The Comedies of William Congreve Part 1

The Comedies of William Congreve.

by William Congreve.

INTRODUCTION

I.

Before repeating such known facts of Congreve's life as seem agreeable to the present occasion, and before attempting (with the courage of one's office) to indicate with truth what manner of man he was, and what are the varying qualities of his four comedies, it seems well to discuss and have done with two questions, obviously pertinent indeed, but of a wider scope than the works of any one writer.

The first is a stupid question, which may be happily dismissed with brief ceremony. Grossness of language--the phrase is an a.s.sumption--is a matter of time and place, a relative matter altogether. There is a thing, and a generation finds a name for it. The delicacy which prompts a later generation to reject that name is by no means necessarily a result of stricter habits, is far more often due to the flatness which comes of untiring repet.i.tion and to the greater piquancy of litotes. I am told that there are, or were, people in America who reject the word 'leg' as a gross word, but they must have found a synonym. So there is not a word in Congreve for which there is not some equivalent expression in contemporary writing. He says this or that: your modern writers say so-and-so. One man may even think the monosyllables in better taste than the periphrases. Another may sacrifice to his intolerance thereof such enjoyment as he was capable of taking from the greatest triumphs of diction or observation: he is free to choose. It may be granted that to one unfamiliar with the English of two centuries since the grossness of Congreve's language may seem excessive--like splashes of colour occurring too frequently in the arrangement of a wall. But that is merely a result of novelty: given time and habit, a more artistic perspective will be achieved.

The second question is more complex. Since Jeremy Collier let off his _Short View of the Immorality and Profaneness of the English Stage_, there has never lacked a critic to chastise or to deplore--the more effective and irritating course--not simply the coa.r.s.eness but, the immorality of our old comedies, their att.i.tude towards and their peculiar interests in life. Without affirming that we are now come to the Golden Age of criticism, one may rejoice that modern methods have taught quite humble critics to discriminate between issues, and to deal with such a matter as this with some mental detachment. The great primal fallacy comes from a habit of expecting everything in everything. Just as in a picture it is not enough for some people that it is well drawn and well painted, but they demand an interesting story, a fine sentiment, a great thought: so since our national glory is understood to be the happy home, the happy home must be triumphant everywhere, even in satiric comedy. The best expression of this fallacy is in Thackeray. Concluding a most eloquent, and a somewhat patronising examination of Congreve, 'Ah!' he exclaims, 'it's a weary feast, that banquet of wit where no love is.' The answer is plain: comedy of manners is comedy of manners, and satire is satire; introduce 'love'--an appeal, one supposes, to sympathy with strictly legitimate and common affection and a glorification of the happy home--and the rules of your art compel you to satirise affection and to make the happy home ridiculous: a truly deplorable work, which the incriminated dramatists were discreet enough for the most part to avoid.

The remark brings us to the first of the half-truths, which cause the complexity of the subject. The dramatists whose withers the well-intentioned and disastrous Collier wrung seem to have thought their best answer was to pose as people with a mission--certainly Congreve so posed--to reform the world with an exhibition of its follies. An amusing answer, no doubt, of which the absurdity is obvious! It does, however, contain a half-truth. The idea of _The Way of the World's_ reforming adulterers--observe the quotation from Horace on the t.i.tle-page--is a little delicious; yet the exhibition in a ludicrous light of the thing satirised is surely an end of satiric comedy? The right of the matter is indicated in a sentence which occurs in the dedication of _The Double- Dealer_ far more wisely than in Congreve's answer to Collier: 'I should be very glad of an opportunity to make my compliment to those ladies who are offended: but they can no more expect it in a comedy, than to be tickled by a surgeon, when he's letting 'em blood.' Something more than a half-truth is in Charles Lamb's theory, that the old comedy 'has no reference whatever to the world that is': that it is 'the Utopia of Gallantry' merely. Literally, historically, the theory is a fantasy.

