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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:43:08 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:43:08 -0700 |
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diff --git a/13881-h/13881-h.htm b/13881-h/13881-h.htm new file mode 100644 index 0000000..a511378 --- /dev/null +++ b/13881-h/13881-h.htm @@ -0,0 +1,1095 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> + <head> + <meta http-equiv="Content-Type" content= + "text/html; charset=UTF-8"> + <title> + The Project Gutenberg eBook of The Case of Mrs. Clive, by Catherine Clive. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + H1,H2,H3,H4,H5,H6 { + text-align: center; /* all headings centered */ + } + HR { width: 33%; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .note {margin-left: 2em; margin-right: 2em; margin-bottom: 1em;} /* footnote */ + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right;} /* page numbers */ + .sidenote {width: 20%; margin-bottom: 1em; margin-top: 1em; padding-left: 1em; font-size: smaller; float: right; clear: right;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span {display: block; margin: 0; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em;} + .poem span.i4 {display: block; margin-left: 4em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 13881 ***</div> + +<h4>THE AUGUSTAN REPRINT SOCIETY</h4> +<br /> + +<h3>CATHERINE CLIVE</h3> + +<h2>THE CASE</h2> + +<h4>OF</h4> + +<h1>Mrs. <i>CLIVE</i></h1> + +<h4>(1744)</h4> + +<center> +<img src="images/003.png" width="268" height="120" alt="Printer's Decoration" title=""> +</center> + +<hr style='width: 45%;' /> + +<h5><i>Introduction by</i></h5> + +<h4>RICHARD C. FRUSHELL</h4> + +<hr style='width: 45%;' /> + + +<h4>To</h4> + +<h4>H.T. Swedenberg, Junior</h4> + +<h4><i>founder, protector, friend</i></h4> + + + +<center> +<img src="images/001.png" width="345" height="380" alt="He that delights to Plant and Set, +Makes After-Ages in his Debt." title=""> +</center> + + + +<div class="poem"><div class="stanza"> +<span>Where could they find another formed so fit,<br /></span> +<span>To poise, with solid sense, a sprightly wit?<br /></span> +<span>Were these both wanting, as they both abound,<br /></span> +<span>Where could so firm integrity be found?<br /></span> +</div></div> + + + +<p>The verse and emblem are from George Wither, <i>A Collection of Emblems, +Ancient and Modern</i> (London, 1635), illustration xxxv, page 35. +</p> +<p>The lines of poetry (123-126) are from "To My Honoured Kinsman John +Driden," in John Dryden, <i>The Works of John Dryden</i>, ed. Sir Walter +Scott, rev. and corr. George Saintsbury (Edinburgh: William Patterson, +1885), xi, 78. +</p> + +<hr style='width: 45%;' /> + +<p>GENERAL EDITORS</p> + +William E. Conway, William Andrews Clark Memorial Library<br /> +George Robert Guffey, University of California, Los Angeles<br /> +Maximillian E. Novak, University of California, Los Angeles<br /> +David S. Rodes, University of California, Los Angeles<br /> +<br /> + +<p>ADVISORY EDITORS</p> + +Richard C. Boys, University of Michigan<br /> +James L. Clifford, Columbia University<br /> +Ralph Cohen, University of Virginia<br /> +Vinton A. Dearing, University of California, Los Angeles<br /> +Arthur Friedman, University of Chicago<br /> +Louis A. Landa, Princeton University<br /> +Earl Miner, Princeton University<br /> +Samuel H. Monk, University of Minnesota<br /> +Everett T. Moore, University of California, Los Angeles<br /> +Lawrence Clark Powell, William Andrews Clark Memorial Library<br /> +James Sutherland, University College, London<br /> +H.T. Swedenberg, Jr., University of California, Los Angeles<br /> +Robert Vosper, William Andrews Clark Memorial Library<br /> +Curt A. Zimansky, State University of Iowa<br /> +<br /> + +<p>CORRESPONDING SECRETARY</p> + +<p>Edna C. Davis, William Andrews Clark Memorial Library</p> +<br /> + +<p>EDITORIAL ASSISTANT</p> + +<p>Jean T. Shebanek, William Andrews Clark Memorial Library</p> +<br /> + +<p>Typography by Wm. M. Cheney</p> + + + +<hr style="width: 65%;" /> +<h2>INTRODUCTION</h2> +<br /> + +<p>Among other things, the licensing act of 1737 stipulated that Covent +Garden and Drury Lane exclusively were the patented and licensed +theaters (respectively) in London, a fact directly related to the revolt +of prestigious players six years later. Although there were sporadic +performances of "legitimate" drama in unlicensed playhouses between 1737 +and 1743, full-time professional actors and actresses were in effect +locked into the approved theaters during the regular theatrical season. +Suspecting a cartel directed against them personally and professionally +by the "Bashas" Rich at Covent Garden and Fleetwood at Drury Lane,<a name="FNanchor_1_1"></a><a href="#Footnote_1_1"><sup>[1]</sup></a> +the players from Drury Lane in the summer of 1743 banded together and +refused to perform the next season until salaries and playing conditions +improved. Tardy and partial payment of salary was the surface sore +point, unprincipled and unwarranted manipulation by the managers the +underlying one. As the Macklin-Garrick quarrel attests,<a name="FNanchor_2_2"></a><a href="#Footnote_2_2"><sup>[2]</sup></a> the conflict +was not only between labor and management; but the latter confrontation +is central to the conflict in 1743 and the subject of <i>The Case of Mrs. +Clive Submitted to the Publick</i>, published in October, 1744, by which +time Catherine (Kitty) Clive had established herself as not only first +lady of comedy but also as somewhat of a patriot of the acting +profession and the Drury Lane company.</p> + +<p>Coming to Drury Lane in 1728 while still in her teens, Kitty Rafter +(1711-1785) quickly became a favorite of the town by virtue of her +singing voice, vivacity, and gift for mimicry. Admired first as a +singing actress, Miss Rafter in 1731 gave unequivocal notice of her +considerable talent as a comic actress in the role of Nell in Coffey's +<i>The Devil to Pay</i>, one of several hundred she mastered. Her +specialties: Flora in <i>The Wonder</i>, Lady Bab in <i>High Life Below +Stairs</i>, Lappet in <i>The Miser</i>, Catherine in <i>Catherine and Petruchio</i>, +Mrs. Heidelberg in <i>The Clandestine Marriage</i>, and the Fine Lady in +<i>Lethe</i>. Mrs. Clive's (on 4 Oct. 1733, Miss Rafter married George Clive, +a barrister) popularity as comedienne and performer of prologues and +epilogues is indicated by the frequency of her performances and long +tenure at Drury Lane (she retired in 1769) and documented by the +panegyrics of Fielding, Murphy, Churchill, Garrick, Dr. Johnson, Horace +Walpole, Goldsmith, fellow players, contemporary memoir writers, and +audiences who admired her.<a name="FNanchor_3_3"></a><a href="#Footnote_3_3"><sup>[3]</sup></a> Dr. Johnson, I feel, gives the most +balanced, just contemporary appraisal of Mrs. Clive the actress: "What +Clive did best, she did better than Garrick; but could not do half so +many things well; she was a better romp than any I ever saw in +nature."