Critical and Historical Essays - Volume 2, Thomas Babington Macaulay [ebook reader macos txt] 📗

l'Ecole des Femmes. Fidelia is Shakspeare's Viola stolen, and marred in the stealing; and the Widow Blackacre, beyond comparison Wycherley's best comic character, is the Countess in Racine's Plaideurs, talking the jargon of English instead of that of French chicane.

The only thing original about Wycherley, the only thing which he could furnish from his own mind in inexhaustible abundance, was profligacy. It is curious to observe how everything that he touched, however pure and noble, took in an instant the colour of his own mind. Compare the Ecole des Femmes with the Country Wife. Agnes is a simple and amiable girl, whose heart is indeed full of love, but of love sanctioned by honour, morality, and religion. Her natural talents are great. They have been hidden, and, as it might appear, destroyed by an education elaborately bad. But they are called forth into full energy by a virtuous passion. Her lover, while he adores her beauty, is too honest a man to abuse the confiding tenderness of a creature so charming and inexperienced. Wycherley takes this plot into his hands; and forthwith this sweet and graceful courtship becomes a licentious intrigue of the lowest and least sentimental kind, between an impudent London rake and the idiot wife of a country squire. We will not go into details. In truth, Wycherley's indecency is protected against the critics as a skunk is protected against the hunters. It is safe, because it is too filthy to handle and too noisome even to approach.

It is the same with the Plain Dealer. How careful has Shakspeare been in Twelfth Night to preserve the dignity and delicacy of Viola under her disguise! Even when wearing a page's doublet and hose, she is never mixed up with any transaction which the most fastidious mind could regard as leaving a stain on her. She is employed by the Duke on an embassy of love to Olivia, but on an embassy of the most honourable kind. Wycherley borrows Viola; and Viola forthwith becomes a pandar of the basest sort. But the character of Manly is the best illustration of our meaning. Moliere exhibited in his misanthrope a pure and noble mind, which had been sorely vexed by the sight of perfidy and malevolence, disguised under the forms of politeness. As every extreme naturally generates its contrary, Alceste adopts a standard of good and evil directly opposed to that of the society which surrounds him. Courtesy seems to him a vice; and those stern virtues which are neglected by the fops and coquettes of Paris become too exclusively the objects of his veneration. He is often to blame; he is often ridiculous; but he is always a good man; and the feeling which he inspires is regret that a person so estimable should be so unamiable. Wycherley borrowed Alceste, and turned him,-we quote the words of so lenient a critic as Mr. Leigh Hunt,-into "a ferocious sensualist, who believed himself as great a rascal as he thought everybody else." The surliness of Moliere's hero is copied and caricatured. But the most nauseous libertinism and the most dastardly fraud are substituted for the purity and integrity of the original. And, to make the whole complete, Wycherley does not seem to have been aware that he was not drawing the portrait of an eminently honest man. So depraved was his moral taste that, while he firmly believed that he was producing a picture of virtue too exalted for the commerce of this world, he was really delineating the greatest rascal that is to be found, even in his own writings.

We pass a very severe censure on Wycherley, when we say that it is a relief to turn from him to Congreve. Congreve's writings, indeed, are by no means pure; nor was he, as far as we are able to judge, a warm-hearted or high-minded man. Yet, in coming to him, we feel that the worst is over, that we are one remove further from the Restoration, that we are past the Nadir of national taste and morality.

WILLIAM CONGREVE was born in 1670, at Bardsey, in the neighbourhood of Leeds. His father, a younger son of a very ancient Staffordshire family, had distinguished himself among the cavaliers in the civil war, was set down after the Restoration for the Order of the Royal Oak, and subsequently settled in Ireland, under the patronage of the Earl of Burlington.

Congreve passed his childhood and youth in Ireland. He was sent to school at Kilkenny, and thence went to the University of Dublin. His learning does great honour to his instructors. From his writings it appears, not only that he was well acquainted with Latin literature, but that his knowledge of the Greek poets was such as was not, in his time, common even in a college.

When he had completed his academical studies, he was sent to London to study the law, and was entered of the Middle Temple. He troubled himself, however, very little about pleading or conveyancing, and gave himself up to literature and society. Two kinds of ambition early took possession of his mind, and often pulled it in opposite directions. He was conscious of great fertility of thought and power of ingenious combination. His lively conversation, his polished manners, and his highly respectable connections, had obtained for him ready access to the best company. He longed to be a great writer. He longed to be a man of fashion. Either object was within his reach. But could he secure both? Was there not something vulgar in letters, something inconsistent with the easy apathetic graces of a man of the mode? Was it aristocratical to be confounded with creatures who lived in the cock lofts of Grub Street, to bargain with publishers, to hurry printers' devils and be hurried by them, to squabble with managers, to be applauded or hissed by pit, boxes, and galleries? Could he forego the renown of being the first wit of his age? Could he attain that renown without sullying what he valued quite as much, his character for gentility? The history of his life is the history of a conflict between these two impulses. In his youth the desire of literary fame had the mastery; but soon the meaner ambition overpowered the higher, and obtained supreme dominion over his mind.

