresh plot—from the initial nurse-switch to the threatened arson (“suppose I set the house on fire—no—no—’tis too soon for that as yet”). This rapid succession of schemes, often hatched and executed within the same scene, maintains a breathless pace. The play’s brevity (under 11,000 words) ensures that no single joke overstays its welcome, and the constant invention keeps the audience engaged.

Theatrical Self-Awareness and Audience Address

The prologue’s meta-theatricality extends into the play itself. Characters acknowledge their own performances: Little Pickle refers to his “scheme” and “trick,” while Maria adopts a “romantically” exaggerated tone. Old Pickle’s aside, “What, poetry too—nay then, it is time to prevent further mischief,” directly comments on the artificiality of the lovers’ dialogue. This self-awareness aligns with the farce tradition of winking at the audience, reminding them that the chaos on stage is a deliberate construction. The play’s closing lines, though not fully excerpted, likely reinforce this playful contract between performer and spectator.

Readers approaching this farce should attend to its verbal energy and structural economy. The dialogue rewards attention to rhythm and repetition, while the rapid succession of pranks creates a cumulative comic effect. The play’s self-consciousness—its awareness of being a performance—invites a reading that appreciates both the surface humor and the underlying critique of spoiled behavior. For those interested in eighteenth-century theatre, this edition offers a glimpse into the popular farce tradition at Drury Lane.

Reading the gleeful chaos of Little Pickle, I thought of my father’s laugh—bright and sudden—when we’d act out scenes at home. Later, Plays — Reading Notes stirred that same warmth, its margins holding someone’s quiet joy in mischief. Plays — Reading Notes feels like an old friend’s handwriting, not a lesson, just a shared fondness for foolishness. That tenderness lingers here.

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