<a name="FNanchor_4_4"></a><a href="#Footnote_4_4"><sup>[4]</sup></a> Part of the half she could not do well were tragedy roles, +attested to by Thomas Davies, who comments on her performances as +Ophelia in <i>Hamlet</i> and Zara in <i>The Mourning Bride</i>: "Of Mrs. Clive's +Ophelia I shall only say, that I regret that the first comic actress in +the world should so far mistake her talents as to attempt it." And on +Zara, "for her own benefit, the comic Clive put on the royal robes of +Zara: she found them too heavy, and, very wisely, never wore them +afterwards."<a name="FNanchor_5_5"></a><a href="#Footnote_5_5"><sup>[5]</sup></a> Part of the half she could do well is noticed, once +again, by Davies: particularly adroit and distinguished in chambermaid +parts, Mrs. Clive</p> + +<blockquote><p>excelled also in characters of caprice and affectation, from the + high-bred Lady Fanciful to the vulgar Mrs. Heidelberg; in country + girls, romps, hoydens and dowdies, superannuated beauties, viragos + and humourists; she had an inimitable talent in ridiculing the + extravagant action and impertinent consequence of an + Opera-singer—of which she gave an excellent specimen in <i>Lethe</i>. + Her mirth was so genuine that whether it was restrained to the arch + sneer, and suppressed half-laugh, or extended to the downright + honest burst of loud laughter, the audience was sure to accompany + her [my punctuation].<a name="FNanchor_6_6"></a><a href="#Footnote_6_6"><sup>[6]</sup></a></p></blockquote> + +<p>Mrs. Clive's stature as a comic actress would, then, seemingly make her +a prize for Rich or Fleetwood, but they did their best to thwart her +career and happiness at their theaters.</p> + +<p>I suspect that their motivation in so doing was fear that her temper, +her influence with other actors and her audiences, and her strong +loyalty to her profession would hinder their legislated power to control +absolutely London theaters, players, and audiences in 1743. Not much +investigation is required to see Mrs. Clive at her clamoring best, at +various times head to head with Susannah Cibber, Peg Woffington, +Woodward, Shuter, or Garrick. Her letters to Garrick show that as late +as the sixties she was quite capable of vitriol when she felt that she +or her friends were unjustly treated. Tate Wilkinson was surely correct +in describing her as "a mixture of combustibles; she was passionate, +cross, and vulgar," often simultaneously.<a name="FNanchor_7_7"></a><a href="#Footnote_7_7"><sup>[7]</sup></a> If this were the case in +mere greenroom tiffs or casual correspondence, how the ire of "the +Clive" must have been excited by the cartelists, who did their utmost to +keep her out of joint and almost out of sight.</p> + +<p>In 1733, Fielding, who furthered Mrs. Clive's career by writing and +editing parts of his plays for her and publicly praising her as a woman +and as an actress, wrote the following encomium on her professional +integrity in his "Epistle to Mrs. Clive," prefatory to <i>The Intriguing +Chambermaid</i>:</p> + +<blockquote><p>The part you have maintained in the present dispute between the + players and the patentees, is so full of honour, that had it been + in higher life, it would have given you the reputation of the + greatest heroine of the age. You looked on the cases of Mr. + Highmore and Mrs. Wilks with compassion, nor could any promises or + views of interest sway you to desert them; nor have you scrupled + any fatigue ... to support the cause of those whom you imagine + injured and distressed; and for this you have been so far from + endeavouring to exact an exorbitant reward from persons little able + to afford it, that I have known you to offer to act for nothing, + rather than the patentees should be injured by the dismission of + the audience.<a name="FNanchor_8_8"></a><a href="#Footnote_8_8"><sup>[8]</sup></a></p></blockquote> + +<p>Fielding is, of course, referring to the 1733 dispute in which Mrs. +Clive (and Macklin) among the principal players stayed with the +ineffective proprietor of Drury Lane, John Highmore. Jealous that +Highmore and not he gained control of Drury Lane after former +shareholders either died or sold out, Theophilus Cibber demanded, among +other things, that Highmore share profits with his players rather than +pay fixed salaries. He then led the Drury Lane players in revolt in the +autumn of 1733 to the New Haymarket where they played without a license +until March of the 1733-1734 season, at which time they returned to +Drury Lane under the new management of Fleetwood. The actors at least +partially won this battle, and although Highmore tried to have the +vagrant act enforced, the players returned to Drury Lane unscathed. With +Highmore gone, a period of uneasy peace obtained. The players, however, +were not to win so easily the next dispute, the one that took place +after the passage of the licensing act.<a name="FNanchor_9_9"></a><a href="#Footnote_9_9"><sup>[9]</sup></a></p> + +<p>Mrs. Clive's decision to stay with Highmore rather than defect was +probably made because "two women—Mrs. Wilks, the widow of her [Kitty's] +old theatrical idol, and Mrs. Booth—were in he[* the? her?] direction" +of the theater.<a name="FNanchor_10_10"></a><a href="#Footnote_10_10"><sup>[10]</sup></a> But in light of Fielding's words and her actions and +statements in regard to the welfare of Drury Lane and its actors +throughout her career, I believe that Mrs. Clive, although not pleased +with aspects of Highmore's reign, also refused to defect because she +felt that the manager was basically in the right, that her fellow +players would be destitute or at least open to hardship without +employment there, and that the audiences would take offense at such +unprofessional and selfish behavior from their "servants." The "Town," +as her own play <i>The Rehearsal</i> (I.i. 159-170) shows, was always her +judge in matters professional.</p> + +<p>Fielding's prologue to his revised <i>Author's Farce</i> (1734), spoken by +Mrs. Clive, compares the settled, prosperous former days at Drury Lane +with those of 1734, when "... <i>alas! how alter'd is our Case!/ I view +with Tears this poor deserted Place</i>."<a name="FNanchor_11_11"></a><a href="#Footnote_11_11"><sup>[11]</sup></a> With few exceptions, the +"place" continued strangely in decline even with a competent company and +often with a full house. The falling-off continued until the advent of +Garrick, who with Lacy in 1747 co-managed the theater into a new era.</p> + +<p>From the mid-thirties until 1743, Mrs. Clive appears in roles she had +made famous as well as those newly written with her particular talents +in mind. Fielding, turning more and more to political satire and soon to +another literary form, had little need of her services;<a name="FNanchor_12_12"></a><a href="#Footnote_12_12"><sup>[12]</sup></a> but others +did, and the years between the licensing act and 1743 find Mrs. Clive in +demand as the affected lady of quality, speaker of humorous epilogues, +performer in Dublin, and singer of such favorites as "Ellen-a-Roon," +"The Cuckoo," and "The Life of a Beau." This period is also marked by +Mrs. Clive's first professional venture with David Garrick, in his +<i>Lethe</i>, the beginning of a relationship to become one of the most +tempestuous and fruitful in all theater history.