What the Restoration dramatists did not borrow from France was inspired directly by the court of Charles the Second, and n.o.body conversant with the memoirs of that court can have any difficulty in matching the fiction with reality. I imagine that Congreve in part accepted a tradition of the stage, but I am also perfectly well a.s.sured that he depicted what he saw. How far the virtues we should a.s.sociate with the Charles the Second spirit may atone for its vices is a question which would take us far into moral philosophy. It is enough to remark that those vices are the exclusive possession of no period: so long as society is const.i.tuted in anything like its present order, there must be a section of it for which those vices are the main interest in life. But Charles Lamb's gay and engaging defiance of the kill-joys of his day has this value: it is most certainly just to say that, in appreciating satiric comedy, 'our c.o.xcombical moral sense' must be 'for a little transitory ease excluded.'

For one may apprehend the whole truth to be somewhat thus. Satiric comedy, or comedy of manners, is the art of making ludicrous in dramatic form some phase of life. The writers of our old comedy thought that certain vices--gambling, adultery, and the like--formed a phase of life which for divers reasons, essential and accidental, lent itself best to their purpose. They may, or may not, have thought they were doing society a service: their real justification is that, as artists, they had to take for their art that material they could use best. They used it according to their lights: Wycherley with a coa.r.s.e and heavy hand, so that it became nauseous; Etherege with a light touch and a gay perception; Congreve with an instinct of good-breeding, with a sure and extensive observation, and with an incomparable style. But all were justified in choosing for their material just what they chose. They sinned artistically, now here, now there; but to complain of this old comedy as a whole, that vice in it is crammed too closely, is to forget that a play is a picture, not a photograph, of life--is life arranged and coloured--and that comedy of manners is composed of foibles or vices condensed and relieved by one another. In so far as they overdid this work, the comic writers were artistically at fault, and Jeremy Collier was a good critic; but when he and his successors go beyond the artistic objection, one takes leave to say, they misapprehend the thing criticised. To complain that 'love' and common morality have no place in satiric comedy is either to contemplate ridicule of them or to ask comedy to be other than satiric. We know what happened when the dramatists gave way: there followed, Hazlitt says, 'those _do-me-good_, lack-a-daisical, whining, make-believe comedies in the next age, which are enough to set one to sleep, and where the author tries in vain to be merry and wise in the same breath.' These in place of 'the court, the gala day of wit and pleasure, of gallantry, and Charles the Second!' And all because people would not keep their functions distinct, and remember that at a comedy they were in a court of art and not in a court of law! The old comedy is dead, and its spirit gone from the stage: I have but endeavoured to show that no harm need come to our phylacteries, if a flame start from its ashes in the printed book.

II.

William Congreve was born at Bardsey, near Leeds, and was baptized on 10th February 1669 [1670]. The Congreves were a Staffords.h.i.+re family, of an antiquity of four hundred years at the date of the poet's birth.

Richard, his grandfather, was a redoubtable Cavalier, and William, his father, an officer in the army. The latter was given a command at Youghal, while his son was still an infant, and becoming shortly afterwards agent to Lord Cork, removed to Lismore. So it chanced that the poet had his schooling at Kilkenny (with Swift), and proceeded to Trinity College, Dublin, in 1685, rejoining Swift, and like his friend becoming a pupil of St. George Ashe, the mathematician. In 1688 he left Dublin, remained with his people in Staffords.h.i.+re for some two years, entered himself at the Temple, and came upon the town with _The Old Bachelor_ in January 1692. _The Double-Dealer_ was produced in November 1693. In 1694 a storm in the theatre led to a secession of Betterton and other renowned players from Drury Lane: with the result that a new playhouse was opened in Lincoln's Inn Fields, on 30th April 1695, with _Love for Love_. In the same year Congreve was appointed 'Commissioner for Licensing Hackney Coaches.' _The Mourning Bride_ was produced in 1697, and was followed, oddly enough, by the controversy, or rather 'row,' with Jeremy Collier. In March 1700 came _The Way of the World_.

