[55]Clarice.Ah! bon Dieu! si Dorante avait autant d'appas,Que d'Alcippe aisément il obtiendrait la place!(Le Menteur, II. ii.)
[55]
Clarice.Ah! bon Dieu! si Dorante avait autant d'appas,Que d'Alcippe aisément il obtiendrait la place!(Le Menteur, II. ii.)
[56]Alcippe.Ah, Clarice! ah, Clarice! inconstante, volage!(Le Menteur, II. iii.)The idea of the servant remaining in the room is Steele's.
[56]
Alcippe.Ah, Clarice! ah, Clarice! inconstante, volage!(Le Menteur, II. iii.)
The idea of the servant remaining in the room is Steele's.
[57]Most of this scene, down to Lovemore's exit, is adapted fromLe Menteur, II. iii., iv.
[57]Most of this scene, down to Lovemore's exit, is adapted fromLe Menteur, II. iii., iv.
[58]Want of merit. See theTatler, No. 69.
[58]Want of merit. See theTatler, No. 69.
[59]There is a similar speech inLe Menteur, II. ii.
[59]There is a similar speech inLe Menteur, II. ii.
[60]The New Exchange was on the south side of the Strand, partly on the site of the present Adelphi. It was a very favourite place of resort in Charles II.'s time, and the restoration plays are full of allusions to it. There were four walks, two above and two below stairs. Steele refers to the New Exchange again in theSpectator, Nos. 96, 155. It was pulled down in 1737. With the scene here described we may compare Etherege'sShe would if she could, III. i.:—"Mrs. Trinckit.What d'ye buy? what d'ye lack, gentlemen? Gloves, ribbons, and essences; ribbons, gloves, and essences?..."Courtall.Walk a turn or two above, or fool awhile with pretty Mistress Anvil, and scent your eye-brows and periwig with a little essence of oranges, or jessamine."Similarly in Otway'sAtheist: or the Second Part of the Soldier's Fortune, II. i., Courtine remarks:—"Methinks, this place looks as if it were made for lovings. The lights on each hand of the walk look stately; and then the rustling of silk petticoats, the din and the clatter of the pretty little parti-coloured parrots, that hop and flutter from one side to t'other, puts every sense upon its proper office, and sets the wheels of nature finely moving."
[60]The New Exchange was on the south side of the Strand, partly on the site of the present Adelphi. It was a very favourite place of resort in Charles II.'s time, and the restoration plays are full of allusions to it. There were four walks, two above and two below stairs. Steele refers to the New Exchange again in theSpectator, Nos. 96, 155. It was pulled down in 1737. With the scene here described we may compare Etherege'sShe would if she could, III. i.:—
"Mrs. Trinckit.What d'ye buy? what d'ye lack, gentlemen? Gloves, ribbons, and essences; ribbons, gloves, and essences?...
"Courtall.Walk a turn or two above, or fool awhile with pretty Mistress Anvil, and scent your eye-brows and periwig with a little essence of oranges, or jessamine."
Similarly in Otway'sAtheist: or the Second Part of the Soldier's Fortune, II. i., Courtine remarks:—
"Methinks, this place looks as if it were made for lovings. The lights on each hand of the walk look stately; and then the rustling of silk petticoats, the din and the clatter of the pretty little parti-coloured parrots, that hop and flutter from one side to t'other, puts every sense upon its proper office, and sets the wheels of nature finely moving."
[61]Green silk stockings seem to have been introduced by Elizabeth, Countess of Chesterfield. On this matter the curious may consult Grammont (Memoirs, 1846, pp. 177-8, 180).
[61]Green silk stockings seem to have been introduced by Elizabeth, Countess of Chesterfield. On this matter the curious may consult Grammont (Memoirs, 1846, pp. 177-8, 180).
[62]The ensuing dialogue between father and son is adapted from one inLe Menteur, II. v. The story is also followed closely by Foote, in theLiar, II. iii.
[62]The ensuing dialogue between father and son is adapted from one inLe Menteur, II. v. The story is also followed closely by Foote, in theLiar, II. iii.
[63]The next four speeches are fromLe Menteur, II. vi.
[63]The next four speeches are fromLe Menteur, II. vi.
[64]In the Duke of Buckingham'sRehearsal(1671), III. ii.
[64]In the Duke of Buckingham'sRehearsal(1671), III. ii.
[65]You teach the woods to re-echo the name of the fair Amaryllis (Virgil, Buc.I. v).
[65]You teach the woods to re-echo the name of the fair Amaryllis (Virgil, Buc.I. v).
[66]Richard Leveridge had a deep and powerful bass voice, and he also composed much song music. He died in 1758, aged 88.
[66]Richard Leveridge had a deep and powerful bass voice, and he also composed much song music. He died in 1758, aged 88.
[67]Lucrèce.Mais parle sous mon nom, c'est à moi de me taire.(Le Menteur, III. v.)
[67]
Lucrèce.Mais parle sous mon nom, c'est à moi de me taire.(Le Menteur, III. v.)
[68]This speech is adapted from one inLe Menteur, III. v.
[68]This speech is adapted from one inLe Menteur, III. v.
[69]The ensuing dialogue, down to the exit of the ladies, follows generally that inLe Menteur, III. v.
[69]The ensuing dialogue, down to the exit of the ladies, follows generally that inLe Menteur, III. v.
[70]The story will be found in Sir Philip Sidney'sArcadia. The tale of Argalus and Parthenia was put into verse by Francis Quarles.