</p> + +<p>As I intimated at the outset, the licensing act mainly troubled the +London players because of the power of monopoly it invested in Fleetwood +and Rich. Not only were the forums for dramatic presentation now +restricted, but so was professional freedom. The problem, therefore, was +as much philosophical as it was geographical. From the sixteenth century +to 1737, English players had some freedom (albeit limited) to rebel from +intolerable authority and to form their own company.<a name="FNanchor_13_13"></a><a href="#Footnote_13_13"><sup>[13]</sup></a> This freedom, +this choice, as Lord Chesterfield pointed out in his speech against the +act, was severely attenuated in 1737, and was to remain so in varying +degrees until the monopoly the act allowed was legislated dead in 1843. +But it was a cartel between the managers that the players most feared, +and there is evidence in the pamphlets growing out of the struggle of +1743 that such a fear was well-founded.</p> + +<p>The playing conditions at Drury Lane in the early forties were not good, +a situation directly attributable to the ineptitude and highhandedness +of Fleetwood (and his treasurer Pierson) and his refusal to pay salaries +in full and on time. The manager's accommodating side-show performers in +his company did not help. Macklin, as Fleetwood's lieutenant, had to try +to pacify actors, workmen, creditors; as actor he commiserated with the +players. With the coming of Garrick from Goodman's Fields to Drury Lane +late in the 1741-1742 season and with a progressively disgruntled Clive +all the principals in the revolt are under one—leaky—roof.</p> + +<p>In light of the number and variety of the published commentary which +accompanied the revolt, perhaps a highlighting of Clive's <i>Case</i> would +be the most efficient way to elucidate some of the major difficulties +involved. After addressing herself to "the Favour of the Publick," with +encouragement from her friends,<a name="FNanchor_14_14"></a><a href="#Footnote_14_14"><sup>[14]</sup></a> Mrs. Clive strikes the key note of +her essay: injustice and oppression, specifically seen in the cartel's +threat to "Custom," an iterative word throughout the essay. Mrs. Clive +first speaks of salary, a matter obviously important to her "Liberty and +Livelihood."<a name="FNanchor_15_15"></a><a href="#Footnote_15_15"><sup>[15]</sup></a> One writer on the dispute, in a quasi-satirical tract, +denounces the managers in this regard and in so doing echoes Mrs. Clive: +"When there are but two Theatres allowed of, shall the Masters of those +two Houses league together, and oblige the Actors either to take what +Salary or Treatment they graciously vouchsafe to offer them, and to be +parcelled out and confined to this House or t'other, just as they in +their Wisdoms think meet; or else to be banished the Kingdom for a +Livelihood? This is Tyranny with a Vengeance—but perhaps these generous +noble-spirited Masters may intend their Performers a Compliment in it, +and by thus fixing them to one Place, effectually wipe off that odious +Appellation of Vagabonds, which has been sometimes given them."<a name="FNanchor_16_16"></a><a href="#Footnote_16_16"><sup>[16]</sup></a> The +licensing act, subsequent cartel, and mistreatment of players were then +not only in the mind of Mrs. Clive. Treated in most of the arguments for +or against the players was salary, but it was only a cover hiding an +underlying malaise.</p> + +<p>Implying that the managers set out to ruin certain performers, including +herself, Mrs. Clive accuses them of putting on "a better Face to the +Town" by publishing (inaccurate) salary figures—a ploy to get public +sanction for lower salaries. Mrs. Clive alludes to salaries published +ostensibly by Fleetwood in the papers (e.g., <i>Gentleman's Magazine</i>, +XIII, October 1743, 553), where the pay of such lights as Garrick, +Macklin, Pritchard, and Clive in the 1742-1743 season is made to seem +higher than the salaries of such worthies as Wilks, Betterton, Cibber, +and Oldfield in the 1708-1709 season. The actors, in presenting their +case (<i>Gentleman's Magazine</i>, XIII, November 1743, 609), hit at +Fleetwood for citing 1708-1709 salaries, for "the Stage [then] both of +<i>Drury-Lane</i> and the <i>Hay-market</i>, were in so wretched a Condition ... +as not to be worth any body's Acceptance." The players use instead +salaries of the 1729 players "to place the salaries of the present +Actors in a true light," since the stage in that year flourished. In +1729, Wilks, the highest paid actor, earned more than his later equal, +Garrick. All other principals' salaries were comparable.</p> + +<p>The main complaint of Fleetwood's company, then, was not only base +salary but the "Fallacy" of the manager's account and his "setting down +besides the Manager's Charges, every benefit Night, what is got by the +Actor's own private Interests in Money and Tickets, as also the Article +of 50L for Cloaths, added to the Actresses Account, which is absolutely +an Advantage to the Manager, as they always lay out considerably more." +This evidence, if not in itself damning to Fleetwood's designs toward +his actors, at least indicates the internecine breach at Drury Lane. +(The inter-theater conflict, important for its effect on repertory and +morale, is adequately examined in theater histories and lies outside my +interests in this essay.)</p> + +<p>Mrs. Clive admits, however, that reduced, unpaid, or "handled" salaries +were not the first fear of the actors; it was instead, she says, the +fear of what "would happen from an Agreement supposed to be concluded +betwixt the two Managers, which made 'em apprehend, that if they +submitted to act under such Agreements, they must be absolutely in the +Managers Power." As the writer of <i>The Case Between the Managers</i> (p. +11) presents it, a conversation between a personified Covent Garden and +Drury Lane would have gone like this: "Well, but, Brother <i>Drury</i>, we +can manage that matter [how to keep audiences]—Suppose you and I make a +Cartel; for instance, agree for every other Theatre, and oblige +ourselves by this Cartel to reduce by near one half the Salaries of our +principal Performers—I'gad, we may cramp 'em rarely this way—they must +serve us at any rate we tax their Merit at, for they'll then have no +where else to go to." Drury Lane responds, "D—n me, if that is not +divinely thought—my dear Friend, give me a Kiss."