281-308, 287. See examples given in ibid., p. xciv, n. 68. 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.]. 357-70. Their natural tenderness is a weakness here easily unlearned; and I find my soul exalted, when I see a lady sacrifice the fortune of her children with as little concern as a Spartan or a Roman dame.23 The discourse of gambling thus reveals the ideology of post-Lockean representations of gender and ownership, for it consistently depicts female sexuality and self-possession not only as alienable, but also as constantly in danger of alienation. Most noticeable of these devices, perhaps, are the topical allusions, which Centlivre uses often. The French Commercial Treaty was sponsored by St. John, who hoped to gain partisan political ends by it as well as economic gains for the landed classes of which he was leader. Steele exploits the theme of social rivalry; he insists on it through repeated allusion; yet he does so with a reversal in satirical intent from that evident in the plays of Congreve, Vanbrugh, and Farquhar. He is engaged in two affairs. Valeria's frankness and unconventional behavior, juxtaposed against the manipulations and game playing of the other characters, are clearly positive. And it is as much the impudent curiosity as the inanity of Marplot which appeals to us, just as it is the brazenness rather than the ingenuity of Bellair which is so attractive. 270-274. In a symmetrical move, the moral and sexual didacticism repeats itself in Marplot in Lisbon (1710), where a cross-dressing Isabinda has followed her husband to Portugal in order to protect him not only from the dangers of adultery but from the very real threat of being killed by a jealous local husband. Unlike managers at the other theaters, he favored contemporary and recent works over those of the Restoration;3 he frequently staged A Bold Stroke for a Wife, The Wonder (1714), and The Busy Body (1709), Mrs. Centlivre's most popular comedies. This episode in A Bold Stroke for a Wife also recalls the satire on the Royal Society in The Virtuoso. The points at issue were complex, compounded of the economic self-interest of social classes and of political maneuvering in anticipation of the succession to the throne; but in general the Tories supported this clause of the peace treaty and the Whigs opposed it. See The London Stage: 1660-1800, Part Three: 1729-1747, II, the entry for Goodman's Fields, April 16, 1745. The particular Whigs are those who enable the transmission of general Whig ideas at the historical juncture when all might have been lost. Sir Francis Gripe, Mirandas guardian, objects to Sir George because he himself wants to marry Miranda for her fortune. Writing Beyond the Ending. (1761; reprint, New York: AMS Press, 1968), 3:13. Madison, N.J.: Fairleigh Dickinson University Press, 2001. One of them is Susanna Centlivrea child prodigy, Pope's note explains, whose prodigiousness, he snidely insinuates, seemed to become the gift of prophecy in later life: Mrs. Susannah Centlivre, wife to Mr. Centlivre, Yeoman of the Mouth to his Majesty. At the end of the play, having renounced gaming, he appeals to members of the audience to reform as he has. First Feminists. Press, 1970), pp. Delmar, N.Y.: Scholars' Facsimiles & Reprints, 1990. Her Wit procured her the Intimacy of the facetious Mr. Farquhar, and her theatrical Knowledge was the Cause of her great Intimacy with Mr. Wilkes, and Mrs. Oldfield; the latter distinguished our Poetess by speaking the Prologue to her first Play, and generally those great Actors filled the principal Characters in her Comic Performances. Palante, foster son of Euphenes, is in love with Lucasia, daughter of Gravello. Gail Finney. Rather, their reformation is ambivalent because, in spite of the fact that Centlivre portrays the reform as right and proper, there are numerous threads throughout the plays which run counter to the conventional view. Mrs. Sago clearly owns none of the marital property, nor does she have inalienable property in her sexuality: For that Fair Face, Mr. Sago declares after he has been arrested for debt, if I turn you out of Doors, will quickly be a cheaper Drug than any in my Shop (62). See also Susan Staves, A Few Kind Words for the Fop, SEL 22 (Summer 1982): 413-428. Evidence suggests that she joined the troupe herself as a traveling performer. When the aesthetic of autonomy was first articulated in Western literary and philosophical thought around 1800, there was a strong move to free the dramatic writer from what was perceived as the impediment of theatrical realisation. 