INKLE AND YARICO;
AN OPERA,
IN THREE ACTS;

AS PERFORMED AT THE THEATRES ROYAL
COVENT GARDEN, AND HAYMARKET.

BY
GEORGE COLMAN, the younger;

PRINTED, UNDER THE AUTHORITY OF THE MANAGERS,
FROM THE PROMPT BOOK.

WITH REMARKS
BY MRS. INCHBALD.

LONDON:
PRINTED FOR LONGMAN, HURST, REES, AND ORME,
PATERNOSTER ROW.

T. Davison, Whitefriars,
London.

REMARKS.

This is a drama, which might remove from Mr. Wilberforce his aversion to theatrical exhibitions, and convince him, that the teaching of moral duty is not confined to particular spots of ground; for, in those places, of all others, the doctrine is most effectually inculcated, where exhortation is the most required—the resorts of the gay, the idle, and the dissipated.

This opera was written, when the author was very young; and, should he live to be very old, he will have reason to be proud of it to his latest day—for it is one of those plays which is independent of time, of place, or of circumstance, for its value. It was popular before the subject of the abolition of the slave trade was popular. It has the peculiar honour of preceding that great question. It was the bright forerunner of alleviation to the hardships of slavery.

The trivial faults of this opera are—too much play on words (as it is called) by Trudge; and some classical allusions by other characters, in whose education such knowledge could not be an ingredient.

A fault more important, is—that the scene at the commencement of the opera, instead of Africa, is placed in America. It would undoubtedly have been a quick passage, to have crossed a fourth part of the western globe, during the interval between the first and second acts; still, as the hero and heroine of the drama were compelled to go to sea—imagination, with but little more exertion, might have given them a fair wind as well from the coast whence slaves are really brought, as from a shore where no such traffic is held 1.

As an opera, Inkle and Yarico has the singular merit not to be protected, though aided, by the power of music: the characters are so forcibly drawn, that even those performers who sing, and study that art alone, can render every part effectual: and singers and actors of future times, like those of the past, and of the present, will find every character exactly suited to their talents.

This opera has been performed in every London theatre, and in every theatre of the kingdom, with the same degree of splendid success. It would have been wonderful had its reception been otherwise; for the subject is a most interesting one, and in the treatment of it, the author has shewn taste, judgment—virtue.

1 (return)
No doubt the author would have ingenuity to argue away this objection—but that, which requires argument for its support in a dramatic work, is a subject for complaint. As slaves are imported