</p> + +<p>Late in the summer of 1743, several months before the salary figures +described above, Garrick, Macklin, Clive, and Mrs. Pritchard among the +principal players attempted to obtain another license to set up their +own company in the Haymarket: shades of 1733. They applied to the +Chamberlain Grafton—who denied it, in part perhaps because put out that +Garrick commanded over L500 a year. There was no chance, therefore, to +sidestep the monopoly effected by the licensing act. Leading the +secession, Garrick agreed with his colleagues to stay out until redress +was forthcoming. Redress did not come, the defectors lost, Fleetwood +won. He starved them in not out, Garrick was persuaded to return to +Drury Lane (which he does in early December, 1743) by the entreaties of +several of the destitute seceded players who asked him to accede to +Fleetwood's terms. As Garrick explains to Macklin (see note 2), he did +so because he had the economic welfare of his fellow actors at heart. +Macklin infuriated with him and Clive disappointed in him, both refused +to accept Garrick's decision, and hence became renegade. Macklin, +uninvited back by Fleetwood, admired Olive's decision to have no part in +signing a petition presented to her by her fellow defectors who +understood that the refusal of a separate license dissolved their bond. +Macklin writes in his Reply to <i>Mr. Garrick's Answer</i> (p. 27) that "it +ought to be known that when this Letter was carried to Mrs. Clive, and +her Name to it desired, she had the Honour and Spirit to refuse, upon +any Consideration, to be made so ridiculous a Tool to so base a +Purpose."</p> + +<p>Others were not so generous as Macklin. The author of <i>The Disputes +between the Director of D——y, and the Pit Potentates,</i> one "B.Y.," +champions the cause of the non-principal players against such as Mrs. +Clive, "for the low-salary'd Players are always at the labouring Oar, +and at constant Expence, while the rest are serv'd up once or twice in a +Week each, as very fine Dishes," one of whom, he says, is Mrs. Clive, an +"avaritious" person whom he is confident "has found, and feels, her +Error by this Time."<a name="FNanchor_17_17"></a><a href="#Footnote_17_17"><sup>[17]</sup></a> The writer then details the particular +hardships of Mrs. Roberts, Mrs. Horton, and Mr. Mills, hardships caused +by such greedy principals as Clive. B.Y. obviously chose to ignore the +compassion of Mrs. Clive for the low-salaried players expressed in her +Case.</p> + +<p>Evidence that Mrs. Clive was in no position to be avaricious and that a +debilitating cartel in fact existed is found in her own essay. When the +defected players returned to Drury Lane (except Macklin, whom Fleetwood +considered the cause of the theater's troubles) late in 1743, Fleetwood +offered Mrs. Clive a salary incompatible with her talent and lower than +his previous "agreements" with her. Clive says, "They were such as I was +advis'd not to accept, because it was known they were proposed for no +reason but to insult me, and make me seek for better at the other +Theatre; for I knew it had been settled, by some dark Agreement, that +Part of the Actors were to go to Covent-Garden Theatre, and others to +Drury-Lane."</p> + +<p>Led to believe that she would find comfort and acceptance at Covent +Garden based on previous encouragement by Rich to have her join his +company,<a name="FNanchor_18_18"></a><a href="#Footnote_18_18"><sup>[18]</sup></a> Mrs. Clive realized that the dark agreement was a fact, for +"When I apply'd to him, he offered me exactly the same which I had +refused at the other Theatre." She managed a bit more salary, however, +and out of necessity agreed to play. More rankling to Mrs. Clive than +basic salary was her being forced to pay for her benefit. The extant +Clive-Garrick correspondence points to the pride she took in not only a +"clear" benefit but one held during that part of the month she dictated. +As is the case with salary, the basis for this complaint was +unreasonable manipulation by the managers, loss of freedom, and an +unjustified break with tradition: "I had had one [a benefit] clear of +all Expence for Nine Years before; an Advantage the first Performers had +been thought to merit for near Thirty Years, and had grown into a +Custom."</p> + +<p>Mrs. Clive did not regularly play for Rich until December 1743, from +which time she "determined to stay there," doing all in her power to +please her audiences and him. Yet she "found, by his Behaviour to me, it +was designed I should not continue with him." Clive's specific +exposition of Rich's mistreatment of her is a portrait of an actress +aware of her worth and of a manager at his worst. Fired from Covent +Garden—against custom and justice—at the end of the season without +being told, Mrs. Clive could not arrange to play in Ireland, where she +was a great favorite,<a name="FNanchor_19_19"></a><a href="#Footnote_19_19"><sup>[19]</sup></a> for Rich's cheat did not become clear to her +until summer was too far advanced. Clive says it all when she observes +"it is unlawful to act any where but with them." Fleetwood was the only +alternative for the next season, and he still owed her £160. 12s. At the +time of Clive's Case (October, 1744) Fleetwood had not yet contacted her +for engagement at Drury Lane even though he could not "but know I am +disengag'd from the other Theatre." Nor could have Clive expected much +of a salary from him even if he did call on her since the last season he +offered her "not near half as much as he afterwards agreed to give +another Performer, and less than he then gave to some others in his +Company." Mrs. Clive could not but conclude that the managers were in +league to distress her.<a name="FNanchor_20_20"></a><a href="#Footnote_20_20"><sup>[20]</sup></a> In the final third of her essay, Mrs. Clive +presents a rather touching account of the personal costs of a piece of +legislation which was itself manipulated and "interpreted in the narrow +sense of forming the legal safeguard to the patent monopoly."<a name="FNanchor_21_21"></a><a href="#Footnote_21_21"><sup>[21]</sup></a></p> + +<p>The "Ladies" who had promised their protection to Mrs. Clive obviously +were influential in convincing Rich to re-hire her, for less than one +month after the appearance of Clive's Case the Prince of Wales and his +Princess sponsored at the Haymarket a concert for her benefit,<a name="FNanchor_22_22"></a><a href="#Footnote_22_22"><sup>[22]</sup></a> and +her name is regularly listed in the Covent Garden playbills soon after. +The absence of publicity from Mrs. Clive, or about her, suggests that +her second short year at Covent Garden was fairly acceptable to all +concerned, although Portia in <i>The Merchant of Venice</i> was hardly her +forte.</p> + +<p>The next season finds her back at Drury Lane, where she reigns +uncontested queen of comedy for more than twenty years. In addition to +the return of Clive, the 1745-1746 season (one poor in attendance and +new plays) at Drury Lane is noteworthy because of a reinstated Macklin, +a de-throned Fleetwood, a new manager (Lacy), a well-balanced company +soon to be augmented by player-manager Garrick, prospects for a bright +future—and a theatrical monopoly stronger than ever.<a name="FNanchor_23_23"></a><a href="#Footnote_23_23"><sup>[23]</sup></a> In the latter +regard Mrs. Clive's case is revealing in that it gives a new emphasis to +the epithet His Majesties' Servants.<a name="FNanchor_24_24"></a><a href="#Footnote_24_24"><sup>[24]</sup></a></p> + +Indiana State University<br /> +Terre Haute<br /> + + + + + +<hr style="width: 65%;" /> +<h2>NOTES TO THE INTRODUCTION</h2> + +<a name="Footnote_1_1"></a><a href="#FNanchor_1_1">[1]</a><div class="note"><p> <i>The Dramatic Congress</i> (London, 1743). Throughout I use +short titles.