The poet was made Commissioner of Wine-Licences in 1705, and in 1714 with his Jamaica secretarys.h.i.+p and his places in the Customs and the delightful 'Pipe-Office,' he had an income of twelve hundred pounds a year. He died at his house in Surrey Street, Strand, on 19th January 1728 [1729].

One or two comments on these dates are obvious. They dissipate the Thackerayan fable that on the production of _The Old Bachelor_, the fortunate young author received a shower of sinecures, 'all for writing a comedy.'

'And crazy Congreve scarce could spare A s.h.i.+lling to discharge a chair,'

writes Swift, and 'crazy' indicates that Congreve was gouty before he was rich. But then, the gout was a very early factor in his life, and one may call the line an exaggeration. Another couplet:

'Thus Congreve spent in writing plays, And one poor office, half his days:'

probably expresses the truth. With his plays and his hackney coaches he doubtless got through his twenties and thirties with no very hardly grinding poverty, and at forty or so was comfortably secure. But another fact, which the dates bring out very sharply, has a different interest.

At an age when Swift was beginning to try his powers, Congreve's work was done. A few odes, a few letters he was still to write, but no more comedies. Was it ill-health? or because the town had all but d.a.m.ned his greatest play? or because he cared more for life than for art?

III.

The question brings one to an attempted appreciation of the man. Mr.

Gosse, for whose _Life_ I would express my grat.i.tude, confesses that 'it is not very easy to construct a definite portrait of Congreve.' But that it baffled that very new journalist, Mrs. Manley, in his own day, and Mr.

Gosse, with his information, in ours, to give 'salient points' to Congreve's character, proves in itself an essential characteristic, which need be negatively stated only by choice. That no amusing eccentricities are recorded, no ludicrous adventures, no persistent quarrels, implies, taken with other facts we know, that he was a well-bred man of the world, with the habit of society: that in itself is a definite personal quality.

One supposes him an ease-loving man, not inclined to clown for the amus.e.m.e.nt of his world. He was loved by his friends, being tolerant, and understanding the art of social life. He was successful, and must therefore have had enemies, but he was careless to improve hostilities.

For the temperament which is so plain in the best of his writings must have been present in his life--an un.o.btrusive, because a never directly implied, superiority and an ironical humour. The picture of swaggering sn.o.bbishness which Thackeray was inspired to make of him is proved bad by all that we know. A swaggerer could not have made a fast friend of Dryden--grown mellow, indeed, but by no means beggared of his fire--on his first coming to town, nor kept the intimacy of Swift, nor avoided the fault-finding of Dennis. It is quite unnecessary to suppose that Congreve's famous remark to Voltaire, that he wished to be visited as a plain gentleman, was the remark (if it was made) of a sn.o.b: it was clearly a legitimate deprecation, spoken by a man who had written nothing notable for twenty-six years, which Voltaire misunderstood in a moment of stupidity, or in one of forgetfulness misrepresented. His superiority and his irony came from a just sense of the perspective of things, and, not preventing affection for his friends, left him indifferent to his foes. Probably, also, a course of dissipation (at which Swift hints) in his youth, acting on a temperament not particularly ardent, had left him with such pa.s.sions for war and love as were well under control. The two women with whom his name is connected were Mrs. Bracegirdle and the d.u.c.h.ess of Marlborough; but n.o.body knew--though the latter's mother hinted the worst--how far the intimacy went. That is to say, no patent scandal was necessary to the connexion, if in either case Congreve was a lover. And (once more) Congreve was a gentleman.

