Chapter I: Front Matter

TRANSCRIBERS' NOTES

This e-book contains the text of _She Would Be A Soldier_, extracted from Representative Plays by American Dramatists: Vol 1, 1765-1819. Comments and background to all the plays and the other plays are available at Project Gutenberg.

Spelling as in the original has been preserved.

SHE WOULD BE A SOLDIER

_By_ M. M. NOAH

MORDECAI MANUEL NOAH

(1785-1851)

Mr. Noah was born in Philadelphia, July 19, 1785, the son of Portuguese Jewish descent, it being stated by some sources that his father not only fought in the Revolutionary Army, but was a sufficient friend of George Washington to have the latter attend his wedding. In his early years, he was apprenticed, according to the custom of the day, to a carver and gilder, but he spent most of his evenings in the Franklin Library and at the theatre, likewise attending school in his spare time, where, among the pupils, he met John and Steven Decatur, famed afterwards in the history of the American Navy. He filled a minor position in the Auditor's office in Philadelphia, but his tastes inclined more to journalistic than they did to desk work, and, in 1800, he travelled to Harrisburg as a political reporter.

Several years after this, he went to Charleston, and studied law, but before he had had a chance to practise, he became the editor of the Charleston _City Gazette_, and, advocating those principles which resulted in the War of 1812, he used his pen, under the pseudonym of _Muley Molack_, to disseminate those ideas in editorials. The consequence is he encouraged much hatred, and was forced into many duels to support his opinions. In 1811, he was offered the position of Consul at Riga by President Madison, but declined. In 1813, he was sent by Mr. Monroe, as Consul, to Tunis, at a time when the United States was having trouble with Algerian piracy.

During all this period, his pen was actively busy, and while he was abroad he did much travelling which resulted, in 1819, in his publishing a book of travels.

In 1816, he returned to New York, and settled there as a journalist. Being a Tammanyite in politics, we find him filling the position of Sheriff, Judge and Surveyor of the Port at various periods. He was, likewise, an editor of some skill, and his name is associated with the columns of the _New York Enquirer_, the _Evening Star_, the _Commercial Advertiser_, the _Union_, and the _Times and Messenger_.

His political career may be measured in the following manner:

In 1821 he became Sheriff. In 1823, he was admitted to the bar of New York, and in 1829 to the bar of the Supreme Court of the United States. This same year he was appointed Surveyor of the Port of New York.

Entering very prominently in politics, he opposed the election of Van Buren, and gave his vote to General Harrison. Governor Seward appointed him, in 1841, Judge of the Court of Sessions. The same year he was made a Supreme Court Commissioner.

It was in 1825 that, as one of the early Zionists of America, he entered into negotiations for the purchase of nearly three thousand acres of land on Grand Island, in New York State, where it was his dream to establish the City of Ararat, a haven of Judaism in this country. This venture became the basis for a story by Israel Zangwill, called "Noah's Ark." He died in New York on March 22, 1851, having lived in that city since 1813.

Any full Bibliography will give a sufficient idea of the scope of Major Noah's pen. He lived at a time when American Letters were beginning to develop, himself a friend of most of the literary figures of the day--Cooper, Irving, Fitz-Green Halleck and others. And we have an excellent impression of the manner in which the younger literary men regarded the authority of Noah in the "Reminiscences" of J. T. Trowbridge:

"Come with me," he [Mr. Noah] said, putting on his hat; and we
went out together, I with my roll of manuscript, he with his
stout cane. Even if I had been unaware of the fact, I should
very soon have discovered that I was in company with an
important personage. Everybody observed him, and it seemed as if
every third or fourth man we met gave him a respectful salute.
He continued his friendly talk with me in a way that relieved me
of all sense of my own insignificance in the shadow of his
celebrity and august proportions.

As far as his theatrical association is concerned, we can have no better source of information than a letter written by Noah to William Dunlap, and published in the latter's "History of the American Theatre." It is quoted in full:

New-York, July 11, 1832.

To William Dunlap, Esq., Dear Sir:

I am happy to hear that your work on the American Drama is in
press, and trust that you may realize from it that harvest of
fame and money to which your untiring industry and diversified
labours give you an eminent claim. You desire me to furnish you
a list of my dramatic productions; it will, my dear sir,
constitute a sorry link in the chain of American writers--my
plays have all been _ad captandum_: a kind of _amateur_
performance, with no claim to the character of a settled,
regular, or domiciliated writer for the green-room--a sort of
volunteer supernumerary--a dramatic writer by "particular
desire, and for this night only," as they say in the bills of
the play; my "line," as you well know, has been in the more
rugged paths of politics, a line in which there is more fact
than poetry, more feeling than fiction; in which, to be sure,
there are "exits and entrances"--where the "prompter's whistle"
is constantly heard in the voice of the people; but which, in
our popular government, almost disqualifies us for the more soft
and agreeable translation to the lofty conceptions of tragedy,
the pure diction of genteel comedy, or the wit, gaiety, and
humour of broad farce.