</p></div> + +<a name="Footnote_2_2"></a><a href="#FNanchor_2_2">[2]</a><div class="note"><p> Three major documents concerning this quarrel are published +under the title <i>Mr. Macklin's Reply to Mr. Garrick's Answer</i> (London, +1743).</p></div> + +<a name="Footnote_3_3"></a><a href="#FNanchor_3_3">[3]</a><div class="note"><p> Mrs. Clive's four afterpieces, with their allusions to her +personality and career, are equally revealing. I treat this subject in +"An Edition of the Afterpieces of Kitty Clive," Diss. Duquesne Univ. +1968, and "The Textual Relationship and Biographical Significance of Two +Petite Pieces by Mrs. Catherine (Kitty) Clive," RECTR, 9 (May 1970), +51-58, and "Kitty Clive as Dramatist," <i>DUJ</i>, N.S., 32 No. 2 (March +1971), 125-132.</p></div> + +<a name="Footnote_4_4"></a><a href="#FNanchor_4_4">[4]</a><div class="note"><p> James Boswell, <i>Boswell's Life of Johnson</i>, ed. George +Birkbeck Hill, rev. L.F. Powell (Oxford: Clarendon Press, 1934-1950), +IV, 243.</p></div> + +<a name="Footnote_5_5"></a><a href="#FNanchor_5_5">[5]</a><div class="note"><p> <i>Dramatic Miscellanies</i> (London, 1785), III, 131, 376.</p></div> + +<a name="Footnote_6_6"></a><a href="#FNanchor_6_6">[6]</a><div class="note"><p> Quoted by [John Genest], <i>Some Account of the English +Stage</i> (Bath: H.E. Carrington, 1832), V, 230.</p></div> + +<a name="Footnote_7_7"></a><a href="#FNanchor_7_7">[7]</a><div class="note"><p> <i>Memoirs of His Own Life</i> (York, 1790), II, 257. See +<i>Theatrical Correspondence in Death. An Epistle from Mrs. Oldfield</i> +(London, 1743), p. 7.</p></div> + +<a name="Footnote_8_8"></a><a href="#FNanchor_8_8">[8]</a><div class="note"><p> <i>The Complete Works of Henry Fielding, Esq.</i>, ed. William +Ernest Henley (New York: Croscup & Sterling Co., [1902]; reprinted +Barnes & Noble, 1967), X, 277-278.</p></div> + +<a name="Footnote_9_9"></a><a href="#FNanchor_9_9">[9]</a><div class="note"><p> For a useful exposition of the 1733 and 1743 disputes in +terms of the licensing act see Watson Nicholson, <i>The Struggle for a +Free Stage in London</i> (Cambridge, Mass.: Archibald Constable & Co., +1906.).</p></div> + +<a name="Footnote_10_10"></a><a href="#FNanchor_10_10">[10]</a><div class="note"><p> Percy Fitzgerald, <i>The Life of Mrs. Catherine Clive</i> +(London: A. Reader, 1888), p. 24. P.J. Crean, "The Life and Times of +Kitty Clive," Diss. Univ. of London, 1933, is, however, the authority on +Clive's life. I am indebted to Professor Crean.</p></div> + +<a name="Footnote_11_11"></a><a href="#FNanchor_11_11">[11]</a><div class="note"><p> Quoted in Mary E. Knapp, <i>Prologues and Epilogues of the +Eighteenth Century</i> (New Haven: Yale University Press, 1961), p. 69.</p></div> + +<a name="Footnote_12_12"></a><a href="#FNanchor_12_12">[12]</a><div class="note"><p> Yet, with Fitzgerald (<i>Life</i>, p. 34), I believe that +Fielding could have helped Mrs. Clive ready her Case for the press. +Certainly the "correctness" of that printed text could not have been +achieved by her alone. Cf. Clive's MS letters, Appendix, "An Edition of +the Afterpieces."</p></div> + +<a name="Footnote_13_13"></a><a href="#FNanchor_13_13">[13]</a><div class="note"><p> See Crean, "Life and Times," p. 215. A pertinent example +of actors' seeking redress is, of course, the revolt of 1694-1695, +described by John Downes, <i>Roscius Anglicanus</i> (London. 1708), pp. +43-44; Augustan Reprint Society publication number 134 (Los Angeles, +1969), with an Introduction by John Loftis, is a facsimile of the first +edition.</p></div> + +<a name="Footnote_14_14"></a><a href="#FNanchor_14_14">[14]</a><div class="note"><p> See Arthur H. Scouten, "Introduction," <i>The London Stage</i> +(Carbondale, III.: Southern Illinois University Press, 1961), Pt. 3, +xcv, cxlvii, and Dramatic Congress, p. 20.</p></div> + +<a name="Footnote_15_15"></a><a href="#FNanchor_15_15">[15]</a><div class="note"><p> Cf. James Ralph, <i>The Case of our Present Theatrical +Disputes</i> (London, 1743), pp. 3, 48.</p></div> + +<a name="Footnote_16_16"></a><a href="#FNanchor_16_16">[16]</a><div class="note"><p> <i>The Case Between the Managers of the Two Theatres, and +their Principal Actors</i> (London, 1743, misdated 1713), p. 20. Cf. <i>An +Impartial Examen</i> (London, 1744), pp. 10-11, 21-22. See also the three +<i>Queries</i> pamphlets: <i>Queries to be Answered by the Manager of +Drury-Lane</i> (London, 1743); <i>Queries upon Queries</i> (London, 1743); <i>A +Full Answer to Queries upon Queries</i> (London, 1743).</p></div> + +<a name="Footnote_17_17"></a><a href="#FNanchor_17_17">[17]</a><div class="note"><p> (London, 1744), pp. 15-16.</p></div> + +<a name="Footnote_18_18"></a><a href="#FNanchor_18_18">[18]</a><div class="note"><p> <i>Dramatic Congress</i>, p. 22. Thomas Davies, <i>Memoirs of the +Life of David Garrick</i>, 3rd Ed. (London, 1781), I, 90, says of Rich: he +"seems to have imbibed, from his very early years, a dislike of the +people with whom he was obliged to live and converse."</p></div> + +<a name="Footnote_19_19"></a><a href="#FNanchor_19_19">[19]</a><div class="note"><p> See Clive's afterpiece <i>The Faithful Irish Woman</i> in "An +Edition of the Afterpieces."</p></div> + +<a name="Footnote_20_20"></a><a href="#FNanchor_20_20">[20]</a><div class="note"><p> See <i>Mr. Macklin's Reply to Mr. Garrick's Answer</i>, pp. 18, +29-30, and <i>An Impartial Examen</i>, pp. 10-11.</p></div> + +<a name="Footnote_21_21"></a><a href="#FNanchor_21_21">[21]</a><div class="note"><p> Nicholson, <i>Struggle for a Free Stage</i>, p. 124; see, too, +pp. 83-86.</p></div> + +<a name="Footnote_22_22"></a><a href="#FNanchor_22_22">[22]</a><div class="note"><p> Crean, "Life and Times," p. 254 n. 1, points out that on +the very day of this benefit (2 Nov.) a second notice of Mrs. Clive's +Case appeared.</p></div> + +<a name="Footnote_23_23"></a><a href="#FNanchor_23_23">[23]</a><div class="note"><p> See Nicholson's concluding chapter. For other effects of +the licensing act see Scouten, <i>London Stage</i>, cxlvii, and Ralph, <i>Case +of the Present Theatrical Disputes</i>, pp. 22, 43.</p></div> + +<a name="Footnote_24_24"></a><a href="#FNanchor_24_24">[24]</a><div class="note"><p> Since the pamphlets cited here are scarce, some rare, +perhaps the following list of locations will prove helpful. Full titles +and partial bibliographical information are available in Robert W. Lowe, +<i>A Bibliographical Account of English Theatrical Literature</i> (London: +J.C. Nimmo, 1888), p. 95. +</p><p> +<i>Dramatic Congress</i>, Univ. Chicago, Austrian Coll., PR 3346. C3D7 1743. +</p><p> +<i>Mr. Macklin's Reply</i>, Newberry Library, V1845. 54. +</p><p> +<i>Theatrical Correspondence in Death</i>, Harvard, Thr 417. 43. 12. +</p><p> +<i>Case of Present Theatrical Disputes</i>, Newberry Library, Rare Book Room. +</p><p> +<i>Case Between the Managers</i>, Univ. Chicago, Austrian Coll., PN 2596. +L6C22. +</p><p> +<i>An Impartial Examen</i>, Harvard, Thr 465. 20. 23. +</p><p> +<i>Queries to be Answered</i>, Harvard, Thr 465. 20. 22. +</p><p> +<i>Queries upon Queries</i>, Harvard, Thur 465. 20. 12. +</p><p> +<i>A Full Answer to Queries</i>, Harvard, Thr 465. 20. 