“Gentlemen, I don’t beat my drums here to ensnare or inveigle any man; for you must know, gentlemen, that I am a man of honour: besides, I don’t beat up for common soldiers; no, I list only grenadiers, grenadiers, gentlemen.”
Sgt. Kite is the assistant to the titular officer, but it is with his call to arms among the local citizenry—here referred to as the Mob—to take up arms in the name of the queen against the forces of the French king. Kite begins his attempts recruitment in the standard way, with a traditional call forth to become heroes and men of honor. That this tactic does not go well for Kite sets in motion the narrative which affects not just the recruitment effort, but romantic entanglements aplenty.
“Look ’ee, fair lady – the devil is a very modest person, he seeks no body un- less they seek him first; he’s chained up like a mastiff, and cannot stir unless he be let loose. – You come to me to have your fortune told – do you think, madam, that I can answer you of my own head?”
When the traditional tactic to recruit fails, Kite comes up with the innovative idea of posing as an astrologer and telling fortunes for potential recruits that tend to predict great success in the future dependent upon their first serving their country honorably. Not only potential recruits wind up seeking to have their fortunes told, however, and thus his ruse also winds up impacting the various pursuits of love taking place.
“Your pardon, sir, I’ll marry upon no condition at all, if I should, I’m resolv’d never to bind myself to a woman for my whole life, till I know whether I shall like her company for half an hour.”
The centerpiece of the romantic plot of the play is Captain Plume’s views toward marriage conflicting with his love for Silvia. This idea that he must do a sort of prenuptial inspection wherein he will if he is compatible with a bride by spending half an hour in her company is sheer nonsense, of course, but from such whimsical rules of engagement are most Restoration comedies made. The point is not plot in this genre of theatre, but the wit expressed among those carrying out the plot.
“Had I but a commission in my pocket I fancy my breeches would become me as well as any ranting fellow of ’um all; for I take a bold step, a rakish toss, a smart cock, and an impudent air to be the principal ingredients in the composition of a captain.”
Another commonality to Restoration comedy—indeed, to almost all British comedies until the 20th century—was the female character who disguises herself as a man. In part, this widespread trend was due to females being banned from acting and thus all female roles being played by men. One assumes that having a female in disguise as a male made that whole suspension of disbelief easier when the female character was played by a male actor. Whatever the reason, it is a trope impossible to escape. At least in this instance, the motivation for Silvia to disguise herself makes some kind of sense. Sort of. Well, at least it does not feel like a decision that subjugates all sense for the sake of serving the plot.