But why did he become sterile at thirty? Where, if not in dealing with motives and causes, may one be fancy-free? Here there are many, of which the first to be given is mere conjecture, but conjecture, I fancy, not inconsistent with such facts as are known. When Congreve produced his first comedy, he was but twenty-three, fresh from college and the country, ignorant, as we are told, of the world. He discovered very soon that he had an apt.i.tude for social life, that, no doubt, living humours and follies were as entertaining as printed ones, that for a popular and witty man the world was pleasant. But no man may be socially finished all at once. In the course of the seven years between _The Old Bachelor_ and _The Way of the World_, Congreve must have found his wit becoming readier, his tact surer, his appreciation of natural comedy finer and (as personal keenness decreased) more equable, his popularity greater, and--in fine--the world more pleasant and the attractions of the study waning and waning in comparison. He was a finished artist, he was born, one might almost say, with a style; but his inclination was to put his art into life rather than into print. Even in our days (thank G.o.d for all His mercies!) everybody is not writing a book. There are people whose talk has inimitable touches, and whose lives are art, but who never sit down to a quire of foolscap. I believe that Congreve naturally was one of these, that his literary ambition was a result of accidental necessity, and that had he lived as a boy in the society he was of as a very young man--for all its literary ornaments--we should have had of him only odes and songs. His generation was idler and took itself less seriously than ours. The primal curse was not imposed on everybody as a duty. In seven years of growing appreciation Congreve came to think the little graces and humours the better part. That I believe to have been the first cause of his early sterility; but others helped to determine the effect. A certain indolence is of course implied in what has been said. There was the gout, and there were his unfortunate obesity and his failing sight.

There was Henrietta, d.u.c.h.ess of Marlborough, an absorbing dame. There were the success of _Love for Love_ and the failure of _The Way of the World_. For all that may be said of the indifference of the true artist to the verdict of the many-headed beast--and Congreve's contempt was as fine as any--it is not amusing when your play or your book falls flat, and Congreve must have known that he might write another, and possibly a better, _Way of the World_, but no more _Love for Loves_. Not to antic.i.p.ate a later division of the subject, it may be said here that a man of thirty, of a fine intellect and a fine taste, of a languid habit withal, and with an invalided const.i.tution, while he might repeat the triumphs of diction and intellect of _The Way of the World_, was most unlikely to return to the broader humours and the more popular gaiety of the other play. Congreve, like Rochester before him, despised the judgment of the town in these matters, but by the town he would have to be judged.

He was a witty, handsome man of the world, of imperturbable temper and infinite tact, who could make and keep the friends.h.i.+p of very various men, and be intimate with a woman without quarrelling with her lovers. He had a taste for pictures and a love for music. He must have hated violence and uproar, and liked the finer shades of life. He wore the mode of his day, and was free from the superficial protests of the narrow- minded. Possibly not a very 'definite portrait,' possibly a very negative characterisation. Possibly, also, a tolerably sure foundation for a structure of sympathetic imagination.

IV.

Pa.s.sing from necessarily vague and not obviously pertinent remarks to criticism, which may fairly be less diffident, we leave Congreve's life and come to his work, to his 'tawdry playhouse taper,' as Thackeray called it. It is only after the man has appeared that we recognise that he came at the hour; but the nature of the hour is in this case not difficult to be discerned. The habit of playgoing was well-established; the turmoil of the Revolution was over; De Jure was at a comfortable distance, and De Facto's wife was a patroness of the arts. But playgoers had but to be shown something better than that they had, to discover that the convention of the Restoration needed new blood. A justification of its choice of material has been attempted: there is no inconsistency in affirming that the tendency to use it with a mere monotony of ribaldry was emphatic. Of this tendency the most notable and useful ill.u.s.tration is Wycherley, because in point of wit and dramatic skill he dwarfed his colleagues. As Mr. Swinburne has said, the art of Congreve is different in kind, not merely in degree, from the cruder and more boisterous product of the 'brawny' dramatist. Happily, however, for his success, the difference was not instantly clear. His first play links him with Wycherley, not with that rare and faint embryo of the later Congreve, George Etherege. 'You was always a gentleman, Mr. George,' as the valet says in _Beau Austin_. Happily for his popularity Congreve first followed the more popular man. It is not, indeed, until he wrote his last play that he was a whole Etherege idealised, albeit a greater than Etherege in the meantime. The peculiar effect which Etherege achieved in _Sir Fopling Flutter_--at whom and with whom you laugh at once--was not sublimated (the fineness left, the faintness become firmness) until Congreve created Witwoud, the inimitable, in _The Way of the World_.