12. +</p><p> +<i>Disputes between the Director</i>, Univ. Chicago, Austrian Coll., PN 2596. +L7D832.</p></div> + +<p>BIBLIOGRAPHICAL NOTE</p> + +<p>The facsimile of <i>The Case of Mrs. Clive</i> (1744) is reproduced from a +copy of the first edition (Shelf Mark: PN 2598. C45A2) in The Lilly +Library, Indiana University. The total type-page (p. 9) measures 145 X +78 mm.</p> + +<hr style="width: 65%;" /> +<h3>THE</h3> + +<h2>CASE</h2> + +<h3>OF</h3> + +<h1>Mrs. <i>CLIVE</i></h1> + +<br /> + +<h4>Submitted to the PUBLICK.</h4> + +<hr style="width: 25%;" /> + +<center> +<img src="images/021.png" width="156" height="90" alt="Printer's decoration" title=""> +</center>. + +<hr style="width: 25%;" /> + +<h4><i>LONDON:</i></h4> + +<p>Printed for B. DOD at the <i>Bible</i> and <i>Key</i> in <i>Ave-Mary-Lane</i> near +<i>Stationers-Hall</i>. MDCCXLIV.</p> + +<h5>[Price Six Pence.]</h5> + +<hr style="width: 65%;" /> + +<center> +<img src="images/023a.png" width="576" height="238" alt="Printer's Decoration" title=""> +</center> + +<h3>THE</h3> + +<h2>CASE</h2> + +<h3>OF</h3> + +<h2>Mrs. <i>CLIVE</i></h2> + +<h4>Submitted to the PUBLICK.</h4> + +<p style='text-indent: 0em'> <img src="images/023b.png" align=left +alt="I">n order to put an End to ſome falſe Reports, which have been raiſed in +Relation to my not acting this Seaſon, as well as to beſpeak the Favour +of the Publick, I have, by the Advice of my Friends, ventured to addreſs +my ſelf to them, from whom I have received many and great Marks of +Favour, and whoſe further Protection I now ſtand in need of.</p> + +<p>I know Appeals of this Nature, which relate to Diſputes that happen at a +Theatre, are by ſome thought preſuming and impertinent, ſuppoſing they +are too trifling to demand Attention: But, as I perſuade my ſelf that +Injuſtice and Oppreſſion are by no means thought Matters of Indifference +by any who have Humanity, I hope I ſhall not be thought to take too +great a Liberty. I am the more encouraged to hope this from Experience; +it having been obſerved, that thoſe Performers, who have had the +Happineſs to pleaſe on the Stage, and who never did any thing to offend +the Publick, whenever they have been injured by thoſe who preſided over +Theatres, have ſeldom, if ever, failed of Redreſs upon repreſenting the +Hardſhips they met with: And, as I at this time, apprehend my ſelf to +be greatly oppreſſed by the Managers of both Theatres, I hope I ſhall be +juſtified in taking this Method of acquainting the Publick with my Caſe, +ſubmitting it to their Determination.</p> + +<p>Before the Diſputes happened betwixt the Manager of <i>Drury-Lane</i> Theatre +and his Actors, I had articled for Five Years to receive Three Hundred +Pounds a Year, tho' another Performer on that Stage received for Seven +Years Five Hundred Guineas, <i>per</i> Year; and at the Expiration of my +Agreements the Manager offered me an additional Salary to continue at +that Theatre.</p> + +<p>And ſince I have mentioned thoſe Diſputes, which ended ſo greatly to the +Diſadvantage of the Actors, I muſt beg Leave to endeavour to ſet that +Matter in a clear Light, which hitherto has been miſrepreſented to the +Publick: I think my ſelf obliged to this, as the Hardſhips I at preſent +labour under are owing to that Diſagreement; if any think I treat this +Matter too ſeriouſly, I hope they will remember, that however trifling +ſuch Things may appear to them, to me, who am ſo much concerned in 'em, +they are of great Importance, ſuch as my Liberty and Livelihood depend +on.</p> + +<p>As only two Theatres were authoriſed, the Managers thought it was in +their Power to reduce the Incomes of thoſe Performers, who could not +live independant of their Profeſſion; but in order to make this appear +with a better Face to the Town, it was agreed to complain of the Actors +Salaries being too great, and accordingly a falſe Account was publiſhed +of them in the daily Papers, by whom I will not ſay: Whether, or no, +ſome particular Salaries were ſo, I will not pretend to determine; yet, +in the whole, they did not amount to more than had been allowed for +many Years, when the Theatre was under a frugal and exact Regulation; +when the Managers punctually fulfilled, not only all Engagements to +their Actors, but to every other Perſon concerned in the Theatre, and +raiſed very conſiderable Fortunes for themſelves.</p> + +<p>But ſuppoſing the Expence of the Theatre too high, I am very certain it +was not the Actors refuſing to ſubmit to a proper Reduction of them, +which made ſo many of them quit the Stage, but from great Hardſhips they +underwent, and greater which they feared would happen from an Agreement +ſuppoſed to be concluded betwixt the two Managers, which made 'em +apprehend, that if they ſubmitted to act under ſuch Agreements, they +muſt be abſolutely in the Managers Power; and the Event has proved that +their Fears were not ill-grounded, as I doubt not but I ſhall make +appear.</p> + +<p>When the Actors Affairs obliged 'em to return to the Theatres laſt +Winter, under ſuch Abatements of their Salaries as hardly afforded the +greater Part of them a Subſiſtence, I was offered, by the Manager of +<i>Drury-Lane</i> Theatre, ſuch Terms as bore no Proportion to what he gave +other Performers, or to thoſe he had offered me at the beginning of the +Seaſon. They were ſuch as I was adviſ'd not to accept, becauſe it was +known they were propoſed for no reaſon but to inſult me, and make me +ſeek for better at the other Theatre; for I knew it had been ſettled, by +ſome dark Agreement, that Part of the Actors were to go to +<i>Covent-Garden</i> Theatre, and others to <i>Drury-Lane</i>; I did, indeed, +apprehend I ſhould meet with better Terms at <i>Covent-Garden</i>, becauſe +that Manager had made many Overtures to get me into his Company the +preceding Seaſon, and many times before: But when I apply'd to him, he +offered me exactly the ſame which I had refuſed at the other Theatre, +and which I likewiſe rejected, but was perſuaded to accept ſome very +little better, rather than ſeem obſtinate in not complying as well as +others, and yielded ſo far to the Neceſſity of the Time, as to Act under +a much leſs Salary than ſeveral other Performers on that Stage, and +ſubmitted to pay a Sum of Money for my Benefit, notwithſtanding I had +had one clear of all Expence for Nine Years before; an Advantage the +firſt Performers had been thought to merit for near Thirty Years, and +had grown into a Cuſtom.</p> + +<p>When I was fixed at that Theatre I determined to ſtay there; I did, in +all things which related to my Profeſſon, ſubmit intirely to that +Manager's Direction, and, with the help of other principal Performers, +did greatly promote his Intereſt, as was evident from the Audiences +after we went to Act there; but I found, by his Behaviour to me, it was +deſigned I ſhould not continue with him, but return the next Seaſon to +<i>Drury-Lane.