CHAPTER VI

And frolic Bicknell, and her sister young.

The welcome given by the public to the play brought in its train some annoyance to the author: "I find success, even in the most trivial things, raises the indignation of scribblers," he wrote to Parnell on March 18th, "for I, for my 'What D'ye Call It' could neither escape the fury of Mr. Burnet or the German doctor. Then, where will rage end when Homer is to be translated? Let Zoilus hasten to your friend's assistance, and envious criticism shall be no more."[3]A more biting attack than that of Thomas Burnet'sGrumbler(No. 1, February 14th, 1715) or that of Philip Horneck in "The High German Doctor" was the "Key to 'The What D'ye Call It,'" written by the actor Griffin in collaboration with Lewis Theobald. About this Gay wrote to Caryll in April: "There is a sixpenny criticism lately published upon the tragedy of 'The What D'ye Call It,' wherein he with much judgment and learning calls me a blockhead and Mr. Pope a knave. His grand charge is against 'The Pilgrim's Progress' being read, which, he says, is directly levelled at Cato's reading Plato. To back this censure he goes on to tell you that 'The Pilgrim's Progress' being mentioned to be the eighth edition makes the reflection evident, the tragedy of 'Cato' being just eight times printed. He has also endeavoured to show that every particular passage of the play alludes to some fine part of the tragedy, which he says I have injudiciously and profanely abused."[4]

Still, Gay could really afford to laugh at those who attacked or parodied him, for the play brought him, if[pg 39]not fame, at least notoriety. It also brought him some much-needed money. Pope told Caryll in March that Gay "will have made about £100 out of this farce"; and it is known that for the publishing rights Lintott gave him on February 14th £16 2s. 6d.

Gay, now a popular dramatist as well as an intimate friend of many of the leading men in literary circles, became known to people of high social rank, who, like his brethren of the pen, took him up and made a pet of him. In the summer of 1715 Lord Burlington, the "generous Burlington" of "Mr. Pope's Welcome from Greece," invited him to accompany him to Devonshire, and Gay repaid the compliment by describing his "Visit to Exeter" in a poetical "Epistle to the Right Honourable the Earl of Burlington," the first lines of which are:—

While you, my Lord, bid stately piles ascend,

Or in your Chiswick bowers enjoy your friend;

Where Pope unloads the boughs within his reach,

The purple vine, blue plum, and blushing peach;

I journey far.—You know fat bards might tire.

And, mounted, sent me forth your trusty squire.

During his stay in Devonshire Gay began the composition of "Trivia, or The Art of Walking the Streets of London." It was to this that Pope made allusion when writing to Caryll, January 10th, 1716: "Gay's poem [is] just on the brink of the press, which we have had the interest to procure him subscription of a guinea a book to a tolerable number. I believe it may be worth £150 to him on the whole."[5]In addition to the subscriptions, Gay received from Lintott £43 for the copyright of the book, the copies of which were sold to the public at one shilling and sixpence each; and as, with humorous exaggeration, Arbuthnot wrote to Parnell: "Gay has got as much money by his 'Art of Walking the Streets' that he is ready to set up his equipage; he is just going to the bank to negotiate[pg 40]some exchange bills."[6]The "Advertisement" prefaced to the poem runs:—

"The world, I believe, will take so little notice of me that I need not take much of it. The critics may see by this poem that I walk on foot, which probably may save me from their envy. I should be sorry to raise that passion in men whom I am so much obliged to, since they allowed me an honour hitherto only shown to better writers: that of denying me to be author of my own works. I am sensible this must be done in pure generosity; because whoever writ them, provided they did not themselves, they are still in the same condition. Gentlemen, if there be any thing in this poem good enough to displease you, and if it be any advantage to you to ascribe it to some person of greater merit, I shall acquaint you for your comfort, that among many other obligations, I owe several hints of it to Dr. Swift. And if you will so far continue your favour as to write against it, I beg you to oblige me in accepting the following motto:—

—Non tu, in triviis, indocte, solebas

Stridenti miserum stipula disperdere carmen?"

Whether Swift gave any direct assistance is doubtful. Mr. Austin Dobson thinks that it is not improbable that "Trivia" was actually suggested by the "Morning" and "City Shower" which Swift had previously contributed to Steele'sTatler. Probably these are among the "several hints" which Gay had in mind.