[70]The story will be found in Sir Philip Sidney'sArcadia. The tale of Argalus and Parthenia was put into verse by Francis Quarles.
[71]Leveridge composed the music for this song.
[71]Leveridge composed the music for this song.
[72]It is interesting to compare this constable with the Dogberry and Verges ofMuch Ado about Nothing, especially Act IV. Scene ii.
[72]It is interesting to compare this constable with the Dogberry and Verges ofMuch Ado about Nothing, especially Act IV. Scene ii.
[73]The following dialogue is adapted fromLe Menteur, V. i. Cf. Foote'sLiar, II. iv.
[73]The following dialogue is adapted fromLe Menteur, V. i. Cf. Foote'sLiar, II. iv.
[74]Steele himself made experiments in alchemy.
[74]Steele himself made experiments in alchemy.
[75]There is a similar scene in Fielding'sAmelia, Book I., chap. iii., and particulars of the system of garnish may be found in the works of John Howard.
[75]There is a similar scene in Fielding'sAmelia, Book I., chap. iii., and particulars of the system of garnish may be found in the works of John Howard.
[76]This condemnation of duelling is the first of a long series in Steele's works.
[76]This condemnation of duelling is the first of a long series in Steele's works.
[77]The hearer should ponder over more things than he sees.
[77]The hearer should ponder over more things than he sees.
[78]When this dedication was written, Addison had recently (December, 1704) published his successful poem,The Campaign, and was preparing hisRemarks on Italyfor the press.
[78]When this dedication was written, Addison had recently (December, 1704) published his successful poem,The Campaign, and was preparing hisRemarks on Italyfor the press.
[79]Wilks was Captain Clerimont.
[79]Wilks was Captain Clerimont.
[80]"The next place of resort wherein the servile world are let loose, is at the entrance of Hyde Park, where the gentry are at the Ring" (Spectator, No. 88). This favourite drive and promenade was partly destroyed when the Serpentine was formed. The servants gathered round the gate, while their masters and mistresses stared at or ogled each other in the Ring.
[80]"The next place of resort wherein the servile world are let loose, is at the entrance of Hyde Park, where the gentry are at the Ring" (Spectator, No. 88). This favourite drive and promenade was partly destroyed when the Serpentine was formed. The servants gathered round the gate, while their masters and mistresses stared at or ogled each other in the Ring.
[81]White's Chocolate-house, on the west side of St. James's Street, was founded about 1698, and the original building was burnt down in 1733. In the first number of theTatler, Steele announced that "all accounts of gallantry, pleasure, and entertainment, shall be under the article of White's Chocolate-house." See, too,Spectator, No. 88, and Hogarth'sRake's Progress, Pt. IV. There was much gambling at White's, and Swift calls it "the common rendezvous of infamous sharpers and noble cullies."
[81]White's Chocolate-house, on the west side of St. James's Street, was founded about 1698, and the original building was burnt down in 1733. In the first number of theTatler, Steele announced that "all accounts of gallantry, pleasure, and entertainment, shall be under the article of White's Chocolate-house." See, too,Spectator, No. 88, and Hogarth'sRake's Progress, Pt. IV. There was much gambling at White's, and Swift calls it "the common rendezvous of infamous sharpers and noble cullies."
[82]Astræawas a French romance by Honoré d'Urfé, translated for the second time in 1657.Cleliawas by Madame de Scudery, who lived until 1701.Cassandra, by Gautier de Costes, Seigneur de la Calprenède, was translated in 1652. These translations were all in folio; and they are all in the list of a lady's library given by Addison in theSpectator, No. 37, together with Steele'sChristian Hero. Oroondates, inCassandra, was the only son of a Scythian king.
[82]Astræawas a French romance by Honoré d'Urfé, translated for the second time in 1657.Cleliawas by Madame de Scudery, who lived until 1701.Cassandra, by Gautier de Costes, Seigneur de la Calprenède, was translated in 1652. These translations were all in folio; and they are all in the list of a lady's library given by Addison in theSpectator, No. 37, together with Steele'sChristian Hero. Oroondates, inCassandra, was the only son of a Scythian king.
[83]This and another reference to the battle of Blenheim, fought in August, 1704, ought to have been sufficient to prevent writers constantly repeating the statement that theTender Husbandwas produced in 1703.
[83]This and another reference to the battle of Blenheim, fought in August, 1704, ought to have been sufficient to prevent writers constantly repeating the statement that theTender Husbandwas produced in 1703.
[84]"Thecorantis a melody or air consisting of three crotchets in a bar, but moving by quavers, in the measure of ¾, with two strains or reprises, each beginning with an odd quaver. Of dance tunes it is said to be the most solemn." "Theboureeis supposed to come from Auvergne, in France; it seldom occurs but in compositions of French masters." (Hawkins'sHistory of Music, IV. 387-8, 390).
[84]"Thecorantis a melody or air consisting of three crotchets in a bar, but moving by quavers, in the measure of ¾, with two strains or reprises, each beginning with an odd quaver. Of dance tunes it is said to be the most solemn." "Theboureeis supposed to come from Auvergne, in France; it seldom occurs but in compositions of French masters." (Hawkins'sHistory of Music, IV. 387-8, 390).