</i></p> + +<p>The Agreements betwixt that Manager and me were verbal, but made before +two Gentlemen of Character and Fortune, on whom I muſt depend for the +fulfilling of them; they were for one Year. At the end of the +Acting-ſeaſon the Manager ſent an Office-keeper to me with ſome Salary +that was due, who required a Receipt in full; I told him a very great +Part of my Agreements were yet due, and requeſted to ſee the Manager, +who came and acknowledged them, and promiſed to bring one of the +Gentlemen who was preſsent at our Ingagements in a Day or two and pay me, +and then he ſaid he had done with me; but he has not paid me, nor have I +ever ſeen him ſince, or as much as heard from him.</p> + +<p>It has always been a Cuſtom in Theatres, that if ever any Actor or +Actreſs was to be diſcharged, or their Allowance leſſen'd, they were +acquainted with it at the End of the Seaſon; the Reaſon of this will +appear to be the giving them a proper Notice to provide for themſelves: +This the Manager of <i>Covent-Garden</i> did to all his Company whom he +deſigned to diſcharge, or whoſe Allowance was to be leſſen'd, except to +me, which made me actually then conclude he determined I ſhould +continue with him, 'till I was undeceived by his Play-Bills with the +Names of other Actreſſes in Parts I uſed to perform; ſo that he has not +only broke thro' the Cuſtoms of the Theatre, but thoſe in practice +almoſt every where, in diſmiſſing me, and has done me a real Injury in +ſuch an unprecedented Act of Injuſtice; for had I been informed of his +Deſign at the End of the Seaſon, I could have made Terms to have acted +in <i>Ireland</i>, where I had met with moſt uncommon Civilities, and +received very great Advantages, which I ſhall ever remember with the +utmoſt Gratitude, and take this and every other Opportunity to +acknowledge.</p> + +<p>As I have ſaid, it has been a Cuſtom to give Actors Notice of a +Diſcharge: I muſt at the ſame time obſerve, That it never was a Cuſtom +to diſcharge any, but upon Neglect of their Buſineſs, or ſuch as were +obnoxious to the Publick; this Maxim extended even to thoſe of the +loweſt Claſs; but to thoſe, on whoſe Performances the Town had been +pleaſed to ſtamp a Value, by their Indulgence and Applauſe, the Stage +was always a Support, even after Age or any Accident had made 'em +incapable of their Profeſſion; for the then Patentees thought it as +great a Piece of Inſolence to deprive the Publick of their Pleaſures, as +of Cruelty and Injuſtice to deny thoſe a Subſiſtence who had contributed +towards 'em; for they knew and acknowledged, that the Publick was the +only Support of all, conſequently had an indiſputable Right to be +pleaſed in the beſt manner poſſible.</p> + +<p>It is pretended by the Managers, that they have the ſame Right to +diſcharge an Actor that a Maſter has to turn away a Servant, than which +nothing can be more falſe and abſurd; for, when a Maſter diſmiſſes a +Servant, there are many thouſands beſides to apply to; but when the +Managers diſmiſs an Actor, where are they to apply? It is unlawful to +act any where but with them; Neceſſity or Inclination brings every one +to the Stage; if the former happens to be the Caſe, they will not +readily find an Employment; and if the latter, they will not be fit for +one; ſo that it will appear an Act of great Injuſtice and Oppreſſion. If +it ſhould be objected, That the Actors Demands are ſo exorbitant, that +the Managers cannot comply with 'em? I have already endeavoured to ſhow, +that tho' two or three Salaries might be thought ſo in general, they did +not amount to more than had been allowed, and very conſiderable Profits +ariſing to the Patentees. But there is a very melancholy Inſtance, that +the Actors Demands is not the Reaſon of diſmiſſing 'em, but the Will of +the Manager alone; since laſt Seaſon an Actor and Actreſs returned to +<i>Drury-Lane</i> under ſuch Abatements as that Manager thought proper, and +ſuch as were in no degree equal to their Merit; and yet, at the +beginning of this Seaſon, were diſmiſſed, after having been from their +Infancy on the Stage, and having no other Profeſſions to live by, and +very numerous Families to ſupport.</p> + +<p>The Manager of <i>Drury-Lane</i> tho' he can't but know I am diſengag'd from +the other Theatre, has not made any Application to me to act with him, +which he has done to ſeveral others who quitted that Stage at the Time I +did: The Reaſons which obliged me to leave him ſtill ſubſiſt: He owes +me a Hundred and Sixty Pounds, twelve Shillings, which he has +acknowledged to be juſtly due, and promiſed Payment of it by laſt +<i>Chriſtmas</i> to a Perſon of too great Conſequence for me to mention here, +the greater Part of it Money I expended for Cloaths for his Uſe. He +offer'd me, laſt Seaſon, not near half as much as he afterwards agreed +to give another Performer, and leſs than he then gave to ſome others in +his Company; ſo that I muſt conclude, as every one knows there are +Agreements betwixt the Managers, that there is a Deſign to diſtreſs me, +and reduce me to ſuch Terms as I cannot comply with.</p> + +<p>I am ſorry I am reduced to ſay any thing in favour of myſelf; but, as I +think I merit as much as another Performer, and the Managers are ſo +deſirous to convince me of the contrary, I hope I ſhall be excuſed; +eſpecially when I declare, that at this time, I am not in the leaſt vain +of my Profeſſion.</p> + +<p>As to my Performances, the Audience are the only, proper Judges: But I +may venture to affirm, That my Labour, and Application, have been +greater than any other Performers on the Stage. I have not only acted in +almoſt all the Plays, but in Farces and Muſical Entertainments; and very +frequently two Parts in a Night, even to the Prejudice of my Health. I +have been at a very great Expence in Maſters for Singing; for which +Article alone, the Managers now give five and ſix Pounds a Week. My +additional Expences, in belonging to the Theatre, amount to upwards of +one Hundred Pounds a Year, in Clothes, and other Neceſſaries; and the +pretended great Salaries, of ten and twelve Pounds a Week, which have +been ſo artfully, and falſly repreſented to the Town, to the Prejudice +of the Actors, will, upon Enquiry, appear to be no more than half as +much, ſince they performed half Seaſon, at the Theatres, very ſeldom +above three or four Days a Week; ſo taking in the long Vacation, when +there are no Plays at all, to thoſe Days the preſent Managers omit +acting, a Salary which appears to be great, will be found, in effect, to +be very moderate; and thoſe which are leſs, not a Sufficiency.</p> + +<p>I have now finiſhed all I propoſed; I have ſhown in how aggravating a +manner, without any Reaſon aſſigned, and at a Time a very conſiderable +Sum of Money was owing to me, I have been turn'd out of <i>Covent-Garden</i> +Theatre. The Manager of <i>Drury-Lane,</i> tho' he can't but know what juſt +Reaſons I had for quitting him, has never apply'd to me to return, nor +made the leaſt Excuſe for not paying my Arrears, tho' due ſo long, and +after promiſing Payment near a Year, notwithſtanding I have, for many +Years, not only endeavour'd, but ſucceeded, in greatly promoting that +Manager's Intereſt, as is known to himſelf and his whole Company.