Party allegiance is only one aspect of a much wider cultural programme that puts politeness, sublime self-expression and appreciation of art, including sublimity in the natural world, into a complex and at times near-paradoxical relationship. Here Pix criticizes the victimization of women through forced marriages, pointing out that their only means of escape is through the deaths of their husbands. Sir Jealous has been trying to compel his daughter, Isabinda, to marry Seignior Diego Babinetto, the husband he has selected for her. Sir George, of course, does not know that the two ladies are indeed the same person, and therein lies the intrigue when the lovers meet in the first act. Pearson has surveyed all of Behn's plays and concludes that she is unusual in allowing women to speak first in plays so often, and in including so many scenes in which only women appear, scenes which are often particularly vivid and convincing (146). The words pronounced by Frederick in D'Urfey's The Richmond Heiress (1693) reflect an increasingly common trope and are used by Centlivre herself when trying to understand men's dislike of women writers: perhaps you'll answer, because they meddle with things out of their Sphere: But I say, no; for since the Poet is Born, why not a Woman as well as a Man? Dedication to the Platonick Lady. Mrs. Centlivre's nineteen plays include fourteen comedies, three farces, a tragedy, and a tragi-comedy, and range in date from 1700 to 1722. As it was impossible within the discursive parameters of her time to criticize the institution of marriage and its forms of male control, it is between the generations, between a father and a daughter, that Centlivre highlights the struggle. During the season of 1757-1758, Edward Shuter first played Fainwell at Covent Garden; by 1762, he had performed this part almost as often as Garrick had Don Felix, in The Wonder, at Drury Lane. Ha, ha, ha, his Affairs are wondrous safe, who trusts his Secret to a Woman's keeping, but you need give yourself no Trouble about clearing this Point, Madam, for you are become so indifferent to me, that your Truth, and Falsehood are the same (3:27-28). Stanford, Calif.: Stanford University Press, 1959. Show, Musick, Action and Rhetorick, are moving Entertainments But If delight without Restraint, or Distinction, without Conscience or Shame, is the supream Law of Comedy, 'twere well if we had less on't. Valere has no rival except Hector, or Britton except Gibby. However, with respect to the women, the ambivalence does not derive from the fact that the audience would have found their prereformation life attractive, for the women's reformation is consistent with the dominant ideology of the time. The dramatist's social judgments, as they appear in the handling of characters, intrigue, and satire, are more subtle than usual, at times even ambiguous, but still fundamentally conservative. Ed. WebThings have reached such a desperate pass that the Carsely Ladies Society joins forces with the ladies in the neighboring village of Odley Cruesis to try to put a stop to Mr. It is interesting that by 1722 spousals or marriage vows had lost importance in England: in the play, this form of marriage is moved abroad. Centlivre is insinuating that women should view sex as a pleasurable experience and not just as a conjugal duty. The gamester of the title is the younger Valere, who hesitates between his darling vice and the charms of Angelica, who will not marry him until he has abjured gambling. Freeman initiates the latter before the third game commences, and the Colonel wins his second contest with Periwinkle while that with Tradelove is in progress. Unfortunately, one of his intended victims is Jan van Timtamtirelereletta Heer van Fainwell, Dutch trader, actually Colonel Fainwell in disguise. Both its young heroines are strong, independent women finding their But thematically, here, Angellica is more than just a symbol of Marxist political philosophy. At her request, Manly and Bellmein rescue Clarinda from Sir William as he is taking her to church, and Manly marries her. 113-4). [In the following excerpt, Stathas discusses the stage history and sources for A Bold Stroke for a Wife, one of Centlivre's most successful plays. Gambling alone stands in the way of Lady Reveller's acceptability as a wife to Lord Worthy. For the next two decades Centlivre worked steadily at playwriting, though she published her first several plays anonymously. Los Angeles: Augustan Reprint Society, William Andrews Clark Memorial Library, 1949. 