"Trivia" was published on January 26th, 1716, and was the one outstanding feature in the year in the biography of Gay. In the following March 26th there appeared a volume of "Court Poems," published by J. Roberts, who advertised them as from the pen of Pope, though the preface makes the authorship doubtful between Pope, Gay, and a Lady of quality, who was Lady Mary Wortley Montagu. To the volume Lady Mary Wortley Montagu contributed "The Drawing Room," Pope "The Basset[pg 41]Table," and Gay "The Toilet." This last has been attributed to Lady Mary, and it has actually been printed among her poems; but, according to Pope, it is "almost wholly Gay's," there being "only five or six lines in it by that lady."

In 1716 Gay paid a second visit to Devonshire, and during the year he composed the "sober eclogue," "The Espousal," which probably arose out of a suggestion of Swift. "There is an ingenious Quaker[7]in this town, who writes verses to his mistress, not very correct, but in a strain purely what a poetical Quaker should do, commending her looks and habit, etc." Swift wrote to Pope on August 30th, 1716: "It gave me a hint that a set of Quaker pastorals might succeed if our friend Gay could fancy it, and I think it a fruitful subject. Pray hear what he says. I believe farther, the pastoral ridicule is not exhausted, and that a porter, footman, or chairman's pastoral might do well; or what think you of a Newgate pastoral, among the whores and thieves there?"[8]This letter is of especial importance in the biography of Gay, as it may well have sown in his mind the seed of "The Beggar's Opera."

About this time Gay was labouring on another play, "Three Hours After Marriage," which he wrote in collaboration with Pope and Arbuthnot. It is a sorry piece of work, and unworthy of any one, much less of the three distinguished men associated in the authorship. In the Epilogue it is written:—

Join then your voices, be the play excused

For once, though no one living is abused;

but as a matter of fact one purpose of the play was, as Dr. Johnson said, "to bring into contempt Dr. Woodward, the fossilist, a man not really or justly contemptible." Woodward was the author of a "History of Fossils," and his name survives in the Woodwardian Professorship of[pg 42]Geology at Cambridge. He was introduced as Dr. Cornelius in "Martin Scriblerus":—

Who nature's treasures would explore,

Her mysteries and arcana know.

Must high as lofty Newton soar,

Must stoop as delving Woodward low.

The bridegroom in the play is called Fossile, and there was no mistaking the intention. Dr. Woodward had many friends, and these made known their disgust in the most unmistakable manner when "Three Hours After Marriage" was produced on January 16th, 1717, at Drury Lane Theatre. It ran for seven nights. "It had the fate which such outrages deserved," Dr. Johnson has written; "the scene in which Woodward was directly and apparently ridiculed by the introduction of a mummy and a crocodile, disgusted the audience, and the performance was driven off the stage with general condemnation."[9]The farce was not only dull, it was vulgar. And the geologist (played by Johnson) was not the only person introduced for the purpose of ridicule. Dennis was brought in as Sir Tremendous, and it was believed that Phoebe Clinket (played by Mrs. Bicknell) was intended for Anne Finch, Countess of Winchelsea, who, says Mr. Austin Dobson, "was alleged to have spoken contemptuously of Gay." Of this farce, Mr. Dobson writes: "It is perhaps fairer to say that he bore the blame, than that he is justly charged with its errors of taste"; and it is very probable that, while Gay generously accepted responsibility, Pope and Arbuthnot were equally culpable. "Too late I see, and confess myself mistaken in relation to the comedy; yet I do not think had I followed your advice and only introduced the mummy, that the absence of the crocodile had saved it," Gay wrote to Pope. "I cannot help laughing myself (though the vulgar do not consider it was designed to look ridiculous) to think how the poor monster and mummy were dashed at their reception; and when the[pg 43]cry was loudest I thought that if the thing had been written by another I should have deemed the town in some measure mistaken; and, as to your apprehension that this may do us future injury, do not think it; the Doctor [Arbuthnot] has a more valuable name than can be hurt by anything of this nature, and yours is doubly safe. I will, if any shame there be, take it all to myself, as indeed I ought, the notion being first mine, and never heartily approved of by you.... I beg of you not to suffer this, or anything else, to hurt your health. As I have publicly said that I was assisted by two friends, I shall still continue in the same story, professing obstinate silence about Dr. Arbuthnot and yourself."[10]