</p> + +<p>The Reaſon of my taking the Liberty to communicate theſe Things to the +Publick, is moſt earneſtly to interceed for their Favour and Protection, +from whom I have always met with great Generoſity and Indulgence: For, +as I have already declared, in a Letter publiſhed by me laſt Year in the +Daily Papers, that I had not a Fortune to ſupport me, independent of my +Profeſſion, I doubt not but it will appear, I have not made any +conſiderable Acquiſition to it ſince, having not received two Hundred +Pounds Salary for acting in Plays, Farces, and Singing; tho' other +Performers have received more than twice that Sum. I have, in +Conſideration of theſe Hardſhips, been promiſed the Protection of many +Ladies, to whom I have the Honour to be perſonally known, and will not +doubt the Concurrence of the Publick, in receiving my Performance in the +beſt manner I am, at preſent, capable of, which I ſhall always moſt +gratefully Acknowledge.</p> + +<p>C. CLIVE</p> + +<h3><i>FINIS</i>.</h3> + + + +<hr style="width: 65%;" /> +<h4>WILLIAM ANDREWS CLARK MEMORIAL LIBRARY</h4> + +<h4>UNIVERSITY OF CALIFORNIA, LOS ANGELES</h4> + +<center> +<img src="images/041.png" width="110" height="72" alt="Printer's Decoration." title=""> +</center> + +<h4>THE AUGUSTAN REPRINT SOCIETY</h4> + +<h5>PUBLICATIONS IN PRINT</h5> + +<hr style='width: 45%;' /> + +<h4><b>The Augustan Reprint Society</b></h4> + +<h4>PUBLICATIONS IN PRINT</h4> + + + +<p><b>1948-1949</b></p> + +<p>16. Henry Nevil Payne, <i>The Fatal Jealousie</i> (1673).</p> + +<p>17. Nicholas Rowe. <i>Some Account of the Life of Mr. William Shakespear</i> +(1709).</p> + +<p>18. Anonymous, "Of Genius," in <i>The Occasional Paper</i>, Vol. III, No. 10 +(1719), and Aaron Hill, Preface to <i>The Creation</i> (1720).</p> +<br /> + +<p><b>1949-1950</b></p> + +<p>19. Susanna Centlivre, <i>The Busie Body</i> (1709).</p> + +<p>20. Lewis Theobald, <i>Preface to the Works of Shakespeare</i> (1734).</p> + +<p>22. Samuel Johnson, <i>The Vanity of Human Wishes</i> (1749), and two +<i>Rambler</i> papers (1750).</p> + +<p>23. John Dryden, <i>His Majesties Declaration Defended</i> (1681).</p> +<br /> + +<p><b>1951-1952</b></p> + +<p>26. Charles Macklin, <i>The Man of the World</i> (1792).</p> + +<p>31. Thomas Gray, <i>An Elegy Wrote in a Country Churchyard</i> (1751), and +<i>The Eton College Manuscript</i>.</p> +<br /> + +<p><b>1952-1953</b></p> + +<p>41. Bernard Mandeville, <i>A Letter to Dion</i> (1732).</p> +<br /> + +<p><b>1962-1963</b></p> + +<p>98. Selected Hymns Taken Out of Mr. Herbert's <i>Temple</i> ... (1697).</p> +<br /> + +<p><b>1964-1965</b></p> + +<p>109. Sir William Temple, <i>An Essay Upon the Original and Nature of +Government</i> (1680).</p> + +<p>110. John Tutchin, <i>Selected Poems</i> (1685-1700).</p> + +<p>111. Anonymous, <i>Political Justice</i> (1736).</p> + +<p>112. Robert Dodsley, <i>An Essay on Fable</i> (1764).</p> + +<p>113. T.R., <i>An Essay Concerning Critical and Curious Learning</i> (1698).</p> + +<p>114. Two Poems Against Pope: Leonard Welsted. <i>One Epistle to Mr. A. +Pope</i> (1730), and Anonymous, <i>The Blatant Beast</i> (1742).</p> +<br /> + +<p><b>1965-1966</b></p> + +<p>115. Daniel Defoe and others, <i>Accounts of the Apparition of Mrs. Veal</i>.</p> + +<p>116. Charles Macklin, <i>The Covent Garden Theatre</i> (1752).</p> + +<p>117. Sir Roger L'Estrange, <i>Citt and Bumpkin</i> (1680).</p> + +<p>118. Henry More, <i>Enthusiasmus Triumphatus</i> (1662).</p> + +<p>119. Thomas Traherne, <i>Meditations on the Six Days of the Creation</i> +(1717).</p> + +<p>120. Bernard Mandeville, <i>Aesop Dress'd or a Collection of Fables</i> +(1740).</p> +<br /> + +<p><b>1966-1967</b></p> + +<p>123. Edmond Malone, <i>Cursory Observations on the Poems Attributed to Mr. +Thomas Rowley</i> (1782).</p> + +<p>124. Anonymous, <i>The Female Wits</i> (1704).</p> + +<p>125. Anonymous, <i>The Scribleriad</i> (1742). Lord Hervey, <i>The Difference +Between Verbal and Practical Virtue</i> (1742).</p> +<br /> + +<p><b>1967-1968</b></p> + +<p>129. Lawrence Echard, Prefaces to <i>Terence's Comedies</i> (1694) and +<i>Plautus's Comedies</i> (1694).</p> +<br /> + +<p><b>1968-1969</b></p> + +<p>133. John Courtenay, <i>A Poetical Review of the Literary and Moral +Character of the Late Samuel Johnson</i> (1786).</p> + +<p>134. John Downes, <i>Roscius Anglicanus</i> (1708).</p> + +<p>135. Sir John Hill, <i>Hypochondriasis, a Practical Treatise</i> (1766).</p> + +<p>136. Thomas Sheridan, <i>Discourse ... Being Introductory to His Course of +Lectures on Elocution and the English Language</i> (1759).</p> + +<p>137. Arthur Murphy, <i>The Englishman From Paris</i> (1736).</p> +<br /> + +<p><b>1969-1970</b></p> + +<p>138. [Catherine Trotter], <i>Olinda's Adventures</i> (1718).</p> + +<p>139. John Ogilvie, <i>An Essay on the Lyric Poetry of the Ancients</i> +(1762).</p> + +<p>140. <i>A Learned Dissertation on Dumpling</i> (1726) and <i>Pudding Burnt to +Pot or a Compleat Key to the Dissertation on Dumpling</i> (1727).</p> + +<p>141. Selections from Sir Roger L'Estrange's <i>Observator</i> (1681-1687).</p> + +<p>142. Anthony Collins, <i>A Discourse Concerning Ridicule and Irony in +Writing</i> (1729).</p> + +<p>143. <i>A Letter From A Clergyman to His Friend, With An Account of the +Travels of Captain Lemuel Gulliver</i> (1726).</p> + +<p>144. <i>The Art of Architecture, A Poem. In Imitation of Horace's Art of +Poetry</i> (1742).</p> +<br /> + +<p><b>1970-1971</b></p> + +<p>145-146. Thomas Shelton, <i>A Tutor to Tachygraphy, or Short-writing</i> +(1642) and <i>Tachygraphy</i> (1647).</p> + +<p>147-148. <i>Deformities of Dr. Samuel Johnson</i> (1782).</p> + +<p>149. <i>Poeta de Tristibus: or the Poet's Complaint</i> (1682).</p> + +<p>150. Gerard Langbaine, <i>Momus Triumphans: or the Plagiaries of the +English Stage</i> (1687).</p> +<br /> + +<p><b>1971-1972</b></p> + +<p>151-152. Evan Lloyd, <i>The Methodist.</i> A Poem (1766).</p> + +<p>153. <i>Are these Things So?</i> (1740), and <i>The Great Man's Answer to Are +these Things So?</i> (1740).</p> + +<p>154. Arbuthnotiana: <i>The Story of the St. Alb-ns Ghost</i> (1712), and <i>A +Catalogue of Dr. Arbuthnot's Library</i> (1779).</p> + +<p>155-156. A Selection of Emblems from Herman Hugo's <i>Pia Desideria</i> +(1624), with English Adaptations by Francis Quarles and Edmund Arwaker.</p> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 13881 ***</div> +</body> +</html> + diff --git a/13881-h/images/001.png b/13881-h/images/001.png Binary files differnew file mode 100644 index 0000000..82d2492 --- /dev/null +++ b/13881-h/images/001.png diff --git a/13881-h/images/003.png b/13881-h/images/003.png Binary files differnew file mode 100644 index 0000000..f8d66ef --- /dev/null +++ b/13881-h/images/003.png diff --git a/13881-h/images/021.png b/13881-h/images/021.png Binary files differnew file mode 100644 index 0000000..11b9736 --- /dev/null +++ b/13881-h/images/021.png diff --git a/13881-h/images/023a.png b/13881-h/images/023a.png Binary files differnew file mode 100644 index 0000000..dd4b5c5 --- /dev/null +++ b/13881-h/images/023a.png diff --git a/13881-h/images/023b.png b/13881-h/images/023b.png Binary files differnew file mode 100644 index 0000000..8d87c5b --- /dev/null +++ b/13881-h/images/023b.png diff --git a/13881-h/images/041.png b/13881-h/images/041.png Binary files differnew file mode 100644 index 0000000..27c5992 --- /dev/null +++ b/13881-h/images/041.png |