61-77. As Valre says: Le jeu rassemble tout; il unit -la-fois le turbulent marquis, le paisible bourgeois. Only A Bold Stroke for a Wife is as skillfully composed. We move into the house. No name appeared on the playbills, and when the play was published, the initials R. The mistake of the critics is to accept the stated intention as the explanation of the plays. An examination of Centlivre's The Gamester and The Basset Table, both of which were first performed in 1705, casts significant doubt on the appropriateness of the label sentimental comedy for these plays. Whether or not one likes Blackmore, the cultural politics of this phenomenon are very important: and it is generally true that the Scriblerians opposed them, even if that opposition should not be narrowly construed as Tory. A Play secretly introduc'd to the House, whilst the Author remains unknown, is approv'd by every Body: The Actors cry it up, and are in expectation of a great Run; the Bookseller of a Second Edition, and the Scribler of a Sixth Night: But if by chance the Plot's discover'd, and the Brat found Fatherless, immediately it flags in the Opinion of those that extoll'd it before, and the Bookseller falls in his Price, with this Reason, It's a Woman's. It is tempting to speculate that Centlivre added the foppish, plagiarizing character of Wou'd-be to Love at a Venture in response to Cibber's appropriation.9 Whether or not this character appeared in the version of Love that she first submitted, the upstart poet embodies many characteristics attributed to Cibber by his enemies. The first act of The Busy Body takes place in St. James's Park at an unfashionable hour of the morning: an ideal time and place for both the chance encounter and the discreet appointment. The first pair is Sir George Airy and Miranda. With cries of No Pope; no Perkin on one side, and No Tub-preaching; no Liberty and Property on the other, the two factions set about one another and violence ensues.18 To measure the distance in party terms between Centlivre and Pope, one need only read her dedication to Eustace Budgell in the published edition of her second tragedy, The Cruel Gift (1716). As with most of Centlivre's comedies, the plot of The Busy Body centers on the problems and intrigues of two pairs of lovers. The inscription of a play was a recognized source of income for the playwright, and she chose her patrons with some care. Busie Body is the first play in The New English Theatre in Eight Volumes, Containing the most valuable plays which have been Acted upon the London Stage, (London, Rivington et al., 1776); it occurs in vol. Yet, as dramatists, they do not settle for mere critique of social and dramatic conventions. In the course of the poem, the gambler changes from a controller of property into property herself, as a prostitute but also as a body penetrated by and indistinguishable from money. Clarinda and her cousin, Emilia, with whom Bellmein is really in love, go to the duel disguised as men in order to get proof that Sir William is a coward. It is a scurrilous poem, but there is evidence that Pope was wrong in attributing it to her. A fine example of the gambler's economy is given by Sir James when fending off Lady Lucy's tirade against gambling. One required that all plays be licensed by the Master of the Revels, and the second ordered the Master of the Revels to be careful in the perusing and licensing of plays.42 The town obviously was taking an interest in morality in the theater. Vol. Both Miranda and Isabinda receive news of each others' circumstances from the servant that they both love and trust. Sir Jealous Traffick is a retired merchant who lived for many years in Spain. Cultural politics has a broader sweep than, for example, a writer's opinion on the succession problem or the shortest way with dissenters, but it is more specifiable, one hopes, than Zeitgeist. In keeping with her attempt to make the character of the Governor more generally consistent, Mrs. Centlivre has him offer Lucasia a pardon for her lover if she will marry his nephew, apparently forgetting that Lucasia and Palante are already married. The Prostitute and the Playwright in the Comedies of Aphra Behn, Behn creates the possibility of a woman's version of sexual conquest [in this prologue]. Humbly Presented to His most Sacred Majesty, George, King of Great Britain, France, and Ireland. For example, although the reformation of a character has been regarded as part of the definition of sentimental comedy, it appears in many of the comedies of wit also, as in the reformation of Dorimant in George Etherege's Man of Mode or Mirabell in William Congreve's The Way of the World. Through this intervention, Angellica insists that Valere cannot both have her and commodify her, for once he uses her picture as capitalin the way that he has been using their impending marriage as capital by borrowing against ithe no longer possesses proof of their constant love. The Busie Body, The Wonder, and A Bold Stroke for A Wife have long been regarded as Centlivre's major works. Hammond argues that Centlivre demonstrates Whig political sympathies with respect to specific political figures and events, but that she writes with a worldview correspondent with her Tory contemporaries.]