At the very first Congreve had good fortune in his players. It was a brave time for them. True, their salaries were not wonderfully large.

Colley Cibber complains of the days before the revolt in 1694: 'at what unequal salaries the hired actors were held by the absolute authority of their frugal masters, the patentees.' But the example was not faded of those gay days when they were the pets of the most artistic court that England has known: when great ladies carried Kynaston in his woman's dress to Hyde Park after the play, and the King was the most persistent and the most interested playgoer in his realm. They were not thus petted for irrelevant reasons--for their respectability, their piety, or their domestic virtues; and their recognition as artists by an artistic society did not spoil their art. When Congreve started on his course of play- writing, Queen Mary kept up, in a measure, the amiable custom of her uncle. He was very fortunate in his casts. There was Betterton, first of all, the versatile, the restrained, and, witness everybody, the incomparable. There was Underhill, 'a correct and natural comedian'--one must quote Cibber pretty often in this connexion--not well suited, one must suppose, to play Setter to Betterton's Heartwell in _The Old Bachelor_, but by reason of his admirable a.s.sumption of stupidity to make an excellent Sir Sampson in _Love for Love_. There were Powel, Williams, Verbruggen, Bowen, and Dogget (Fondlewife in the first play: afterwards Ben Legend, a part which made his fame and turned his head)--all notable comedians. Kynaston, graceful in old age as he had been beautiful in youth, was not in _The Old Bachelor_, but created Lord Touchwood in _The Double-Dealer_. Mountfort had been murdered by my Lord Mohun, and Leigh had followed him to the grave, but their names lived in their wives. Mrs.

Mountfort 'was mistress of more variety of humour than I ever knew in any one woman actress . . . nothing, though ever so barren, if within the bounds of nature, could be flat in her hands.' Indeed 'she was so fond of humour, in what low part soever to be found, that she would make no scruple of defacing her fair form to come heartily into it'--a.s.suredly a rare actress! About Mrs. Leigh Cibber is less enthusiastic, but grants her 'a good deal of humour': her old women were famous. Mrs. Barry was a stately, dignified actress, best, no doubt, in tragedy. Lastly, there was Mrs. Bracegirdle, the innocent _publica cura_, whom authors courted through their plays, and who had all the men in the house for longing lovers. Who shall say how far 'her youth and lively aspect' influenced the criticisms that have come down to us? She played Millamant to Congreve's satisfaction.

V.

