LOVE IN THE CITY.
PREFACE.
In offering the following dramatic production to a discerning public, the author respectfully intimates, that, notwithstanding an accidental similarity in name between this play and one by Mr. William Shakspeare, in plot, language, and situations, the two dramas will be found to differ totally. "Love in the City" is of that order generally termed "the Domestic;" and, while the incidents are varied, simple, and common-place, it is to be hoped that the dénouement will be acknowledged singularly striking and effective.
To restore the legitimate drama, whose neglect has been so long and uselessly deplored, has been the author's principal aim; and, in the construction of the play here presented to the world, he trusts that he has eminently succeeded. No German horrors have been employed; the use of thunder and lightning has been dispensed with; not even a dance of demons has been introduced; and, with the exception of reproducing Mr. Clipclose, senior, in the second act, after he had shuffled off this mortal coil, there is not an event in the whole drama, but those of every-day occurrence.
Although "Love in the City" has been expressly written for the eminent performers whose names are attached to the dramatis personæ, the author will extend a limited privilege of acting to country managers, he receiving a clear half of the gross receipts of their respective houses. Any offer short of this stipulation will remain unattended to. Music-sellers may address proposals for the melodies to Mr. Richard Bentley; and, should my attempt at piracy be detected,—the copyright of the drama being duly entered at Stationers' Hall,—persons thus offending are respectfully informed that they will be subjected to an action at law.
The Author.
Camomile-street, May 1, 1837.
LOVE IN THE CITY;
OR, ALL'S WELL THAT ENDS WELL.
A MELODRAMATIC EXTRAVAGANZA,