77-100. The comic and the tragic plots are better integrated than in The Perjur'd Husband, because Gravello and Larich, the fathers of the two girls, are brothers, and because both plots show fathers trying arbitrarily to dispose of their daughters. Mrs. Sago, too, has given up her freedom. As Bowyer notes, being a woman was repeatedly a disadvantage to Centlivre, making her more vulnerable to the common complaints of vulgarity and pandering to unsophisticated tastes. They could be said to be leaders in a practice that they shared with countless other women and men, of making plays within, instead of at odds with, the context in which the theatre artist works. The Guardian, 2 vols., London, 1714, no. Diamond, Elin. Word Count: 5976. But the measure was not so effective as Swift and other Tories anticipated, for moneyed men found means of qualifying for Parliament through buying estates in fact, or through legal fictions. In the Basset Table we find an apparently similar situation: the servants waiting for their masters (or rather mistresses, as the players seem to be mainly ladies) are tired and cursing their life, but the scene shows a world of social interaction, where footmen and porters enter into dialogue and call one another by proper names (Robin, Will). These aspects of the plays undercut the seriousness of the stated moral. The first scene at Sir Jealous's house is slow-moving, providing a change of pace from the bustling dumb scene. The Basset Table was less successful, though very similar in plot, character, and intention. As Perry argues elsewhere, however, Astell more fully recognized the place of women in possessive individualism. Much later, in 1750, Carlo Goldoni was to write for the Venetian Carnival Il Giocatore, which is also indebted to Regnard's play and which met with perhaps even less favor than Centlivre's The Basset Table.3. As in The Stolen Heiress, however, the lover outsmarts the scholar: the Colonel pretends to share Periwinkle's interests and earns his good will by offering him a girdle that he claims will render its wearer invisible. Marplot secretly determines to follow him; this will lead to the first comic disaster in the next act. In her next speech, Ann mentions the Colonel's mind and body, invoking supernatural powers for his aid: But the Colonel has all the beauties of the mind, as well as person.O all ye powers that favor happy lovers, grant he may be mine! The weakness of this position is that Norbrook can point to very few material spaces, rather than discourse spaces, in which this project was forwarded. They amuse, they distract the mind. This failure to include these two powerful characters in their resolutions has often been seen as a sign of weakness. While the book fearlessly states its preference for Defoe over Haywood, for example, and for the Scriblerian satirists over many of those writers with whom they came into conflict, it conducts a parallel argument to Norbrook's in contending that all of the writers coming within the book's purview are caught up in forms of cultural politics in which it is vital to be engrossed, and a serious deficiency not to comprehend. Wright's Lady Meanwell and her friends, by contrastthe Sappho's of our Age (16)seek power and have the audacity to set themselves up as the arbiters of literary value: Our Society shall be as the Inquisition, a Tribunal without Appeal, or Mercy; where, with a Sovereign Authority, we shall Judge of all Books that come out: No Authors shall write well, but those we approve of; and no body pretend to Wit, but we, and our Friends (16). Sir Francis refuses, saying that she has the Green Pip already. 25. Jelena O. Krstovic. Now do I foresee the Greatness of my Grand-Children; the Sons of this Man shall, in the Age to come, make France a Tributary Nation (44-45). He goes on to say that there is a fundamental difference in aesthetic values, literary genres, themes and writing procedures between Whig and Tory writers by the first decade of the eighteenth century, because they are speaking for distinctly different sections of the social elite, who ground their authority with respect to different eventsTories to King Charles's Restoration in 1660 and Whigs to the Glorious Revolution in 1688and who require their cultural products to do different kinds of ideological work. As Katherine M. Rogers notes, If women playwrights deviated from convention to express a distinctively female point of view, they took care to do it incidentally or indirectly.6 (xiv). Both plays condemned a social vice: Steele's play was a condemnation of dueling, Centlivre's a critique of gambling. Love at a Venture was the first of Mrs. Centlivre's plays to exhibit to the full her ingenuity in the manipulation of intrigue. This I dare engage, that the Town will ne'er be entertained with Plays according to the Method of the Ancients, till they exclude this Innovation of Wit and Humour, which yet I see no likelihood of doing. Centlivre, prologue to Love at a Venture (1706). He concludes that she is fitter for Moorsfields [lunatic asylum] than Matrimony (1:221) and refuses to marry herleaving her free to marry the man she loves. Isabella turns to this last resort out of love and resistance to her childhood betrothal to Sir Charles: I own I have gone beyond my Sex and Quality, she confesses, but it was to purchase Liberty, and break a forc'd Contract with that perfidious Man who paid his Vows to [Lucinda] (66). Nicoll, [A History of] Early Eighteenth Century Drama [3rd ed. Sir George Airy wants to marry Miranda but her guardian, Sir Francis Gripe, intends her for himself. Miranda vividly expresses how it must feel to be forced to marry an old man when she describes Sir Francis, What a delicate bedfellow I should have! (327). Along this straight line, however, the place The Basset Table