[85]Tony Lumpkin, like Humphry, "boggled a little" at marrying his cousin. SeeShe Stoops to Conquer,Act I., Scene II.:—"Tony.What do you follow me for, cousin Con? I wonder you're not ashamed to be so very engaging."Miss Neville.I hope, cousin, one may speak to one's own relations, and not be to blame."Tony.Ay, but I know what sort of a relation you want to make me, though; but it won't do. I tell you, cousin Con, it won't do; so I beg you'll keep your distance; I want no nearer relationship."
[85]Tony Lumpkin, like Humphry, "boggled a little" at marrying his cousin. SeeShe Stoops to Conquer,Act I., Scene II.:—
"Tony.What do you follow me for, cousin Con? I wonder you're not ashamed to be so very engaging.
"Miss Neville.I hope, cousin, one may speak to one's own relations, and not be to blame.
"Tony.Ay, but I know what sort of a relation you want to make me, though; but it won't do. I tell you, cousin Con, it won't do; so I beg you'll keep your distance; I want no nearer relationship."
[86]Lady Mary Wortley Montagu, in a letter dated Feb. 26, 1711, to her future husband, proposing that their engagement should cease, says that she had foolishly despised women who looked for their happiness in trifles, and thought, as Dryden puts it, that true happiness was to be found in privacy and love. "These notions had corrupted my judgment as much as that of Mrs. Biddy Tipkin's."
[86]Lady Mary Wortley Montagu, in a letter dated Feb. 26, 1711, to her future husband, proposing that their engagement should cease, says that she had foolishly despised women who looked for their happiness in trifles, and thought, as Dryden puts it, that true happiness was to be found in privacy and love. "These notions had corrupted my judgment as much as that of Mrs. Biddy Tipkin's."
[87]Urganda was an enchantress in the Amadis and Palmeria romances.
[87]Urganda was an enchantress in the Amadis and Palmeria romances.
[88]Musidorus, in Sir P. Sidney'sArcadia, is the Prince of Thessaly, and in love with Pamela.
[88]Musidorus, in Sir P. Sidney'sArcadia, is the Prince of Thessaly, and in love with Pamela.
[89]Parthenissa was the heroine of at romance of that name by Roger Boyle, Earl of Orrery, the first two parts of which appeared in 1651.
[89]Parthenissa was the heroine of at romance of that name by Roger Boyle, Earl of Orrery, the first two parts of which appeared in 1651.
[90]Statira, inCassandra, was the widow of Alexander the Great, and the daughter of Darius. She married Oroondates after many difficulties had been overcome.
[90]Statira, inCassandra, was the widow of Alexander the Great, and the daughter of Darius. She married Oroondates after many difficulties had been overcome.
[91]Garraway's coffee house, in Change Alley. Thomas Garraway, tobacconist and coffee-man, was the first to retail tea, which he recommended for the cure of all disorders. SeeTatler, No. 147;Spectator, Nos. 403, 457. Garraway's was the resort of merchants.
[91]Garraway's coffee house, in Change Alley. Thomas Garraway, tobacconist and coffee-man, was the first to retail tea, which he recommended for the cure of all disorders. SeeTatler, No. 147;Spectator, Nos. 403, 457. Garraway's was the resort of merchants.
[92]Prior has several poems on this subject:—"From her own native France, as old Alison passed,She reproached English Nell with neglect or with malice,That the slattern had left in the hurry and hasteHer lady's complexion and eyebrows at Calais."And, again,"Helen was just slipped into bed,Her eyebrows on the toilette lay,Away the kitten with them fled,As fees belonging to her prey.For this misfortune careless Jane,Assure yourself, was loudly rated,And madam getting up again,With her own hand the mouse-trap baited.On little things as sages write,Depends our human joy or sorrow;If we don't catch a mouse to-night,Alas! no eyebrows for to-morrow."And on another occasion, when her eyebrow box was lost, Helen says:"I can behold no mortal now,For what's an eye without a brow?"
[92]Prior has several poems on this subject:—
"From her own native France, as old Alison passed,She reproached English Nell with neglect or with malice,That the slattern had left in the hurry and hasteHer lady's complexion and eyebrows at Calais."
And, again,
"Helen was just slipped into bed,Her eyebrows on the toilette lay,Away the kitten with them fled,As fees belonging to her prey.For this misfortune careless Jane,Assure yourself, was loudly rated,And madam getting up again,With her own hand the mouse-trap baited.On little things as sages write,Depends our human joy or sorrow;If we don't catch a mouse to-night,Alas! no eyebrows for to-morrow."
And on another occasion, when her eyebrow box was lost, Helen says:
"I can behold no mortal now,For what's an eye without a brow?"
[93]A coupee is a motion in dancing, when one leg is a little bent, and raised from the ground, while a forward motion is made with the the other leg.
[93]A coupee is a motion in dancing, when one leg is a little bent, and raised from the ground, while a forward motion is made with the the other leg.
[94]Valentine and Orson, the two twin sons of Alexander, Emperor of Constantinople, in the old romance, were born in a wood.
[94]Valentine and Orson, the two twin sons of Alexander, Emperor of Constantinople, in the old romance, were born in a wood.
[95]Cf. Molière'sLe Sicilien, scene xiii.:—"Si votre pinceau flatte autant que votre langue, vous allez me faire un portrait qui ne me resemblera point."
[95]Cf. Molière'sLe Sicilien, scene xiii.:—"Si votre pinceau flatte autant que votre langue, vous allez me faire un portrait qui ne me resemblera point."