The publication in book form of "Three Hours After Marriage" by Lintott, who paid £16 2s. 6d. for the copyright, a few days after the production, did nothing to arrest the torrent of abuse. "Gay's play, among the rest, has cost much time and long suffering to stem a tide of malice and party, that certain authors have raised against it," Pope wrote to Parnell. Amongst those foremost among the attackers was Addison, who perhaps had not forgotten or forgiven the parody of some of the lines in his play "Cato," which was introduced by Gay in "The What D'ye Call It." Gay, the most easy-going of men, was always stirred by criticism, and in this case he, with unusual energy, sat down to reply to his detractors. "Mr. Addison and his friends had exclaimed so much against Gay's 'Three Hours After Marriage' for obscenities, that it provoked him to write 'A Letter from a Lady in the City to a Lady in the Country' on that subject," so runs a passage in Spence's Anecdotes of Pope. "In it he quoted the passages which had been most exclaimed against, and opposed other passages to them from Addison's and Steele's plays. These were aggravated in the same manner that they served his, and appeared worse. Had it been published it would have made Addison appear ridiculous,[pg 44]which he could bear as little as any man. I therefore prevailed upon Gay not to print it, and have the manuscript now by me."[11]In Spence's Anecdotes there is another passage bearing on the same matter: "A fortnight before Addison's death,[12]Lord Warwick[13]came to Gay and pressed him in a very particular manner 'to go and see Mr. Addison,' which he had not done for a great while. Gay went, and found Addison in a very weak way. He received him in the kindest manner and told him, 'that he had desired this visit to beg his pardon, that he had injured him greatly, but that if he lived he should find that he would make it up to him.' Gay, on his going to Hanover, had great reason to hope for some good preferment; but all his views came to nothing. It is not impossible but that Mr. Addison might prevent them, from his thinking Gay too well with some of the great men of the former Ministry. He did not at all explain himself, in which he had injured him, and Gay could not guess at anything else in which he could have injured him so considerably."[14]It seems, however, more probable that Addison really had in mind the part he had taken in connection with "Three Hours After Marriage." Two critical publications, "A Complete Key to 'Three Hours After Marriage,'" and "A Letter to John Gay, Concerning his late Farce, entitled a Comedy," annoyed Gay; while Pope, too, and, in a minor degree, Arbuthnot, were attacked for their share in the farce. John Durand Breval, writing over the signature of Joseph Gay, published in 1717 "The Confederates: A Farce," in which he introduced a humorous caricature print of Pope, Gay and Arbuthnot, so that, says Professor Courthope, "Pope, at the height of his fame, found himself credited, though he seems to have had little to do with it, with the past paternity of a condemned play."[15]Another incident,[pg 45]recorded by Professor Courthope, further angered Pope: "While he was still sore at the mishap, Colley Cibber, playing in 'The Rehearsal,' happened to make an impromptu allusion to the unlucky farce, saying that he had intended to introduce the two kings of Brentford, 'one of them in the shape of a mummy, and t'other in that of a crocodile.' The audience laughed, but Pope, who was in the house, appeared (according to Cibber's account) behind the scenes and abused the actor in unmeasured terms for his impertinence. Cibber's only reply was to assure the enraged poet that, so long as the play was acted, he should never fail to repeat the same words. He kept his promise, thus committing the first of that series of offences which, in the poet's vindictive memory, marked him down for elevation to the throne of Dulness which was rendered vacant by the deposition of King Tibbald."[16]There is a rumour that Gay, in revenge for Cibber's banter of "Three Hours After Marriage," personally chastised the actor-dramatist,[17]but there is nothing definitely known about this. Anyhow, Gay was so irritated by the failure of this play that he did not produce anything at a theatre during the next seven years.