finds is only apparently a comfortable one. She speaks assertively to Worthy and to her uncle when they try to tell her what to do. At the end of the play she agrees to marry Lovewell and promises to banish from my House that senseless Train of Fop Admirers, which I only kept to feed my Vanity (1:186). But before Mrs. Centlivre wrote A Bold Stroke for a Wife, Collier, Steele, Blackmore, and other reformers had effectively criticized dramatists for such derision.27 In arousing laughter at the mercantile class, Mrs. Centlivre may recall Restoration attitudes; however, as a friend of Steele's, she also echoes his patriotic defense of merchants in The Englishman of 1713 (Nos. Press, 1924; rprt. Besides the two principal characters (Violante and Don Felix), Lissardo and Flippanta come in very well to carry on the underplot; and the airs and graces of an amorous waitingmaid and conceited man-servant, each copying after their master and mistress, were never hit off with more natural volubility or affected nonchalance than in this enviable couple. The critical exercise of canon-formation was able to exclude her work; in the twentieth century, accounts of the drama of the eighteenth century began to dismiss it completely, to extraordinary effect. Peter Smithers, The Life of Joseph Addison (Oxford, 1954), p. 248. Or am I bound by aught but Inclination to submit and follow theeNo Law whilst single binds us to obey. By the beginning of the twentieth century, however, the lives of Behn and Centlivreand their nascent visions of a dramatic countertraditionno longer seemed so dangerous. 10-13). Webmacy's assistant buyer jobs. The clever and resourceful Miranda is the most memorable of the lovers. Centlivre formed one particularly important friendship with George Farquhar, than whom it was impossible to be more Whig. So too was the career officer, who, if he held a king's commission, could be discharged and still draw half-payby a House of Commons resolution in 1713 (Holmes 1982, 264). Second, we delight in the Colonel's success because he is the most sympathetic character, and the play is written from his point of view. Women writers would suffer double jeopardy on this hypothesis, deriving from their gender and their supposed commercial greed and ambition. and of our Oratory, I call to Witness both Europe and America which have heard Mrs. Drummond, with her New Light, leading Mankind from Darkness. On purely empirical grounds, there are some difficulties in calling the dominant tradition of Augustan writing Tory. Subsequent references are to this edition and will be given in the text. Comedies of intrigue, these are the plays that were longest lived and most frequently performed. Their plays, like all others, are governed by social and literary conventions, conventions that conform to established attitudes about appropriate behavior for women. Word Count: 5263. Centlivre, dedication to The Platonick Lady. Subsequent references will be to these editions. They have to a high degree the quality of intertheatricality. And here, my Lord, the Occasion seems fair for me to engage in a Panegyrick upon those Natural and Acquired Abilities, which so brightly Adorn your Person: But I shall resist that Temptation, being conscious of the Inequality of a Female Pen to so Masculine an Attempt; and having no other Ambition, than to Subscribe my self. His reference to a learned physiognomist in Grand Cairo (III.i.208) and Periwinkle's acceptance of this authority mock the Society for occasionally recognizing such charlatans as experimental scientists.34 In IV.i, Tradelove's miscalculating efforts to manipulate the stock market allude wittily to contemporary scandals in which overreached sharpers had to flee the town when they could not make good their wagers (see too IV.ii.102-116).35 Sir Philip's and the Colonel's allusions to Heidegger's entertainments (II.i.109-111) suggest, without specifying, reports about the license associated with masquerades.36 As these examples may imply, range of allusion, rather than development of particular references, characterizes Mrs. Centlivre's wit. Stonehill, 2:261-2. We do not see him in action this early in the play, but Charles tells an anecdote that gives us some idea of what to expect in the way of comedy from Marplot: I had lent a certain Merchant my hunting Horses, and was to have met his wife in his Absence: Sending him along with my Groom to make the Complement, and to deliver a Letter to the Lady at the same time; what does he do, but gives the Husband the Letter, and offers her the Horses (p. 6). What, in theory, signified a combination of a feeling heart and a reflective mind was narrowed down and, from the following century onwards, suffered a distinct pejoration. Herein the genius of Mrs. Centlivre consistedthe dialogues of her dramas might be given by a common writer, but her fable and events are proofs of a very extraordinary capacity. Appended to Thomas Whincop, Scanderbeg (London, 1747), p. 189. She weeps and says to him: You've sav'd my Virtue [I] hate myself for all my Folly. She gives Marplot a message for Sir George: that his suit is hopeless and that he should keep from the Garden Gate on the left Hand; for if he dares to saunter there, about the Hour of Eight, as he used to do, he shall be saluted with a Pistol or a Blunderbuss (p. 38). 