I had an early hankering for the national drama, a kind of
juvenile patriotism, which burst forth, for the first time, in a
few sorry doggerels in the form of a prologue to a play, which a
Thespian company, of which I was a member, produced in the
South-Street Theatre--the old American Theatre in Philadelphia.
The idea was probably suggested by the sign of the Federal
Convention at the tavern opposite the theatre. You, no doubt,
remember the picture and the motto: an excellent piece of
painting of the kind, representing a group of venerable
personages engaged in public discussions, with the following
distich:

"These thirty-eight great men have signed a powerful deed,
That better times, to us, shall very soon succeed."

The sign must have been painted soon after the adoption of the
Federation Constitution, and I remember to have stood "many a
time and oft," gazing, when a boy, at the assembled patriots,
particularly the venerable head and spectacles of Dr. Franklin,
always in conspicuous relief. In our Thespian corps, the honour
of cutting the plays, substituting new passages, casting parts,
and writing couplets at the exits, was divided between myself
and a fellow of infinite wit and humour, by the name of
Helmbold; who subsequently became the editor of a scandalous
little paper, called _The Tickler_: He was a rare rascal,
perpetrated all kind of calumnies, was constantly mulcted in
fines, sometimes imprisoned, was full of faults, which were
forgotten in his conversational qualities and dry sallies of
genuine wit, particularly his Dutch stories. After years of
singular vicissitudes, Helmbold joined the army as a common
soldier, fought bravely during the late war, obtained a
commission, and died. Our little company soon dwindled away; the
expenses were too heavy for our pockets; our writings and
performances were sufficiently wretched, but as the audience
was admitted without cost, they were too polite to express any
disapprobation. We recorded all our doings in a little weekly
paper, published, I believe, by Jemmy Riddle, at the corner of
Chestnut and Third-Street, opposite the tavern kept by that
sturdy old democrat, Israel Israel.

From a boy, I was a regular attendant of the Chestnut-Street
Theatre, during the management of Wignell and Reinagle, and made
great efforts to compass the purchase of a season ticket, which
I obtained generally of the treasurer, George Davis, for
eighteen dollars. Our habits through life are frequently
governed and directed by our early steps. I seldom missed a
night; and always retired to bed, after witnessing a good play,
gratified and improved: and thus, probably, escaped the haunts
of taverns, and the pursuits of depraved pleasures, which too
frequently allure and destroy our young men; hence I was always
the firm friend of the drama, and had an undoubted right to
oppose my example through life to the horror and hostility
expressed by sectarians to plays and play-houses generally.
Independent of several of your plays which had obtained
possession of the stage, and were duly incorporated in the
legitimate drama, the first call to support the productions of a
fellow townsman, was, I think, Barker's opera of _The Indian
Princess_. Charles Ingersoll had previously written a tragedy, a
very able production for a very young man, which was supported
by all the "good society;" but Barker, who was "one of us," an
amiable and intelligent young fellow, who owed nothing to
hereditary rank, though his father was a Whig, and a soldier of
the Revolution, was in reality a fine spirited poet, a patriotic
ode writer, and finally a gallant soldier of the late war. The
managers gave Barker an excellent chance with all his plays, and
he had merit and popularity to give them in return full houses.

About this time, I ventured to attempt a little melo-drama,
under the title of "The Fortress of Sorrento" [1808], which, not
having money enough to pay for printing, nor sufficient
influence to have acted, I thrust the manuscript in my pocket,
and, having occasion to visit New-York, I called in at David
Longworth's Dramatic Repository one day, spoke of the little
piece, and struck a bargain with him, by giving him the
manuscript in return for a copy of every play he had published,
which at once furnished me with a tolerably large dramatic
collection. I believe the play never was performed, and I was
almost ashamed to own it; but it was my first regular attempt at
dramatic composition.

In the year 1812, while in Charleston, Mr. Young requested me to
write a piece for his wife's benefit. You remember her, no
doubt; remarkable as she was for her personal beauty and amiable
deportment, it would have been very ungallant to have refused,
particularly as he requested that it should be a "_breeches
part_," to use a green-room term, though she was equally
attractive in every character. Poor Mrs. Young! she died last
year in Philadelphia. When she first arrived in New-York, from
London, it was difficult to conceive a more perfect beauty; her
complexion was of dazzling whiteness, her golden hair and ruddy
complexion, figure somewhat _embonpoint_, and graceful carriage,
made her a great favourite. I soon produced the little piece,
which was called "Paul and Alexis; or, the Orphans of the
Rhine." I was, at that period, a very active politician, and my
political opponents did me the honour to go to the theatre the
night it was performed, for the purpose of hissing it, which was
not attempted until the curtain fell, and the piece was
successful. After three years' absence in Europe and Africa, I
saw the same piece performed at the Park, under the title of
"The Wandering Boys,"[1] which even now holds possession of the
stage. It seems Mr. Young sent the manuscript to London, where
the title was changed, and the bantling cut up, altered, and
considerably improved.