How Gay managed to exist through the three years after the production of "Three Hours After Marriage" is one of the stumbling blocks for the biographer. Of literary achievement during this period his life was barren. It is true that when he was abroad or in the country he was a guest, but even with this his expenses must have amounted to something. As he earned nothing by his pen, unless his friends provided him with money as well as giving him hospitality, it looks as if some relative must have died and left him a small sum. "As for Gay," Pope wrote to Caryll, June 7th, 1717, "he is just on the wing for Aix-la-Chapelle, with Mr. Pulteney, the late Secretary (at War)."[18]Pulteney who had resigned office when there was a split in the Ministry, had in December, 1714, married a very beautiful[pg 46]woman, Anne Maria Gumley, daughter of a wealthy glass manufacturer. With them Gay went abroad for some months, and perhaps the solution of the problem above stated, is that while he went nominally as their guest, he was actually paid a salary as companion or secretary.

It is evident from Gay's "Epistle to the Right Honourable William Pulteney, Esq." (published in 1717) that the party stayed some while at Paris, for therein is an account of that city, an account in which the author betrays a sad insularity; and he was certainly at Aix in November. "I should not forget to acknowledge your letter sent from Aix. You told me that writing was not good with the waters, and I find since, you are of my opinion, that it is as bad without the waters. But, I fancy, it is not writing, but thinking, that is so bad with the waters; and then you might write without any manner of prejudice if you write like our brother poets of these days." Pope wrote to him on November 8th: "... That Duchess [of Hamilton],[19]Lord Warwick, Lord Stanhope, Mrs. Bellenden, Mrs. Lepell, and I cannot tell who else, had your letters ... I would send my services to Mr. Pulteney, but that he is out at Court, and make some compliment to Mrs. Pulteney, if she was not a Whig."[20]

From this letter it is evident that Gay was becoming well known in fashionable circles, and it is also clear that he had friends in the Court circle. "Gay is well at Court, and more than ever in the way of being served than ever.... Gay dines daily with the Maids of Honour," Pope had written to Martha Blount in December, 1716; and Gay, who would rather have had a place in the Household with nothing to do and no responsibility than anything else in the world, was not the man to refrain from endeavouring to improve the occasion. Mrs. Howard he had first met at Hanover, and in London contrived to turn the acquaintanceship into friendship. Knowing Gay's[pg 47]character and his ambition, it is probably doing him no injustice to say that he was first drawn to the lady by the belief that she might further his aims. However, it is only fair to say that he soon came to like her for herself, and long after he was convinced that she could be of no service to him he remained a very loyal and intimate friend. He was taken entirely into her confidence, as will presently be seen, and she even called him in to assist her when she was conducting an elaborate and stilted epistolatory flirtation with Lord Peterborough. It was most probably she who introduced him to Mrs. Bellenden, Mrs. Lepell, and the other ladies of the Court. Of Mrs. Howard and Gay, Dr. Johnson wrote: "Diligent court was paid to Mrs. Howard, afterwards Countess of Suffolk, who was much beloved by the King and Queen, to engage her interest for his promotion; but solicitations, verses, and flatteries were thrown away; the lady heard them and did nothing." This, however, is manifestly unfair, for it is now known that Mrs. Howard's influence was negligible.

To the ladies of the Court and others of Pope's friends, Gay paid tribute in "Mr. Pope's Welcome from Greece":—

What lady's that to whom he gently bends?

Who knows her not? Ah, those are Wortley's eyes.

How art thou honour'd, number'd with her friends;

For she distinguishes the good and wise.

The sweet-tongued Murray near her side attends:

Now to my heart the glance of Howard flies;

Now Hervey, fair of face, I mark full well

With thee, youth's youngest daughter, sweet Lepell.

I see two lovely sisters hand in hand,

The fair-hair'd Martha and Teresa brown;

Madge Bellenden, the tallest of the land;

And smiling Mary, soft and fair as down.

Yonder I see the cheerful Duchess stand,

For friendship, zeal, and blithesome humours known:

Whence that loud shout in such a hearty strain?

Why all the Hamiltons are in her train.

See next the decent Scudamore advance

[pg 48]

With Winchelsea, still meditating song,

With her perhaps Miss Howe came there by chance.

Nor knows with whom, nor why she comes along.