[96]See theVicar of Wakefield, Chap. XVI.:—"As for our neighbour's family, there were seven of them, and they were drawn with seven oranges, a thing quite out of taste, no variety in life, no composition in the world." The vicar's wife was painted as Venus, with two Cupids; the vicar, in gown and band, presenting her with his books on the Whistonian controversy. Olivia was an amazon, Sophia a shepherdess, "with as many sheep as the painter could put in for nothing."
[96]See theVicar of Wakefield, Chap. XVI.:—"As for our neighbour's family, there were seven of them, and they were drawn with seven oranges, a thing quite out of taste, no variety in life, no composition in the world." The vicar's wife was painted as Venus, with two Cupids; the vicar, in gown and band, presenting her with his books on the Whistonian controversy. Olivia was an amazon, Sophia a shepherdess, "with as many sheep as the painter could put in for nothing."
[97]CompareLe Sicilien, scene xiii.:—"Adraste.Levez-vous un peu, s'il vous plaît. Un peu plus de la côté-là. Le corps tourné ainsi. La tête un peu levée, afin que la beauté du cou paraisse. Ceci un peu plus découvert. (Il découvre un peu plus sa gorge). Bon. Là, un peu davantage; encore tant soit peu.... Vos yeux toujours tournés vers moi, je vous en prie; vos regards attachés aux miens."
[97]CompareLe Sicilien, scene xiii.:—"Adraste.Levez-vous un peu, s'il vous plaît. Un peu plus de la côté-là. Le corps tourné ainsi. La tête un peu levée, afin que la beauté du cou paraisse. Ceci un peu plus découvert. (Il découvre un peu plus sa gorge). Bon. Là, un peu davantage; encore tant soit peu.... Vos yeux toujours tournés vers moi, je vous en prie; vos regards attachés aux miens."
[98]This song was set to music by Daniel Purcell.
[98]This song was set to music by Daniel Purcell.
[99]Cf. Molière'sPrécieuses Ridicules, in which Mademoiselle Magdalen says, "Si d'abord Cyrus épousait Mandane, et qu'Aronce de plain-pied fût marié à Clélie!"
[99]Cf. Molière'sPrécieuses Ridicules, in which Mademoiselle Magdalen says, "Si d'abord Cyrus épousait Mandane, et qu'Aronce de plain-pied fût marié à Clélie!"
[100]Similarly, Beau Tibbs hated "immense loads of meat"—"extreme disgusting to those who are in the least acquainted with high life."
[100]Similarly, Beau Tibbs hated "immense loads of meat"—"extreme disgusting to those who are in the least acquainted with high life."
[101]"At the Theatre Royal to-morrow, being the 18th October, will be revived a Comedy called theSpanish Friar; or the Double Discovery. The part of the Friar to be performed by Mr. Estcourt; being the first time of his appearance on the English stage. Beginning exactly at half-an-hour after five o'clock" (Daily Courant, Oct. 17, 1704). Richard Estcourt was an excellent companion, and a favourite of Steele's, who praised him several times in theSpectator, and wrote an excellent and touching paper (No. 468) on his death in 1712, in the course of which he says: "When a man of his wit and smartness could put on an ... air of insipid cunning and vivacity in the character of Pounce in theTender Husband, it is folly to dispute his capacity and success, as he was an actor."
[101]"At the Theatre Royal to-morrow, being the 18th October, will be revived a Comedy called theSpanish Friar; or the Double Discovery. The part of the Friar to be performed by Mr. Estcourt; being the first time of his appearance on the English stage. Beginning exactly at half-an-hour after five o'clock" (Daily Courant, Oct. 17, 1704). Richard Estcourt was an excellent companion, and a favourite of Steele's, who praised him several times in theSpectator, and wrote an excellent and touching paper (No. 468) on his death in 1712, in the course of which he says: "When a man of his wit and smartness could put on an ... air of insipid cunning and vivacity in the character of Pounce in theTender Husband, it is folly to dispute his capacity and success, as he was an actor."
[102]On March 8, 1705 (Daily Courant), there was acted at Drury Lane "a new opera (all sung after the Italian manner) called,Arsinoe, Queen of Cyprus. As it was performed before Her Majesty at St. James's on her birthday."
[102]On March 8, 1705 (Daily Courant), there was acted at Drury Lane "a new opera (all sung after the Italian manner) called,Arsinoe, Queen of Cyprus. As it was performed before Her Majesty at St. James's on her birthday."
[103]The kind of narrative which is presented on the stage ought to be marked by gaiety of dialogue, diversity of character, seriousness, tenderness, hope, fear, suspicion, desire, pity, variety of events, changes of fortune, unexpected disaster, sudden joy, and a happy ending.
[103]The kind of narrative which is presented on the stage ought to be marked by gaiety of dialogue, diversity of character, seriousness, tenderness, hope, fear, suspicion, desire, pity, variety of events, changes of fortune, unexpected disaster, sudden joy, and a happy ending.
[104]The original MS. of this Preface is among the papers at Blenheim, where there are also some rough notes for a Preface,e. g., "The fourth act was the business of the play. The case of duelling. I have fought, nor shall I ever fight again.... Addison told me I had a faculty of drawing tears.... Be that as it will, I shall endeavour to do what I cm to promote noble things, which I will do as well as I can."