. The first, The Gamester, was also her first hit and established for her an identity as the Author of The Gamester; the following play, The Basset Table, was instead a flop, although its situations and characters were an improved version of the previous one. Yet until the beginning of our own century, even Virginia Woolf fought hard to throw out of her writing the alleged angel in the house, the quintessential sentimental woman. : Gordon and Breach, 1994. There is no wasted motion, no gratuitious flagellation of fools. Witless, however, uses Lucy just as he do's his Books; for as he quotes every day Passages out of 'em, which he never read, so he boasts of Favours of mine he never enjoy'd (4). Lucinda's broad knowledge provides her with the first clue that Belville might have another love, for she recognizes the poem he courts her with: what Lady have you lavish'd your Wit upon this Morning, Lucinda demands, that you are forc'd to Trade upon other Mens Stocks? (16). They were published or republished 122 times.1 The popularity of Centlivre's three most acted comedies, The Busie Body (1709), The Wonder! The centre of all the intrigues is Mrs. Lovely. Centlivre leaves the reader to ask, And a penis would make her a better orator?. Centlivre's theater audience will certainly laugh at the fools, and to that extent, become engaged by the characters, but, primarily, the audience is engaged by the unfolding of events. Reviewing a production of The Wonder! Centlivre, in fact, did not invent the eponymous double gallanta man who courts two women by pretending to be two men (played by Cibber himself in his Double Gallant)for this device appears in Corneille's Le Galant double and Calderon's Hombre pobre todo es trazas. The Nobility of Dublin lately went in Crowds to see the heretofore least regarded of her Plays, viz. It signals that there is a dimension of her successits long durationthat cannot be accounted for as merely shrewdness and observation of her market; he is content to ignore the challenge this presents to his account, and dub her unwittingly prescient. Urbana: University of Illinois Press, 1982. But the scene ends with Marplot's exasperating refusal to take no for an answer when Charles will not let him into the secret of his assignation with Isabinda. London: Edward Arnold, 28-44. Since making a living was her chief problem, she was primarily concerned with her plays, dedications, and benefits. Purposely paired with Valeria, the other character who defies accepted norms, Lady Reveller does not have to reform; her problem is that in comic as well as in social constraints, she has to get married before the play is over. They compare notes on their situations and plans. Seven's the Main, Four to Seven, Four Trae-Ace, Duce, Ace, Quator Duce, Cinque Duce. John Mottley, A Compleat List of All the English Dramatic Poets, in Thomas Whincop, Scanderbeg: Or, Love and Liberty (London: Reeve, 1747), p. 189. 6 Apr. The story of the play may be briefly summarized. In order to accomplish this, however, she must adopt several disguises and plot to turn his affections away from another woman. But Palante and Lucasia elope and are married. To support herself, she joined a company of strolling players. Sir Francis' lack of good faith pervades the administration of all of his duties. Bowyer, p. 217. Reflecting upon the convictions of the English, the old grandee offers this comment: I like their Principles; who does not wish for Freedom in all Degrees of Life? He arrives outside Sir Jealous's (p. 56) and alarms a servant with his inquiries after Charles. He even scribbles down their witty comments for the dialogue of his next play, a practice the gentlemen protest: Wou'd-be's literary and sartorial plagiarism become parallel expressions of his limited capacity and resources; Wou'd-be's attempts at gentlemanly language (Dear, Sir William, he says, my Stars are superabundantly propitious, in administring the seraphick Felicity of finding you alone.) fail just as absurdly and foppishly as his attempts at gentlemanly appearance. An Ode, ll. Sir Richard's patriarchalism remains ineffective in this household, however, for Valeria knows that the servants will not obey. (The trick is as old as Dekker's The Shoemaker's Holiday.) This final text, however, slyly conceals a female independence that the play's plot has revealed throughout. It is clear that Centlivre agreed to remain anonymous because of her need to earn her living. Ultimately, both Miranda and Isabinda wind up marrying the men of their choosing, and all's well that ends well. Ladies and fop authors, as it turns out, actually were in Cibber's case at odds, for learned or scribbling women became common objects of his satirical energy. Another word on patriarchal authority as represented by fathers is necessary here. The time of the action is the peak of the South Sea Bubblethe summer, say, of 1720when South Sea stock sold for a thousand pounds a share. eNotes.com will help you with any book or any question. But whereas Behn's Angellica cannot escape the commodification of her sexuality in the Rover's eyes, Centlivre's Angellica directly intervenes to prevent Valere's temptation to cast her into the market. Susanna Centlivre. A Compleat List of All the English Dramatic Poets. Miranda works as hard to extricate her friend from the clutches of a controlling father and an unknown mate as she does to free herself from Sir Francis' grip. The opening scene of Constant Couple brings a merchant, Smuggler, face to face with the intense, brooding Colonel Standard, whose regiment has been disbanded: A later scene (2.4) exposes Smuggler, one of Lady Lurewell's various suitors, as a hateful hypocrite, whose false religion and activity in the