Gay was now on intimate terms with Lord Harcourt, whom he presently introduced into "Mr. Pope's Welcome from Greece":—

Harcourt I see, for eloquence renown'd,

The mouth of justice, oracle of law!

Another Simon is beside him found,

Another Simon like as straw to straw;

and early in 1718 he visited him, first at Cockthorpe and then at Stanton Harcourt, at which latter seat Pope was staying, working on the fifth volume of the "Iliad." In the following year Gay again crossed the Channel, possibly for the second time with the Pulteneys, but the only record of this trip is to be found in the following letter:—

JOHN GAY TO THE HON. MRS. HOWARD.Dijon, September 8th, 1719."If it be absolutely necessary that I make an apology for my not writing, I must give you an account of very bad physicians, and a fever which I had at Spa, that confined me for a month; but I do not see that I need make the least excuse, or that I can find any reason for writing to you at all; for can you believe that I would wish to converse with you if it were not for the pleasure to hear you talk again? Then why should I write to you when there is no possibility of receiving an answer? I have been looking everywhere since I came into France to find out some object that might take you from my thoughts, that my journey might seem less tedious; but since nothing could ever do it in England I can much less expect it in France."I am rambling from place to place. In about a month I hope to be at Paris, and in the next month to be in England, and the next minute to see you. I am now at[pg 49]Dijon in Burgundy, where last night, at an ordinary, I was surprised by a question from an English gentleman whom I had never seen before; hearing my name, he asked me if I had any relation or acquaintance withmyself, and when I told him I knew no such person, he assured me that he was an intimate acquaintance of Mr. Gay's of London. There was a Scotch gentleman, who all supper time was teaching some French gentlemen the force and propriety of the English language; and, what is seen very commonly, a young English gentleman with a Jacobite governor. A French marquis drove an Abbé from the table by railing against the vast riches of the Church, and another marquis, who squinted, endeavoured to explain transubstantiation: 'That a thing might not be what it really appeared to be, my eyes,' says he, 'may convince you. Iseemat present to be looking on you; but, on the contrary, I see quite on the other side of the table.' I do not believe that this argument converted one of the heretics present, for all that I learned by him was, that to believe transubstantiation it is necessary not to see the thing you seem to look at."So much I have observed on the conversation and manners of thepeople. As for theanimalsof the country, it abounds with bugs, which are exceedingly familiar with strangers; and as forplants, garlick seems to be the favourite production of the country, though for my own part I think the vine preferable to it. When I publish my travels at large I shall be more particular; in order to which, to-morrow I set out for Lyons, from thence to Montpelier, and so to Paris; and soon after I shall pray that the winds may be favourable, I mean, to bring you from Richmond to London, or me from London to Richmond; so prays, etc., JOHN GAY."I beg you, madam, to assure Miss Lepell and Miss Bellenden, that I am their humble servant."[21]

JOHN GAY TO THE HON. MRS. HOWARD.

"If it be absolutely necessary that I make an apology for my not writing, I must give you an account of very bad physicians, and a fever which I had at Spa, that confined me for a month; but I do not see that I need make the least excuse, or that I can find any reason for writing to you at all; for can you believe that I would wish to converse with you if it were not for the pleasure to hear you talk again? Then why should I write to you when there is no possibility of receiving an answer? I have been looking everywhere since I came into France to find out some object that might take you from my thoughts, that my journey might seem less tedious; but since nothing could ever do it in England I can much less expect it in France.

"I am rambling from place to place. In about a month I hope to be at Paris, and in the next month to be in England, and the next minute to see you. I am now at[pg 49]Dijon in Burgundy, where last night, at an ordinary, I was surprised by a question from an English gentleman whom I had never seen before; hearing my name, he asked me if I had any relation or acquaintance withmyself, and when I told him I knew no such person, he assured me that he was an intimate acquaintance of Mr. Gay's of London. There was a Scotch gentleman, who all supper time was teaching some French gentlemen the force and propriety of the English language; and, what is seen very commonly, a young English gentleman with a Jacobite governor. A French marquis drove an Abbé from the table by railing against the vast riches of the Church, and another marquis, who squinted, endeavoured to explain transubstantiation: 'That a thing might not be what it really appeared to be, my eyes,' says he, 'may convince you. Iseemat present to be looking on you; but, on the contrary, I see quite on the other side of the table.' I do not believe that this argument converted one of the heretics present, for all that I learned by him was, that to believe transubstantiation it is necessary not to see the thing you seem to look at.