7-24. In 1702, she wrote and had produced both The Beau Duel and The Stolen Heiress, with Love's Contrivance the next season. The Colonel, however, is undaunted, and we learn in the succeeding scene that Ann will not marry and leave her fortune behind because Loves makes but a slovenly figure in that house where poverty keeps the door (1.2.30-31). 171-190; and Harold Weber, The Garbage Heap of Memory: At Play in Pope's Archives of Dulness, Eighteenth-Century Studies, 33 (1999), pp. Professor James Sutherland has kindly called this possibility to my attention. Oliver Goldsmith, An Essay on the Theatre; or, A Comparison between Laughing and Sentimental Comedy, in Restoration and Eighteenth-Century Comedy, pp. Epistle Dedicatory. In The Busie Body. What the play is about, essentially, is women's rolesparticularly in regards to society and marriagein eighteenth-Century England. Our summaries and analyses are written by experts, and your questions are answered by real teachers. There is an implied contrast between the Iberian conception of the importance of lineage and the more liberal English conception. The tone and social milieu of the play have been set, and we know what kind of comedy to expect. Feminist writers have sought to discover a female counter-tradition at work within the literary, tracing a line from Aphra Behn to Centlivre to Hannah Cowley, whose play Who's the Dupe? Before answering a question from Betty, Lady Landsworth comments, Why should we dissemble when we are alone? (169). 6 Apr. Mrs. Sago is the one who has to bear the burden of the orthodox reform plot that the play seems to emphasize, especially in its conclusion. B. R. S. Fone, Ann Arbor, 1968], pp. Against this background, Centlivre projects the utopian coordinates of the basset world inhabited by all of Lady Reveller's whimsical family. In the end, both the gambler and the virtuosa will be brought to more ordinary behavior but beyond the apparently orthodox conclusion we read Centlivre's painstaking enquiry into A Lady's proper Sphere of Activity.16. And this is a parlous grievance. A Bold Stroke for a Wife is not absolutely unreadable, but it cannot be called a good play. which if the women have a faculty to play away, there's a fair riddance of the mens discontent (108). The thin Audience were pleased, and caused a full House the Second; the Third was crowded, and so on to the Thirteenth, when it stopt, on Account of the advanced Season; but the following Winter it appear'd again with Applause, and for Six Nights successively, was acted by rival Players, both at Drury-Lane, and at the Hay-Market Houses. Paramount in these negotiations is her securing her own fortune. Her last three plays, it must be admitted, are relatively clean in comparison with the drama that had gone before, but Love's Contrivance is far more objectionable than the other two. The preface to this play is unpaginated; the text of the play begins on page ten, and the page I have cited would be page four. There is power within, the power of reason. Review of Bowyer, Theatre Notebook 8, 20, cited in Rosenthal, Playwrights and Plagiarists, p. 133. Like the knights of Betty's romances, the Colonel, with his retainer, Freeman, defeats the trolls who keep the maiden fair confined. This final point is important, for throughout part of her career, Centlivre felt compelled (perhaps because she had learned from Behn's experience) to please her audience. An additional interest is the skill with which the intrigue is conducted. Centlivre's portrayal of the independent women in the plays, like the ambivalence inherent in the characters' reformation, reflects the countermovement of the text and helps to undercut the ostensible moral, the result of which will be the destruction of the independence of the women who reform. Elsewhere Centlivre is explicit with respect to women's status; she is particularly outspoken about the criticism of and contemptuous attitude toward women writers. Perkin is, of course, Perkin Warbeck, an earlier Pretender than James Stuart. In Feminism in Eighteenth-Century England, for instance, Katharine M. Rogers says that [n]either Behn nor Centlivre wrote plays distinguishable from men's. The hero and heroine are the virtuous Lord Worthy and the frivolous Lady Reveller, and their passages of arms are in the typically sentimental manner. She does not, however, get away with this renunciation, even for a moment. Centlivre writes: As Nancy Copeland notes in her introduction to Centlivre's A Bold Stroke for a Wife, ed. Ed. Very much at odds with the final lines of the play, the kind of liberty that is put into discourse by Charles creates an indeterminacy challenging the period's urge to consolidate femininity. New York: AMS, 1974). His sentiments are summed up in the following passage (The Examiner, No. Word Count: 10097. There he contracted an admiration for Spanish customs, especially their treatment of women. Landsworth comments, Why should we dissemble when we are alone traveling performer Sago too. 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