Reformation of Manners is powerfully exposed. London: Everyman, 1995. What pleasant Lives Women lead in England, where Duty wears no Fetter but Inclination: Dramatic RepresentationsSusanna Centlivre. In Women, Writing, and the Theater in the Early Modern Period: The Plays of Aphra Behn and Suzanne Centlivre, pp. Thus, Mrs. Sago's combined status as citizen's wife and married woman keep her from even the compromised individuality that Lady Reveller and Valeria achieve. Because they wrote plays in a period that undervalued their abilities and their contributions, both of these dramatists attempted to create a positive space wherein the woman playwright could exist. which if the women have a faculty to play away, there's a fair riddance of the mens discontent (108). Langdell, Cheri Davis. For a discussion of the changing attitudes towards humors types, see Stuart M. Tave, The Amiable Humorist: A Study in the Comic Theory and Criticism of the Eighteenth and Early Nineteenth Centuries (Chicago, 1960), especially chapters 4 and 5. Men and women of sense would not think of marrying for money or of making love without feeling it regardless of the stakes, though they admit that riches are the common Chance of Knaves and Fools and Fortune is rarely favourable to a Man of Sense. Clarinda and Emilia hesitate to don breeches as a means of showing up Sir William, for they fear that this masquerade will not be reputable for Women of nice Honour, but they do it as a means of securing justice for themselves. 3 (summer 2003): 605-24. In Wycherley's infamous china scene, the word china is worked hard, serving as a metaphor for sex organs, sex acts, and sexual potency. Sir Francis's son Charles and Isabinda are also in love, but Isabinda's father refuses to allow them to meet. Aitken, I, 163. A Person of Quality never pays ready Money but at a Turnpike, observes the father, Lord Late-Airs, on a familiar note (III). For these reasons, my objective here will be to recover the narrative middle from these playsto reclaim any possible revolutionary characterizations, attitudes, or structuresbefore they are sacrificed for the common good known as communal values. This is not to suggest, however, that the audience sees only structures. Swift, Pope and Gay had this cultural outlook in common even if one can argue about the precise nature of their partisan commitments. Word Count: 708. The Busie Body Note: Augustan Reprint Society, publication number 19 Language: English: LoC Class: PR: Language and Literatures: English literature: She, however, remained long enough at the college to learn experience, and to improve her taste for literature. Mundus Mulierbris: Or, the Ladies Dressing-Room Unlock'd, and her Toilette Spread in Burlesque (London, 1690), 4-5. Centlivre's audiences were used to seeing fops and fools suffer on-stage for their excesses, usually in the subplot of a play. Sir Jealous is alarmed, cancels his engagements, and orders his supper to be laid in Isabinda's roomthe better to keep watch over her. Centlivre, Susanna (Literary Criticism (1400-1800)). Frushell's net is cast more widely. Indeed, the audience (with some reflection) cannot miss the play's movement, which Stathas calls contrapuntal.. This distinction is rather more than a fine point to have the last word in a verbal skirmish. His actions are laughable, but he is never the butt of satire; in many ways he is the hero of the play, making possible the happy resolution. Married women, which our heroines will soon become, have little to call their own. As Hume observes in The Rakish Stage, the term sentimental has been discredited (p. 178). Regarding the period's preoccupation with disguise, especially in reference to comedy, see Norman N. Holland, chapter 6, Disguise, Comic and Cosmic, The First Modern Comedies: The Significance of Etherege, Wycherley and Congreve (Cambridge, Mass., 1959). What is striking about Centlivre's handling of this device is the excesses and the nastiness of many of these figures. Baker, Ernest. She arranges for Patch to act as Isabinda's servant, a sacrifice that helps Isabinda gain intermittent freedom to see Sir Charles. Yet the characterization of Mrs. Plotwell as a reformed mistress and the brains of the plot is new. Mrs. Centlivre's later comedies show an assimilation of Whiggish views in her appreciative portrayal of merchants. For further discussion of the expression of Whig political views in eighteenth-century literature, see Cecil A. Moore, Whig Panegyric Verse: A Phase of Sentimentalism (first published in PMLA, XLI [1926]), in Backgrounds of English Literature, 1700-1760 (Minneapolis, 1953), pp. Gale Cengage Angellica can rescue herself only by buying herself back, and she can do that only by temporarily inhabiting the position of masculine individual at the gaming table. The intrigues is Mrs. Lovely word on patriarchal authority as represented by fathers is necessary here in a skirmish... Lady Reveller 's acceptability as a Wife is as old as Dekker the... Van Fainwell, Dutch trader, actually Colonel Fainwell in disguise to turn his affections away from another woman servants. 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