"So much I have observed on the conversation and manners of thepeople. As for theanimalsof the country, it abounds with bugs, which are exceedingly familiar with strangers; and as forplants, garlick seems to be the favourite production of the country, though for my own part I think the vine preferable to it. When I publish my travels at large I shall be more particular; in order to which, to-morrow I set out for Lyons, from thence to Montpelier, and so to Paris; and soon after I shall pray that the winds may be favourable, I mean, to bring you from Richmond to London, or me from London to Richmond; so prays, etc., JOHN GAY.

"I beg you, madam, to assure Miss Lepell and Miss Bellenden, that I am their humble servant."[21]

Footnotes:

[1]

Pope:Works(ed. Elwin and Courthope), IV, p. 412.

[2]

Pope:Works(ed. Elwin and Courthope), VI, p. 223.

[3]

Ibid., VII, p. 455.

[4]

Ibid., VI, p. 227.

[5]

Pope:Works(ed. Elwin and Courthope), VI, p. 237.

[6]

Pope:Works(ed. Elwin and Courthope), VII, p. 460.

[7]

George Rooke, a Dublin linendraper.

[8]

Swift:Works(ed. Scott), XVI, p. 251.

[9]

Johnson:Works(ed. Hill), II, p. 271.

[10]

Pope:Works(ed. Elwin and Courthope), VII, p. 418.

[11]

Spence:Anecdotes(ed. Singer), p. 202.

[12]

Addison died on June 17th, 1719.

[13]

Stepson of Addison.

[14]

Spence:Anecdotes(ed. Singer), p. 149.

[15]

Life of Pope, p. 126.

[16]

Life of Pope, p. 126.

[17]

Cibber'sApology(ed. Lowe).

[18]

Pope:Works(ed. Elwin and Courthope), VI, p. 244.

[19]

Daughter of Lord Gerard, widow of the Duke of Hamilton, who in 1712 was killed in a duel with Lord Mohun.

[20]

Pope: Works (ed. Elwin and Courthope) VII. p. 420.

[21]

B.M., Add MSS., 22626, f. 22.

[pg 50]

Gay in 1720 was in his thirty-fifth year, and he had commenced author some twelve years before this date. During this period his output had been very small, and his success not conspicuous. As a dramatist he had been a complete failure—his first play, "The Wife of Bath," was still-born, and the others, "The What D'ye Call It" and "Three Hours After Marriage," had practically been hooted off the stage, and had brought him in their train a considerable degree of unpopularity. Of his poems, the only ones of any marked merit were "The Shepherd's Week," and "Trivia," and even these were unambitious, though not without merit. Gay now bethought him of collecting his poems, published and unpublished, and they were issued in two quarto volumes early in 1720, with the joint imprint of Jacob Tonson and his old publisher, Bernard Lintott, and with a frontispiece by William Kent.

The "Poems on Several Occasions," as the collection was styled, were issued by subscription. His friends supported him admirably. Lord Burlington and Lord Chandos each put down his name for fifty copies, Lord Bathurst for ten copies; in all Gay made more than[pg 51]£1,000 by the publication. To this success he alluded in his "Epistle to the Right Honourable Paul Methuen, Esq."[1]

Yet there are ways for authors to be great;

Write ranc'rous libels to reform the State;

Or if you choose more sun and readier ways,

Spatter a minister with fulsome praise:

Launch out with freedom, flatter him enough;

Fear not, all men are dedication-proof.

Be bolder yet, you must go farther still,

Dip deep in gall thy mercenary quill.

He who his pen in party quarrels draws,

Lists an hired bravo to support the cause;

He must indulge his patron's hate and spleen,

And stab the fame of those he ne'er has seen.

Why then should authors mourn their desp'rate case?

Be brave, do this, and then demand a place.

Why art thou poor? exert the gifts to rise,

And vanish tim'rous virtue from thy eyes.

All this seems modern preface, where we're told

That wit is praised, but hungry lives and cold:

Against th' ungrateful age these authors roar,

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