It is not difficult to understand how it was that Dryden thought _The Old Bachelor_ the best first play he had seen, and the town applauded to the echo. But it is a little hard to understand why later critics, with the three other comedies before them, have not more expressly marked the difference between the first and those. There is no new tune in _The Old Bachelor_: it is an old tune more finely played, and for that very reason it met with immediate acceptance. It is not likely that Dryden--a great poet and a great and generous critic, it may be, but an old man--would have bestowed such unhesitating approval on a play which ignored the conventions in which he had lived. As it was, he saw those conventions reverently followed, yet served by a master wit. The fact that Congreve allowed Dryden and others to 'polish' his play, by giving it an air of the stage and the town which it lacked, need not of course spoil it for us. The stamp of Congreve is clearly marked on the dialogue, though not on every page. You may see its essentials in two pa.s.sages taken absolutely at random. 'Come, come,' says Bellmour in the very first scene, 'leave business to idlers and wisdom to fools; they have need of 'em: wit be my faculty and pleasure my occupation, and let Father Time shake his gla.s.s.' Or Fondlewife soliloquises: 'Tell me, Isaac, why art thee jealous? Why art thee distrustful of the wife of thy bosom? Because she is young and vigorous, and I am old and impotent. Then why didst thee marry, Isaac? Because she was beautiful and tempting, and because I was obstinate and doating. . . .' In the one pa.s.sage is the gay and skilfully light paradox, in the other the clean, rhythmical, and balanced, yet dramatic and appropriate English that are elements of Congreve's style. It is in the conventions of its characterisation that _The Old Bachelor_ belongs, not to true Congrevean comedy but, to that of the models from which he was to break away. The characterisation of _The Way of the World_ is light and true, that of _The Old Bachelor_ is heavy and yet vague. Vainlove indeed, the 'mumper in love,' who 'lies canting at the gate,' is individual and Congrevean. But Heartwell, the bl.u.s.tering fool, Bellmour, the impersonal rake, Wittol and Bluffe, the farcical sticks, Fondlewife, the immemorial city husband, and the troop of undistinguished women--what can be said of them but that they are glaring stage properties, speaking better English than the comic stage had before attracted? Germs, possibly, of better things to come, that is all, so far as characterisation goes. The Fondlewife episode, in particular, which doubtless was mightily popular--what is there more in it than the mutton fisted wit and brutality of Wycherley, with some of Congreve's English? Such scenes as these, it may be hazarded, so contemptible in the light of Congreve's better work, are ineffective now because they fall between two stools: between the comedy (or tragedy) of a crude physical fact, naked and impossible, as in Rochester, and the comedy (or tragedy) of delicately-phrased intrigue. The latter was yet to come when this play was produced, and meantime such episodes went very well, and their popularity is intelligible. For the rest _The Old Bachelor_, though to us in these days its plot appear a somewhat uninspiring piece of fairyland, was a good acting play, fitted with great skill to its actual players. The part of Fondlewife, created by Dogget, was on a revival played (to his own immense satisfaction) by Colley Cibber. In Araminta Mrs. Bracegirdle began (in a faint outline as it were) the series of lively, sympathetic, intelligent heroines which Congreve wrote for her. Lord Falkland's Prologue is as funny as it is indecently suggestive, which is saying a great deal. The one actually spoken gave an opportunity of the merriest archness to Mrs. Bracegirdle, and was calculated to put the audience in the best of good humours.

The faults of _The Double-Dealer_ are obvious on a first reading, and were very justly condemned on a first acting. The intrigue is wearisome: its involutions are ineffectively puzzling. Maskwell's villainy and Mellefont's folly are both unconvincing. The tragedy of Lady Touchwood, less tragic than that of Lady Wishfort in _The Way of the World_, is more obviously than that out of the picture. The play is, in fact, not pure comedy of manners: it is that _plus_ tragedy, an element less offensive than the sentimentality which spoils _The School for Scandal_, but yet a notable fault. For while you can resolve the tragedy of Lady Wishfort into wicked and very grim comedy, you can do nothing with the tragedy of Lady Touchwood but try to ignore it. In his epistle dedicatory to Charles Montague, Congreve admits that his play has faults, but does not take in hand those adduced above, with the exception of the objections to Maskwell and Mellefont. 'They have mistaken cunning in one character for folly in another': an ineffectual answer, because the extremity of cunning is equally destructive of dramatic balance. He defends his use of soliloquy very warmly: of which it may be said that, so long as his rule--that no character may overhear the soliloquiser--is observed, it is a tolerable convention, but a confession of weakness in construction. He declares he 'would rather disoblige all the critics in the world than one of the fair s.e.x,' and, having made his bow, he turns upon the ladies and rends them. An author campaigning against his critics is always a pleasant spectacle, but Congreve's defence of _The Double-Dealer_ is rather amusing than convincing.