[104]The original MS. of this Preface is among the papers at Blenheim, where there are also some rough notes for a Preface,e. g., "The fourth act was the business of the play. The case of duelling. I have fought, nor shall I ever fight again.... Addison told me I had a faculty of drawing tears.... Be that as it will, I shall endeavour to do what I cm to promote noble things, which I will do as well as I can."
[105]"The stupid and diabolical custom of duelling" (MS. erased).
[105]"The stupid and diabolical custom of duelling" (MS. erased).
[106]The Hon. Brigadier-General Charles Churchill, who lived with Mrs. Oldfield after Maynwaring's death (Egerton'sMemoirs of Mrs. Anne Oldfield, 1731, pp. 67, 121).
[106]The Hon. Brigadier-General Charles Churchill, who lived with Mrs. Oldfield after Maynwaring's death (Egerton'sMemoirs of Mrs. Anne Oldfield, 1731, pp. 67, 121).
[107]"To enquire what should not which does please." (MS.)
[107]"To enquire what should not which does please." (MS.)
[108]Carbonelli, a violinist, who had then not long been in England, had a benefit in 1722 at Drury Lane Theatre. He published twelve solos, dedicated to the Duke of Rutland. Afterwards he became a wine-merchant.
[108]Carbonelli, a violinist, who had then not long been in England, had a benefit in 1722 at Drury Lane Theatre. He published twelve solos, dedicated to the Duke of Rutland. Afterwards he became a wine-merchant.
[109]"Played admirably well." (MS.)
[109]"Played admirably well." (MS.)
[110]"Some great critics." (MS.)
[110]"Some great critics." (MS.)
[111]Wags in the newspapers of the day pointed out that these words might be read as meaning that Steele was surprised at finding to be true anything that Cibber said.
[111]Wags in the newspapers of the day pointed out that these words might be read as meaning that Steele was surprised at finding to be true anything that Cibber said.
[112]"The imitation of Pamphilus." (MS.)
[112]"The imitation of Pamphilus." (MS.)
[113]"By him." (MS.)
[113]"By him." (MS.)
[114]Leonard Welsted, a protégé of Steele's, wrote also the Epilogue. He was a clerk in the office of one of the Secretaries of State, and wrote a play and various poems, some of which were addressed to Steele. Pope gave him a place in theDunciad, and Swift attacked him in hisOn Poetry: a Rhapsody.
[114]Leonard Welsted, a protégé of Steele's, wrote also the Epilogue. He was a clerk in the office of one of the Secretaries of State, and wrote a play and various poems, some of which were addressed to Steele. Pope gave him a place in theDunciad, and Swift attacked him in hisOn Poetry: a Rhapsody.
[115]Pinkethman.
[115]Pinkethman.
[116]The reference is to Bartholomew Fair, which was held in Smithfield.
[116]The reference is to Bartholomew Fair, which was held in Smithfield.
[117]Here and throughout this dialogue Steele closely follows the conversation of Simo and Sosia in Terence'sAndria, Act I. scene i.
[117]Here and throughout this dialogue Steele closely follows the conversation of Simo and Sosia in Terence'sAndria, Act I. scene i.
[118]This and the two following speeches by Sir John Bevil are borrowed from Terence.
[118]This and the two following speeches by Sir John Bevil are borrowed from Terence.
[119]In the old Royal Palace at Westminster, the House of Lords was formed out of the ancient Court of Requests, and the old Painted Chamber separated the Lords from the Commons. Steele has described (Spectator, No. 88) how servants, waiting for their masters at an alehouse at Westminster, debated upon public affairs, addressing each other by their employers' names.
[119]In the old Royal Palace at Westminster, the House of Lords was formed out of the ancient Court of Requests, and the old Painted Chamber separated the Lords from the Commons. Steele has described (Spectator, No. 88) how servants, waiting for their masters at an alehouse at Westminster, debated upon public affairs, addressing each other by their employers' names.
[120]At the ridotto there was music, followed by dancing, the company passing, when the music was over, from the pit to the stage. Burney says that this Italian entertainment was first introduced into England in 1722, the year in which Steele producedThe Conscious Lovers.
[120]At the ridotto there was music, followed by dancing, the company passing, when the music was over, from the pit to the stage. Burney says that this Italian entertainment was first introduced into England in 1722, the year in which Steele producedThe Conscious Lovers.
[121]Belsize House was the forerunner of Ranelagh and Vauxhall. There were gardens, in which refreshments could be obtained, and hunting, races, &c., were provided to amuse the visitors, for whose protection twelve stout men, well armed, patrolled the road to London. A poetical satire,Belsize House, appeared in 1722, the year of this play. In the same year unlawful gaming at Belsize was forbidden (Park'sHampstead, 246-9).
[121]Belsize House was the forerunner of Ranelagh and Vauxhall. There were gardens, in which refreshments could be obtained, and hunting, races, &c., were provided to amuse the visitors, for whose protection twelve stout men, well armed, patrolled the road to London. A poetical satire,Belsize House, appeared in 1722, the year of this play. In the same year unlawful gaming at Belsize was forbidden (Park'sHampstead, 246-9).
