Critical and Historical Essays. Volume 3. Томас Бабингтон Маколей

in the decline of his life played him such strange tricks that we might question the correctness of his assertion without throwing any imputation on his veracity. It is certain that none of his plays was acted till 1672, when he gave Love in a Wood to the public. It seems improbable that he should resolve on so important an occasion as that of a first appearance before the world, to run his chance with a feeble piece, written before his talents were ripe, before his style was formed, before he had looked abroad into the world; and this when he had actually in his desk two highly finished plays, the fruit of his matured powers. When we look minutely at the pieces themselves, we find in every part of them reason to suspect the accuracy of Wycherley's statement. In the first scene of Love in a Wood, to go no further, we find many passages which he could not have written when he was nineteen. There is an allusion to gentlemen's periwigs, which first came into fashion in 1663; an allusion to guineas, which were first struck in 1663; an allusion to the vests which Charles ordered to be worn at court in 1666; an allusion to the fire of 1666; and several political allusions which must be assigned to times later than the year of the Restoration, to times when the government and the city were opposed to each other, and when the Presbyterian ministers had been driven from the parish churches to the conventicles. But it is needless to dwell on particular expressions. The whole air and spirit of the piece belong to a period subsequent to that mentioned by Wycherley. As to the Plain Dealer, which is said to have been written when he was twenty-five, it contains one scene unquestionably written after 1675, several which are later than 1668, and scarcely a line which can have been composed before the end of 1666.

      Whatever may have been the age at which Wycherley composed his plays, it is certain that he did not bring them before the public till he was upwards of thirty. In 1672 Love in a Wood was acted with more success than it deserved, and this event produced a great change in the fortunes of the author. The Duchess of Cleveland cast her eyes upon him, and was pleased with his appearance. This abandoned woman, not content with her complaisant husband and her royal keeper, lavished her fondness on a crowd of paramours of all ranks, from dukes to rope-dancers. In the time of the Commonwealth she commenced her career of gallantry, and terminated it under Anne, by marrying, when a great-grandmother, that worthless fop, Beau Fielding. It is not strange that she should have regarded Wycherley with favor. His figure was commanding, his countenance strikingly handsome, his look and deportment full of grace and dignity. He had, as Pope said long after, "the true nobleman look," the look which seems to indicate superiority, and a not unbecoming consciousness of superiority. His hair indeed, as he says in one of his poems, was prematurely gray. But in that age of periwigs this misfortune was of little importance. The Duchess admired him, and proceeded to make love to him, after the fashion of the coarse-minded and shameless circle to which she belonged. In the Ring, when the crowd of beauties and fine gentlemen was thickest, she put her head out of her coach-window, and bawled to him, "Sir, you are a rascal; you are a villain;" and, if she is not belied, she added another phrase of abuse which we will not quote, but of which we may say that it might most justly have been applied to her own children. Wycherley called on her Grace the next day, and with great humility begged to know in what way he had been so unfortunate as to disoblige her. Thus began an intimacy from which the poet probably expected wealth and honors. Nor were such expectations unreasonable. A handsome young fellow about the court, known by the name of Jack Churchill, was, about the same time, so lucky as to become the object of a short-lived fancy of the Duchess. She had presented him with five thousand pounds, the price, in all probability, of some title or pardon. The prudent youth had lent the money on high interest and on landed security; and this-judicious investment was the beginning of the most splendid private fortune in Europe. Wycherley was not so lucky. The partiality with which the great lady regarded him was indeed the talk of the whole town; and sixty years later old men who remembered those days told Voltaire that she often stole from the court to her lover's chambers in the Temple, disguised like a country girl, with a straw hat on her head, pattens on her feet, and a basket in her hand. The poet was indeed too happy and proud to be discreet. He dedicated to the Duchess the play which had led to their acquaintance, and in the dedication expressed himself in terms which could not but confirm the reports which had gone abroad. But at Whitehall such an affair was regarded in no serious light. The lady was not afraid to bring Wycherley to court, and to introduce him to a splendid society with which, as far as appears, he had never before mixed. The easy king, who allowed to his mistresses the same liberty which he claimed for himself, was pleased with the conversation and manners of his new rival. So high did Wycherley stand in the royal favor that once, when he was confined by a fever to his lodgings in Bow Street, Charles, who, with all his faults, was certainly a man of social and affable disposition, called on him, sat by his bed, advised him to try change of air, and gave him a handsome sum of money to defray the expense of a journey. Buckingham, then Master of the Horse, and one of that infamous ministry known by the name of the Cabal, had been one of the Duchess's innumerable paramours. He at first showed some symptoms of jealousy; but he soon, after his fashion, veered round from anger to fondness, and gave Wycherley a commission in his own regiment and a place in the royal household.