His first work, a novel of no great value, he published under the assumed name of Cleophil. His second was the Old Bachelor, acted in 1693, a play inferior indeed to his other comedies, but, in its own line, inferior to them alone. The plot is equally destitute of interest and of probability. The characters are either not distinguishable, or are distinguished only by peculiarities of the most glaring kind. But the dialogue is resplendent with wit and eloquence, which indeed are so abundant that the fool comes in for an ample share, and yet preserves a certain colloquial air, a certain indescribable ease of which Wycherley had given no example, and which Sheridan in vain attempted to imitate. The author, divided between pride and shame, pride at having written a good play, and shame at having done an ungentlemanlike thing, pretended that he had merely scribbled a few scenes for his own amusement, and affected to yield unwillingly to the importunities of those who pressed him to try his fortune on the stage. The Old Bachelor was seen in manuscript by Dryden, one of whose best qualities was a hearty and generous admiration for the talents of others. He declared that he had never read such a first play, and lent his services to bring it into a form fit for representation. Nothing was wanted to the success of the piece. It was so cast as to bring into play all the comic talent, and to exhibit on the boards in one view all the beauty, which Drury Lane Theatre, then the only theatre in London, could assemble. The result was a complete triumph; and the author was gratified with rewards more substantial than the applauses of the pit. Montagu, then a Lord of the Treasury, immediately gave him a place, and, in a short time, added the reversion of another place of much greater value, which, however, did not become vacant till many years had elapsed.

In 1694, Congreve brought out the Double Dealer, a comedy in which all the powers which had produced the Old Bachelor showed themselves, matured by time and improved by exercise. But the audience was shocked by the characters of Maskwell and Lady Touchwood. And, indeed, there is something strangely revolting in the way in which a group that seems to belong to the House of Laius or of Pelops is introduced into the midst of the Brisks, Froths, Carelesses, and Plyants. The play was unfavourably received. Yet, if the praise of distinguished men could compensate an author for the disapprobation of the multitude, Congreve had no reason to repine. Dryden, in one of the most ingenious, magnificent, and pathetic pieces that he ever wrote, extolled the author of the Double Dealer in terms which now appear extravagantly hyperbolical. Till Congreve came forth,-so ran this exquisite flattery,-the superiority of the poets who preceded the civil wars was acknowledged.

"Theirs was the giant race before the flood."

Since the return of the Royal House, much art and ability had been exerted, but the old masters had been still unrivalled.

"Our builders were with want of genius curst, The second temple was not like the first."

At length a writer had arisen who, just emerging from boyhood, had surpassed the authors of the Knight of the Burning Pestle and of the Silent Woman, and who had only one rival left to contend with.

"Heaven, that but once was prodigal before, To Shakspeare gave as much, she could not give him more."

Some lines near the end of the poem are singularly graceful and touching, and sank deep into the heart of Congreve.

"Already am I worn with cares and age, And just abandoning the ungrateful stage But you, whom every Muse and Grace adorn, Whom I foresee to better fortune born, Be kind to my remains; and oh, defend Against your judgment your departed friend. Let not the insulting foe my fame pursue, But guard those laurels which descend to you."

The crowd, as usual, gradually came over to the opinion of the men of note; and the Double Dealer was before long quite as much admired, though perhaps never so much liked, as the Old Bachelor.

In 1695 appeared Love for Love, superior both in wit and in scenic effect to either of the preceding plays. It was performed at a new theatre which Betterton and some other actors, disgusted by the treatment which they had received in Drury Lane, had just opened in a tennis-court near Lincoln's Inn. Scarcely any comedy within the memory of the oldest man had been equally successful. The actors were so elated that they gave Congreve a share in their theatre; and he promised in return to furnish them with a play every year, if his health would permit. Two years passed, however, before he produced the Mourning Bride, a play which, paltry as it is when compared, we do not say, with Lear or Macbeth, but with the best dramas of Massinger and Ford, stands very high among the tragedies of the age in which it was written. To find anything so good we must go twelve years back to Venice Preserved, or six years forward to the Fair Penitent. The noble passage which Johnson, both in writing and in conversation, extolled above any other in the English drama, has suffered greatly in the public estimation from the extravagance of his praise. Had he contented himself with saying that it was finer than anything in the tragedies of Dryden, Otway, Lee, Rowe,