[122]Among the Blenheim papers is a fragment, in Steele's writing, of a dialogue between two servants, Parmeno and Pythias—names taken, no doubt, from Terence'sEunuchus. The pair discuss the charm of the soft moments of servants in love, free from their usual restraints. Why should any man usurp more than his share of the atmosphere? The whole art of a serving-man is "to be here and there, and everywhere, unheard and unseen till you are wanted, and never absent when you are. This gives our masters and mistresses the free room and scope to do and act as they please—they are to make all the bustle, all the show—we are like convenient demons or apparitions about 'em, never to take up space or fill the air nor be heard of or seen but when commanded." Pythias remarks how much she learns from Parmeno's conversation, and produces a little collation from the last night's supper which she has prepared for him. Parmeno eats the eggs, gorges, sings a song, and says kind things between whiles to Pythias.
[122]Among the Blenheim papers is a fragment, in Steele's writing, of a dialogue between two servants, Parmeno and Pythias—names taken, no doubt, from Terence'sEunuchus. The pair discuss the charm of the soft moments of servants in love, free from their usual restraints. Why should any man usurp more than his share of the atmosphere? The whole art of a serving-man is "to be here and there, and everywhere, unheard and unseen till you are wanted, and never absent when you are. This gives our masters and mistresses the free room and scope to do and act as they please—they are to make all the bustle, all the show—we are like convenient demons or apparitions about 'em, never to take up space or fill the air nor be heard of or seen but when commanded." Pythias remarks how much she learns from Parmeno's conversation, and produces a little collation from the last night's supper which she has prepared for him. Parmeno eats the eggs, gorges, sings a song, and says kind things between whiles to Pythias.
[123]Leer, throw glances.
[123]Leer, throw glances.
[124]See page307.
[124]See page307.
[125]In the Vision of Mirza (Spectator, No. 159), Addison pictured the Happy Islands which were the abode of good men after death. "Does life appear miserable, that gives thee opportunities of earning such a reward?"
[125]In the Vision of Mirza (Spectator, No. 159), Addison pictured the Happy Islands which were the abode of good men after death. "Does life appear miserable, that gives thee opportunities of earning such a reward?"
[126]In Terence, Glycerium comes to Athens with Chrysis, a courtezan, her supposed sister, and Pamphilus makes her acquaintance at Chrysis's house.
[126]In Terence, Glycerium comes to Athens with Chrysis, a courtezan, her supposed sister, and Pamphilus makes her acquaintance at Chrysis's house.
[127]This character has no prototype in Terence'sAndria.
[127]This character has no prototype in Terence'sAndria.
[128]These two operas, by G. B. Bononcini, were produced in 1722, with words by Rolli. InGriselda, Anastasia Robinson took the part of the heroine, and it is said that she thus completed her conquest of the Earl of Peterborough, who married her many years later.
[128]These two operas, by G. B. Bononcini, were produced in 1722, with words by Rolli. InGriselda, Anastasia Robinson took the part of the heroine, and it is said that she thus completed her conquest of the Earl of Peterborough, who married her many years later.
[129]See page270.
[129]See page270.
[130]There is nothing in Terence'sAndriato correspond to the incidents in this act; and throughout the remainder of the play there is no resemblance except the general idea of the story.
[130]There is nothing in Terence'sAndriato correspond to the incidents in this act; and throughout the remainder of the play there is no resemblance except the general idea of the story.
[131]Steele had already described this scene in theGuardianfor June 20, 1713:—"I happened the other day to pass by a gentleman's house, and saw the most flippant scene of low love that I have ever observed. The maid was rubbing the windows within side of the house, and her humble servant the footman, was so happy a man as to be employed in cleaning the same glass on the side towards the street. The wench began with the greatest severity of aspect imaginable, and breathing on the glass, followed it with a dry cloth; her opposite observed her, and fetching a deep sigh, as if it were his last, with a very disconsolate air did the same on his side of the window. He still worked on and languished, until at last his fair one smiled, but covered herself, and spreading the napkin in her hand, concealed herself from her admirer, while he took pains, as it were, to work through all that intercepted their meeting. This pretty contest held for four or five large panes of glass, until at last the waggery was turned into an humorous way of breathing in each other's faces, and catching the impression. The gay creatures were thus loving and pleasing their imaginations with their nearness and distance, until the windows were so transparent that the beauty of the female made the man-servant impatient of beholding it, and the whole house besides being abroad, he ran in, and they romped out of my sight."
[131]Steele had already described this scene in theGuardianfor June 20, 1713:—"I happened the other day to pass by a gentleman's house, and saw the most flippant scene of low love that I have ever observed. The maid was rubbing the windows within side of the house, and her humble servant the footman, was so happy a man as to be employed in cleaning the same glass on the side towards the street. The wench began with the greatest severity of aspect imaginable, and breathing on the glass, followed it with a dry cloth; her opposite observed her, and fetching a deep sigh, as if it were his last, with a very disconsolate air did the same on his side of the window. He still worked on and languished, until at last his fair one smiled, but covered herself, and spreading the napkin in her hand, concealed herself from her admirer, while he took pains, as it were, to work through all that intercepted their meeting. This pretty contest held for four or five large panes of glass, until at last the waggery was turned into an humorous way of breathing in each other's faces, and catching the impression. The gay creatures were thus loving and pleasing their imaginations with their nearness and distance, until the windows were so transparent that the beauty of the female made the man-servant impatient of beholding it, and the whole house besides being abroad, he ran in, and they romped out of my sight."
[132]Steele's monetary troubles made him personally familiar about the time he wrote this play with indentures tripartite, quadrupartite, and otherwise (SeeLife of Steele, 1889, II., 291, 299, &c.).
[132]Steele's monetary troubles made him personally familiar about the time he wrote this play with indentures tripartite, quadrupartite, and otherwise (SeeLife of Steele, 1889, II., 291, 299, &c.).