      It would be unjust to Wycherley's memory not to mention here the only good action, as far as we know, of his whole life. He is said to have made great exertions to obtain the patronage of Buckingham for the illustrious author of Hudibras, who was now sinking into an obscure grave, neglected by a nation proud of his genius, and by a court which he had served too well. His Grace consented to see poor Butler; and an appointment was made. But unhappily two pretty women passed by; the volatile Duke ran after them; the opportunity was lost, and could never be regained.

      The second Dutch war, the most disgraceful war in the whole history of England, was now raging. It was not in that age considered as by any means necessary that a naval officer should receive a professional education. Young men of rank, who were hardly able to keep their feet in a breeze, served on board of the King's ships, sometimes with commissions, and sometimes as volunteers. Mulgrave, Dorset, Rochester, and many others, left the playhouses and the Mall for hammocks and salt pork, and, ignorant as they were of the rudiments of naval service, showed, at least, on the day of battle, the courage which is seldom wanting in an English gentleman. All good judges of maritime affairs complained that, under this system, the ships were grossly mismanaged, and that the tarpaulins contracted the vices, without acquiring the graces, of the court. But on this subject, as on every other where the interests or whims of favorites were concerned, the government of Charles was deaf to all remonstrances. Wycherley did not choose to be out of the fashion. He embarked, was present at a battle, and celebrated it, on his return, in a copy of verses too bad for the bellman.3

      About the same time, he brought on the stage his second piece, the Gentleman Dancing-Master. The biographers say nothing, as far as we remember, about the fate of this play. There is, however, reason to believe that, though certainly far superior to Love in a Wood, it was not equally successful. It was first tried at the west end of the town, and, as the poet confessed, "would scarce do there." It was then performed in Salisbury Court, but, as it should seem, with no better event. For, in the prologue to the Country Wife, Wycherley described himself as "the late so baffled scribbler."

      In 1675 the Country Wife was performed with brilliant success, which, in a literary point of view, was not wholly unmerited. For, though one of the most profligate and heartless of human compositions, it is the elaborate production of a mind, not indeed rich, original, or imaginative, but ingenious, observant, quick to seize hints, and patient of the toil of polishing.

      The Plain Dealer, equally immoral and equally well written, appeared in 1677. At first this piece pleased the people less than the critics; but after a time its unquestionable merits and the zealous support of Lord Dorset, whose influence in literary and fashionable society was unbounded, established it in the public favor.

      The fortune of Wycherley was now in the zenith, and began to decline. A long life was still before him. But it was destined to be filled with nothing but shame and wretchedness, domestic dissensions, literary failures, and pecuniary embarrassments.

      The King, who was looking about for an accomplished man to conduct the education of his natural son, the young Duke of Richmond, at length fixed on Wycherley. The poet, exulting in his good luck, went down to amuse himself at Tunbridge Wells, looked into a bookseller's shop on the Pantiles, and, to his great delight, heard a handsome woman ask for the

3

Mr. Leigh Hunt supposes that the battle at which Wycherley was present was that which the Duke of York gained over Opdam, in 1665. We believe that it was one of the battles between Rupert and De Ruyter, in 1673.