About this time, John Miller, the American bookseller in London,
paid us a visit. Among the passengers in the same ship was a
fine English girl of great talent and promise, Miss Leesugg,
afterwards Mrs. Hackett. She was engaged at the Park as a
singer, and Phillips, who was here about the same period
fulfilling a most successful engagement, was decided and
unqualified in his admiration of her talent. Every one took an
interest in her success: she was gay, kind-hearted, and popular,
always in excellent spirits, and always perfect. Anxious for her
success, I ventured to write a play for her benefit, and in
three days finished the patriotic piece of "She Would be a
Soldier; or, the Battle of Chippewa,"[2] which, I was happy to
find, produced her an excellent house. Mrs. Hackett retired from
the stage after her marriage, and lost six or seven years of
profitable and unrivalled engagement.[3]

After this play, I became in a manner domiciliated in the
green-room. My friends, Price and Simpson, who had always been
exceedingly kind and liberal, allowed me to stray about the
premises like one of the family, and, always anxious for their
success, I ventured upon another attempt for a holy-day
occasion, and produced "Marion; or, the Hero of Lake George." It
was played on the 25th of November, Evacuation day [1821], and I
bustled about among my military friends, to raise a party in
support of a military play, and what with generals,
staff-officers, rank and file, the Park Theatre was so crammed,
that not a word of the play was heard, which was a very
fortunate affair for the author. The managers presented me with
a pair of handsome silver pitchers, which I still retain as a
memento of their good-will and friendly consideration. You must
bear in mind that while I was thus employed in occasional
attempts at play-writing, I was engaged in editing a daily
journal, and in all the fierce contests of political strife: I
had, therefore, but little time to devote to all that study and
reflection so essential to the success of dramatic composition.

My next piece, I believe, was written for the benefit of a
relative and friend, who wanted something to bring a house; and
as the struggle for liberty in Greece was at that period the
prevailing excitement, I finished the melodrama of the _Grecian
Captive_, which was brought out with all the advantages of good
scenery and music [June 17, 1822]. As a "good house" was of more
consequence to the actor than fame to the author, it was
resolved that the hero of the piece should make his appearance
on an elephant, and the heroine on a camel, which were procured
from a neighbouring _menagerie_, and the _tout ensemble_ was
sufficiently imposing, only it happened that the huge elephant,
in shaking his skin, so rocked the castle on his back, that the
Grecian general nearly lost his balance, and was in imminent
danger of coming down from his "high estate," to the infinite
merriment of the audience. On this occasion, to use another
significant phrase, a "gag" was hit upon of a new character
altogether. The play was printed, and each auditor was presented
with a copy gratis, as he entered the house. Figure to yourself
a thousand people in a theatre, each with a book of the play in
hand--imagine the turning over a thousand leaves simultaneously,
the buzz and fluttering it produced, and you will readily
believe that the actors entirely forgot their parts, and even
the equanimity of the elephant and camel were essentially
disturbed.

My last appearance, as a dramatic writer, was in another
national piece, called "The Siege of Tripoli," which the
managers persuaded me to bring out for my own benefit, being my
first attempt to derive any profit from dramatic efforts. The
piece was elegantly got up--the house crowded with beauty and
fashion--everything went off in the happiest manner; when, a
short time after the audience had retired, the Park Theatre was
discovered to be on fire, and in a short time was a heap of
ruins. This conflagration burnt out all my dramatic fire and
energy, since which I have been, as you well know, peaceably
employed in settling the affairs of the nations, and mildly
engaged in the political differences and disagreements which are
so fruitful in our great state.

I still, however, retain a warm interest for the success of the
drama, and all who are entitled to success engaged in sustaining
it, and to none greater than to yourself, who have done more, in
actual labour and successful efforts, than any man in America.
That you may realize all you have promised yourself, and all
that you are richly entitled to, is the sincere wish of

Dear sir,
Your friend and servant,
M. M. NOAH.

Wm. Dunlap, Esq.

FOOTNOTES:

[1] John Kerr wrote "The Wandering Boys; or, The Castle of Olival" (1823), which Dr. Atkinson believes was taken from the same French source as Noah's piece.

[2] She Would Be A Soldier,/or the/Plains of Chippewa;/An Historical Drama,/In Three Acts./By M. M. Noah./Performed for the first time on the 21st/of June, 1819./ New-York:/Published at Longworth's Dramatic Repository./Shakspeare Gallery./ G. L. Birch & Co. Printers./1819./[At one time, Edwin Forrest played the Indian in this piece.]

[3] Catherine Leesugg married James H. Hackett, the American actor, in 1819. As early as 1805, some critics in England spoke of her as the Infant Roscius. Of her, the newspaper versifier proclaimed:

"There's sweet Miss Leesugg--by-the-by, she's not pretty,
She's a little too large, and has not too much grace,
Yet there's something about her so witching and witty,
'Tis pleasure to gaze on her good-humoured face."

OR THE

PLAINS OF CHIPPEWA;

_AN HISTORICAL DRAMA,_

IN THREE ACTS.

BY M. M. NOAH.

PERFORMED FOR THE FIRST TIME ON THE 21ST OF JUNE, 1819.

NEW-YORK:

Published at Longworth's Dramatic Repository, Shakspeare Gallery.

_G. L. Birch & Co. Printers._

1819.

FAC-SIMILE TITLE-PAGE TO 1819 EDITION]