[133]This scene is, of course, entirely original.
[133]This scene is, of course, entirely original.
[134]Patron of cock-fighting.
[134]Patron of cock-fighting.
[135]An adaptation, by Thomas Betterton, of Beaumont and Fletcher'sProphetess.
[135]An adaptation, by Thomas Betterton, of Beaumont and Fletcher'sProphetess.
[136]A comedy, by Shadwell, in which Fribble, a haberdasher, is one of the characters.
[136]A comedy, by Shadwell, in which Fribble, a haberdasher, is one of the characters.
[137]Pope tells the story of these lovers in a letter to Lady M. W. Montagu. He wrote two poetical epitaphs, one of which, with slight modifications, is given by Steele, and afterwards this prose inscription, which Lord Harcourt thought would be better understood by the common people.
[137]Pope tells the story of these lovers in a letter to Lady M. W. Montagu. He wrote two poetical epitaphs, one of which, with slight modifications, is given by Steele, and afterwards this prose inscription, which Lord Harcourt thought would be better understood by the common people.
[138]A copy of the speech from Pope's edition of Shakespeare, was sent to Steele by William Plaxton, on July 22, 1725; and in the margin Steele wrote: "Mr. Gwillim speaks this speech in the Welsh tone, looking at the gentlemen suspiciously, not speaking improperly, but as he is a Welshman" (Add. MS. 5145c f. 170).
[138]A copy of the speech from Pope's edition of Shakespeare, was sent to Steele by William Plaxton, on July 22, 1725; and in the margin Steele wrote: "Mr. Gwillim speaks this speech in the Welsh tone, looking at the gentlemen suspiciously, not speaking improperly, but as he is a Welshman" (Add. MS. 5145c f. 170).
[139]Statira, wife of Alexander, is murdered by Roxana, the Bactrian, in Lee's tragedy,The Rival Queens.
[139]Statira, wife of Alexander, is murdered by Roxana, the Bactrian, in Lee's tragedy,The Rival Queens.
[140]These well-known lines are by Lord Rochester.
[140]These well-known lines are by Lord Rochester.
[141]The only dramatic piece calledThe Patriotthat was in print in Steele's time was Gildon's tragedy (1703); and no such lines as those given here are to be found in it.
[141]The only dramatic piece calledThe Patriotthat was in print in Steele's time was Gildon's tragedy (1703); and no such lines as those given here are to be found in it.
[142]The MS. has "off."
[142]The MS. has "off."
[143]The documents printed in this Appendix are taken from myLife of Steele, 1889, in order to illustrate, more fully than was possible in the Introduction, Steele's relations with the theatre at different periods.
[143]The documents printed in this Appendix are taken from myLife of Steele, 1889, in order to illustrate, more fully than was possible in the Introduction, Steele's relations with the theatre at different periods.
[144]Chancery Proceedings (Pub. Rec. Office), B. and A. Hamilton, iv., before 1714, No. 642.
[144]Chancery Proceedings (Pub. Rec. Office), B. and A. Hamilton, iv., before 1714, No. 642.
[145]There is a curious mistake in the date of theTender Husbandthroughout Steele's Bill. As we have seen, it was first produced in April, 1705. There are several allusions in the play to the battle of Blenheim, which was not fought until August, 1704.
[145]There is a curious mistake in the date of theTender Husbandthroughout Steele's Bill. As we have seen, it was first produced in April, 1705. There are several allusions in the play to the battle of Blenheim, which was not fought until August, 1704.
[146]In Easter term, 1707, the Queen sent her writ to the Sheriff of Middlesex in these words: Whereas Christopher Rich, Esq., in our Court at Westminster by our writ and by judgment of the said Court recovered against Richard Steele, gentleman,aliasRichard Steele of the parish of St. Martin-in-the-Fields, gentleman, £144 of debt, also 53s. for his damages, whereof Richard is convicted as is manifest to us by the Records: Now on the part of the said Christopher we understand that in spite of the judgment aforesaid the debt and damages still remain unpaid, wherefore Christopher prays us to give him a suitable remedy. We willing to do what is just in the matter command you by honest men of your bailiwick to cause Richard to know that he is to come before us at Westminster on Wednesday next after the Quindene of Easter to show if he knows or can say anything in bar of execution why Christopher may not have execution of his debt and damages, according to the force, form, and effect of recovery, if he shall think proper, and further to do and receive what the Court shall consider to be just in the matter.—On the 12th February, 5 Anne (1706-7), at Westminster, Christopher came, and the Sheriff acknowledged that Richard has nothing in his bailiwick by which he could cause him to know, &c. [i.e., he had no property to which he could affix the notice]. Richard did not come; therefore it was commanded to the Sheriff to make known to him that he was to be before the Queen at Westminster on Wednesday next after the month of Easter, to show if, &c., and further, &c. The same day was given to Christopher, whereupon he came, and the Sheriff again acknowledged that Richard had nothing, &c., but Richard did not come. It was therefore considered that Christopher might have execution against him of debts and damages, according to the form and effect of the recovery aforesaid (Queen's Bench Judgment Roll, Easter 6 Anne, 375). I have not found the original judgment here referred to.
