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[Title and Motto as above, with “ As it is acted at the Theatre Royal; Written by John Dryden, Servant to his Majesty,” between; and, following motto,—“London: Printed by T. N. for Henry Herringman, and are to be sold at the Anchor in the Lower Walk of the New Exchange, 1673.-Ed.]

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MARRIAGE A LA MODE was one of Dryden's most successful comedies. A venerable praiser of the past time, in a curious letter printed in the Gentleman's Magazine for 1745, gives us this account of its first representation. “This comedy,

, acted by his Majesty's servants at the Theatre-Royal, made its first appearance with extraordinary lustre. Divesting myself of the old man, I solemnly declare, that you have seen no such acting, no, not in any degree since. The players were then, 1673, on a court establishment, seventeen men, and eight women.”—Gent. Mag. vol. xv. p. 99. From a copy of verses, to which this letter is annexed, we learn the excellence of the various performers by whom the piece was first presented. They are addressed to a young actress.

Henceforth, in livelier characters excel,
Though 'tis great merit to act folly well!;
Take, take from Dryden's hand Melantha's part,
The gaudy effort of luxuriant art,
In all imagination's glitter drest;
What from her lips fantastic Montfort caught,
And almost moved the thing the poet thought.

These scenes, the glory of a comic age,
(If decency could blanch each sullied page)
Peruse, admire, and give unto the stage;
Or thou, or beauteous Woffington, display
What Dryden's self

, with pleasure, might survey.
Even he, before whose visionary eyes,
Melantha, robed in ever-varying dyes,
Gay fancy's work, appears, actor renowned,
Like Roscius, with theatric laurels crowned,
Cibber will smile applause, and think again
Of Harte, and Mohun, and all the female train,

Coxe, Marshal, Dryden's Reeve, Bet Slade, and Charles's reign. Mrs. Montfort, who, by her second marriage, became Mrs. Verbruggen, was the first who appeared in the highly popular part of Melantha, and the action and character appear to have been held incomparable by that unquestionable judge of the humour of a coquette, or coxcomb, the illustrious Colley Cibber. Melantha," says Cibber, " is as finished an impertinent as ever fluttered in a drawing-room; and seems to contain the most complete system of female foppery that could possibly be crowded into the tortured form of a fine lady. Her language, dress, motion, manners, soul, and body, are in a continual hurry to be something more than is necessary or commendable. And, though I doubt it will be a vain labour to offer you a just likeness of Mrs. Montfort's action, yet the fantastic expression is still so strong in my memory, that I cannot help saying something, though fantastically, about it. The first ridiculous airs, that break from her, are upon a gallant, never seen before, who delivers her a letter from her father, recommending him to her good graces as an honourable lover. Here, now, one would think she might naturally show a little of the sex's decent reserve, though never so slightly covered. No, sir, not a tittle of it: Modesty is a poor-souled country gentlewoman ; she is too much a court lady to be under so vulgar a confusion. She reads the letter, therefore, with a careless dropping lip, and an erected brow, humming it hastily over, as if she were impatient to outgo her father's commands, by making a complete conquest of him at once; and that the letter might not embarrass the attack, crack ! she crumbles it at once into her palm, and pours down upon him her whole artillery of airs, eyes, and motion ; down goes her dainty diving body to the ground, as if she were sinking under the conscious load of her own attractions ; then launches into a flood of fine language and compliment, still playing her chest forward in fifty falls and risings, like a swan upon waving water; and, to complete her impertinence, she is so rapidly fond of her own wit, that she will not give her lover leave to praise it. Silent assenting bows, and vain endeavours to speak, are all the share of the conversation he is admitted to, which, at last, he is removed from by her engagement to half a score of visits, which she swims from him to make, with a promise to return in a twinkling." Cibber's Apology, p. 99.

By this lively sketch, some judgment may be formed of the effect produced by the character of Melantha, when ably represented; but, to say the truth, we could hardly have drawn the same deduction from a simple perusal of the piece. Of the French phrases, which the affected lady throws into her conversation, some have been since naturalised, as good graces, minuet, chagrin, grimace, ridicule, and others. Little can be said of the tragic part of the drama. The sudden turn of fortune in the conclusion is ridiculed in “ The Rehearsal.”

The researches of Mr. Malone have ascertained that Marriage à la Mode” was first acted in 1673, in an old theatre in Lincoln's Inn Fields, occupied by the King's company, after that in Drury Lane had been burned, and during its re-building. The play was printed in the same year.

(Scott's general undervaluing of Dryden's comic pieces is very evident in this notice. I do not think that any one who has read the play will assign the success of Melantha's part entirely to Mrs. Montfort; and I do think that such a reader will see in that part the suggestion, however faint and rudimentary, of Congreve's immortal Millamant. Doralice, though she did not prove in the same way mother to a filia pulchrior, is even more attractive in herself. Her philosophy of flirtation (it can hardly be called love) in the last scene with Palamede is admirable, and it is perhaps worth pointing out that what Defoe somewhere calls “the vicious part” is avoided very skilfully, and much more by intention than by accident. As for the tragic scenes, there certainly is very little to be said for them. As before, commentators have endeavoured to assign chapter and verse for the different scenes of the play, but quite idly. The unfailing kindness of M. A. Beljame has enabled me to identify almost all the French songs quoted.—ED.)






I HUMBLY dedicate to your Lordship that

poem, of which you were pleased to appear an early

* The patron, whom Dryden here addresses, was the famous John Wilmot, Earl of Rochester, the wittiest, perhaps, and most dissolute, among the witty and dissolute courtiers of Charles II. It is somewhat remarkable, and may be considered as a just judgment upon the poet, that he was, a few years afterwards, waylaid and severely beaten by bravoes, whom Lord Rochester employed to revenge the share which Dryden is supposed to have had in the Essay on Satire. The reader is referred to the Life of the author for the particulars of this occurrence, which is here recalled to his recollection, as a striking illustration of the inutility, as well as meanness, of ill-applied praise; since even the eulogy of Dryden, however liberally bestowed and beautifully expressed, failed to save him from the most unmanly treatment at the hands of the worthless and heartless object on whom it was wasted. It is melancholy to see Dryden, as may be fairly inferred from his motto, piqueing himself on being admitted into the society of such men as Rochester, and enjoying their precarious favour. Mr. Malone has remarked,

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