Chapter XXXIX: Appendix: 143 (3)

[90] Statira, in _Cassandra_, 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. See _Tatler_, 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 haste
Her 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.

[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's _Le Sicilien_, scene xiii.:--"Si votre pinceau flatte autant que votre langue, vous allez me faire un portrait qui ne me resemblera point."

[96] See the _Vicar 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] Compare _Le 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.

[99] Cf. Molière's _Précieuses 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."

[101] "At the Theatre Royal to-morrow, being the 18th October, will be revived a Comedy called the _Spanish 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 the _Spectator_, 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 the _Tender 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."

[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."

[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's _Memoirs of Mrs. Anne Oldfield_, 1731, pp. 67, 121).

[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.

[109] "Played admirably well." (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.

[112] "The imitation of Pamphilus." (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 the _Dunciad_, and Swift attacked him in his _On Poetry: a Rhapsody_.

[115] Pinkethman.

[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's _Andria_, Act I. scene i.

[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.

[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 produced _The 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's _Hampstead_, 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's _Eunuchus_. 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.

[124] See page 307.

[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.

[127] This character has no prototype in Terence's _Andria_.

[128] These two operas, by G. B. Bononcini, were produced in 1722, with words by Rolli. In _Griselda_, 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 page 270.

[130] There is nothing in Terence's _Andria_ to 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 the _Guardian_ for 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 (See _Life of Steele_, 1889, II., 291, 299, &c.).

[133] This scene is, of course, entirely original.

[134] Patron of cock-fighting.

[135] An adaptation, by Thomas Betterton, of Beaumont and Fletcher's _Prophetess_.

[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.

[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_.

[140] These well-known lines are by Lord Rochester.

[141] The only dramatic piece called _The Patriot_ that 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."

[143] The documents printed in this Appendix are taken from my _Life 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.

[145] There is a curious mistake in the date of the _Tender Husband_ throughout 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, _alias_ Richard 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.

[148] 1703, N.S.

[149] The _Examiner_ for 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 the _Election at Goatham_, according to agreement with Mr. Rich."

[150] 1703, N. S.

[151] 1703, N.S.

[152] 1703, N.S.

[153] There is some mistake in this date. On November 20, 1705, the _Bassett Table_ was 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 7^{th} of 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. 9^{th}, and on Feb. 25^{th} 1707, "for the benefit of Mrs. Oldfield" _(Daily Courant_ passim).

[155] Chancery Proceedings, Zincke, 1714-58, No. 1424.

[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 S^r R: 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 M^r Minshull 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 S^r Richard 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 his _Censorium_, and he brought an action for debt against Steele in 1718.

[159] Chancery Proceedings, Sewell, 1714-58, No. 300.

[160] Page lxvii.

[161] Page lvii.

[162] On the 17th June, 1723, an indenture was mode between Steele and Woolley, reciting that there then remained due to Woolley £900, the residue of a greater sum for which one-fifth part of the profits of the theatre was mortgaged by Steele to Minshull, by whom it was assigned to Charles Gery, and by him to Woolley (page 430). This original mortgaged deed for £1200 Woolley delivered to Steele, upon payment of £300 on delivery, and the assignment to Woolley, his executors, &c., of the fifth part of the stock, for the better security of the payment of the remaining £900; and on the 17th July Steele signed a note upon Richard Castleman and every other treasurer of the Company of Comedians at Drury Lane, requiring each of them yearly on the 23rd January to pay to Woolley or his order £200 out of the profits coming due to Steele, until the £900 with interest at five per cent., should be fully paid.

[163] Page lvii.

[164] Chancery Affidavits (Registers), Mich. 1725, Nos. 101, 102.

[165] Chancery Affidavits (Registers), Hilary 1725[-6], No. 204.

[166] Chancery Decrees, 1725B, 203.

[167] Chancery Proceedings, Reynardson, 1714-58, No. 2416; Chancery Decrees, 1727B, 224.

[168] Chancery Decrees, 1725B, 425; 1726B, 464, 2, 115.

[169] Chancery Proceedings, Sewell, A., 1714-58, No. 66.

[170] Chancery Decrees, 1726B, 105; Chancery Proceedings, Reynardson, 1714-58, No. 2416.

[171] Chancery Decrees, 1726B, 461; 1727B, 8, 133.

[172] Chancery Decrees, 1727B, 224; _St. James's Evening Post_, February 17-20, 1728; _The Weekly Journal_ (Read's), and _The Country Journal; or, The Craftsman_, February 24, 1728. Cibber, with his usual inaccuracy, speaks of the case coming to a hearing in 1726, though, as Genest remarks, he mentions a theatrical coronation which, of course, was prompted by the coronation of George II. in 1727.

[173] Masters' Reports, Easter, 1728; Steele, &c., _v._ Wilks, &c.

[174] Chancery Decrees, 1727B, 425.

THE END.

End of Project Gutenberg's Richard Steele's Plays, by Richard Steele