[146]In Easter term, 1707, the Queen sent her writ to the Sheriff of Middlesex in these words: Whereas Christopher Rich, Esq., in our Court at Westminster by our writ and by judgment of the said Court recovered against Richard Steele, gentleman,aliasRichard Steele of the parish of St. Martin-in-the-Fields, gentleman, £144 of debt, also 53s. for his damages, whereof Richard is convicted as is manifest to us by the Records: Now on the part of the said Christopher we understand that in spite of the judgment aforesaid the debt and damages still remain unpaid, wherefore Christopher prays us to give him a suitable remedy. We willing to do what is just in the matter command you by honest men of your bailiwick to cause Richard to know that he is to come before us at Westminster on Wednesday next after the Quindene of Easter to show if he knows or can say anything in bar of execution why Christopher may not have execution of his debt and damages, according to the force, form, and effect of recovery, if he shall think proper, and further to do and receive what the Court shall consider to be just in the matter.—On the 12th February, 5 Anne (1706-7), at Westminster, Christopher came, and the Sheriff acknowledged that Richard has nothing in his bailiwick by which he could cause him to know, &c. [i.e., he had no property to which he could affix the notice]. Richard did not come; therefore it was commanded to the Sheriff to make known to him that he was to be before the Queen at Westminster on Wednesday next after the month of Easter, to show if, &c., and further, &c. The same day was given to Christopher, whereupon he came, and the Sheriff again acknowledged that Richard had nothing, &c., but Richard did not come. It was therefore considered that Christopher might have execution against him of debts and damages, according to the form and effect of the recovery aforesaid (Queen's Bench Judgment Roll, Easter 6 Anne, 375). I have not found the original judgment here referred to.
[147]Baggs commenced an action for debt against Steele in the Court of Queen's Bench in Michaelmas term, 1707, claiming damages of £15.
[147]Baggs commenced an action for debt against Steele in the Court of Queen's Bench in Michaelmas term, 1707, claiming damages of £15.
[148]1703, N.S.
[148]1703, N.S.
[149]TheExaminerfor October 12, 1713, evidently written by some one well acquainted with Steele's affairs, said, "I and the Upholsterer retired to the bench and parade in the Park, not doubting but your Author would finish his rough draught of theElection at Goatham, according to agreement with Mr. Rich."
[149]TheExaminerfor October 12, 1713, evidently written by some one well acquainted with Steele's affairs, said, "I and the Upholsterer retired to the bench and parade in the Park, not doubting but your Author would finish his rough draught of theElection at Goatham, according to agreement with Mr. Rich."
[150]1703, N. S.
[150]1703, N. S.
[151]1703, N.S.
[151]1703, N.S.
[152]1703, N.S.
[152]1703, N.S.
[153]There is some mistake in this date. On November 20, 1705, theBassett Tablewas acted for the first time.
[153]There is some mistake in this date. On November 20, 1705, theBassett Tablewas acted for the first time.
[154]"Never acted there before. At the desire of severall Ladies of Quality. By her Majesty's Company of Comedians. At the Queen's Theatre in the Haymarket, this present Saturday being the 7thof December [1706] will be presented a Comedy, called The Tender Husband or the Accomplished Fools." The Play was repeated at the Haymarket Theatre on Monday, Dec. 9th, and on Feb. 25th1707, "for the benefit of Mrs. Oldfield"(Daily Courantpassim).
[154]"Never acted there before. At the desire of severall Ladies of Quality. By her Majesty's Company of Comedians. At the Queen's Theatre in the Haymarket, this present Saturday being the 7thof December [1706] will be presented a Comedy, called The Tender Husband or the Accomplished Fools." The Play was repeated at the Haymarket Theatre on Monday, Dec. 9th, and on Feb. 25th1707, "for the benefit of Mrs. Oldfield"(Daily Courantpassim).
[155]Chancery Proceedings, Zincke, 1714-58, No. 1424.
[155]Chancery Proceedings, Zincke, 1714-58, No. 1424.
[156]Robert Aston brought an action against Steele for debt in Michaelmas term, 1716.
[156]Robert Aston brought an action against Steele for debt in Michaelmas term, 1716.
[157]The following memorandum, in Steele's writing, is among the Blenheim MSS.: "Whereas SrR: S: has made a Sale of His income and interest in a Patent of the" ... (some words illegible) "an absolute sale in Words yet it was never intended nor should be ever insisted upon as a sale in fact, but that when the money lent by MrMinshull should be repaid to Him, the Instruments of Sale and all other deeds or securities should be rescinded and made void and ineffectual in what proper manner SrRichard Steele should require either before or after the time limited in the said instruments."
[157]The following memorandum, in Steele's writing, is among the Blenheim MSS.: "Whereas SrR: S: has made a Sale of His income and interest in a Patent of the" ... (some words illegible) "an absolute sale in Words yet it was never intended nor should be ever insisted upon as a sale in fact, but that when the money lent by MrMinshull should be repaid to Him, the Instruments of Sale and all other deeds or securities should be rescinded and made void and ineffectual in what proper manner SrRichard Steele should require either before or after the time limited in the said instruments."
[158]Reason was landlord of the house in York Buildings where Steele had hisCensorium, and he brought an action for debt against Steele in 1718.
[158]Reason was landlord of the house in York Buildings where Steele had hisCensorium, and he brought an action for debt against Steele in 1718.
[159]Chancery Proceedings, Sewell, 1714-58, No. 300.
[159]Chancery Proceedings, Sewell, 1714-58, No. 300.
[160]Pagelxvii.
[160]Pagelxvii.