It needed no defence; for with all its faults, such as they are, upon it, there are in it scenes and characters which only Congreve could have made. Brisk is a worthy forerunner of Witwoud, Sir Paul Plyant a delicious old credulous fool; while the tyrannical and vain Lady Plyant is so drawn that you almost love her. But the triumph is Lady Froth, 'a great coquet, pretender to poetry, wit, and learning,' and one would almost as lief have seen Mrs. Mountfort in the part as the Bracegirdle's Millamant. Her serious folly and foolish wisdom, her poem and malice and compliments and babbling vivacity--set off, it is fair to remember, by a pretty face--are atonement for a dozen Maskwells. She is a female Witwoud, her author's first success in a sort of character he draws to perfection. The scene between Mellefont and Lady Plyant, where she insists on believing that the gallant, under cover of a marriage with her stepdaughter, purposes to lead her astray, and where she goes through a delightful farce of answering her scruples before the bewildered man--the scene that for some far-fetched reason led Macaulay's mind to the incest in the _Oedipus Rex_--is perhaps the best comedy of situation in the piece. But the scene of defamation between the Froths and Brisk is notable as (with the Cabal idea in _The Way of the World_) the inspiration of the Scandal Scenes in Sheridan's play. When we remember that less than two years were gone since the production of _The Old Bachelor_, the improvement in Congreve is remarkable. Almost his only concession to the groundlings is the star-gazing episode of Lady Froth and Brisk: a mistake, because it spoils her inconsequent folly, but a small matter. In his second play Congreve was himself, the wittiest and most polished writer of comedy in English. In the face of this fact 'the public' conducted itself characteristically: it more or less d.a.m.ned _The Double-Dealer_ until the queen approved, when it applauded l.u.s.tily. That occasion gave Colley Cibber his first chance as Kynaston's subst.i.tute in Lord Touchwood. When one remembers Dryden's long, struggling, cudgelling and cudgelled life, it is impossible to read without emotion his tribute to a very young and successful author in the verses prefixed to this play:

Firm Doric pillars found your solid base: The fair Corinthian crowns the higher s.p.a.ce; Thus all below is strength, and all above is grace.

We cannot envy you, because we love.

Time, place, and action may with pains be wrought, But Genius must be born, and never can be taught.

This is your portion, this your native store; Heav'n, that but once was prodigal before.

To Shakespeare gave as much; she could not give him more.

The tribute is indubitably sincere; in point of Congreve's wit and diction it is as indubitably true.

_Love for Love_ was the most popular of Congreve's comedies: it held the stage so long that Hazlitt could say, 'it still acts and is still acted well.' Being wise after the event, one may give some obvious reasons. It is more human than any other of his plays, and at the same time more farcical. By 'more human' it is not meant that the characters are truer to life than those in _The Way of the World_, but that they are truer to average life, and therefore more easily recognisable by the average spectator. Tattle, for instance, is so gross a fool, that any fool in the pit could see his folly; Witwoud might deceive all but the elect. No familiarity--direct or indirect--with a particular mode of life and speech is necessary to the appreciation of _Love for Love_. Sir Sampson Legend is your unmistakable heavy father, cross-grained and bullying.

Valentine is no ironical, fine gentleman like Mirabell, but a young rake from Cambridge, all debts and high spirits. Scandal is a plain railer at things, especially women; Ben Legend a sea-dog who cannot speak without a nautical metaphor; Jeremy an idealised comic servant; and Foresight grotesque farce. Angelica is a shrewd but hearty 'English girl,' and Miss Prue a veritable country Miss; while Mrs. Frail and Mrs. Foresight are broadly skittish matrons. There is nothing in the play to strain the attention or to puzzle the intellect, and it is full of laughter: no wonder it was a success. It is, intellectually, on an altogether different plane from _The Way of the World_, on a slightly lower one than _The Double-Dealer_. But in its own way it is irresistibly funny, and by reason of its diction it is never for a moment other than distinguished.

I imagine the bodkin scene will always take the palm in it for mere mirth. Delightful sisters!

I suppose you would not go alone to the World's End?

The World's End! What, do you mean to banter me?

Poor innocent! You don't know that there's a place called the World's End? I'll swear you can keep your countenance purely; you'd make an admirable player. . . . But look you here, now--where did you lose this gold bodkin?--Oh, sister, sister!