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+The Project Gutenberg EBook of The Case of Mrs. Clive, by Catherine Clive
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Case of Mrs. Clive
+
+Author: Catherine Clive
+
+Release Date: October 27, 2004 [EBook #13881]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CASE OF MRS. CLIVE ***
+
+
+
+
+Produced by David Starner, Susan Skinner and the PG Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+THE AUGUSTAN REPRINT SOCIETY
+
+
+CATHERINE CLIVE
+
+
+THE CASE OF Mrs. _CLIVE_
+
+(1744)
+
+
+
+_Introduction by_
+
+RICHARD C. FRUSHELL
+
+
+
+To
+
+H.T. Swedenberg, Junior
+
+_founder, protector, friend_
+
+    _He that delights to_ Plant _and_ Set,
+    _Makes_ After-Ages _in his_ Debt.
+
+    Where could they find another formed so fit,
+    To poise, with solid sense, a sprightly wit?
+    Were these both wanting, as they both abound,
+    Where could so firm integrity be found?
+
+
+The verse and emblem are from George Wither, _A Collection of Emblems,
+Ancient and Modern_ (London, 1635), illustration xxxv, page 35.
+
+The lines of poetry (123-126) are from "To My Honoured Kinsman John
+Driden," in John Dryden, _The Works of John Dryden_, ed. Sir Walter
+Scott, rev. and corr. George Saintsbury (Edinburgh: William Patterson,
+1885), xi, 78.
+
+
+       *       *       *       *       *
+
+
+GENERAL EDITORS
+
+William E. Conway, William Andrews Clark Memorial Library
+George Robert Guffey, University of California, Los Angeles
+Maximillian E. Novak, University of California, Los Angeles
+David S. Rodes, University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+Richard C. Boys, University of Michigan
+James L. Clifford, Columbia University
+Ralph Cohen, University of Virginia
+Vinton A. Dearing, University of California, Los Angeles
+Arthur Friedman, University of Chicago
+Louis A. Landa, Princeton University
+Earl Miner, Princeton University
+Samuel H. Monk, University of Minnesota
+Everett T. Moore, University of California, Los Angeles
+Lawrence Clark Powell, William Andrews Clark Memorial Library
+James Sutherland, University College, London
+H.T. Swedenberg, Jr., University of California, Los Angeles
+Robert Vosper, William Andrews Clark Memorial Library
+Curt A. Zimansky, State University of Iowa
+
+
+CORRESPONDING SECRETARY
+
+Edna C. Davis, William Andrews Clark Memorial Library
+
+
+EDITORIAL ASSISTANT
+
+Jean T. Shebanek, William Andrews Clark Memorial Library
+
+
+Typography by Wm. M. Cheney
+
+
+
+
+INTRODUCTION
+
+
+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,[1]
+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,[2] the conflict
+was not only between labor and management; but the latter confrontation
+is central to the conflict in 1743 and the subject of _The Case of Mrs.
+Clive Submitted to the Publick_, 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.
+
+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
+_The Devil to Pay_, one of several hundred she mastered. Her
+specialties: Flora in _The Wonder_, Lady Bab in _High Life Below
+Stairs_, Lappet in _The Miser_, Catherine in _Catherine and Petruchio_,
+Mrs. Heidelberg in _The Clandestine Marriage_, and the Fine Lady in
+_Lethe_. 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.[3] 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."[4] 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 _Hamlet_ and Zara in _The Mourning Bride_: "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."[5] Part of the half she could do well is noticed, once
+again, by Davies: particularly adroit and distinguished in chambermaid
+parts, Mrs. Clive
+
+     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 _Lethe_.
+     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].[6]
+
+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.
+
+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.[7] 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.
+
+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 _The Intriguing
+Chambermaid_:
+
+     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.[8]
+
+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.[9]
+
+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 direction of the
+theater.[10] 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 _The Rehearsal_ (I.i. 159-170) shows, was always her
+judge in matters professional.
+
+Fielding's prologue to his revised _Author's Farce_ (1734), spoken by
+Mrs. Clive, compares the settled, prosperous former days at Drury Lane
+with those of 1734, when "... _alas! how alter'd is our Case!/ I view
+with Tears this poor deserted Place_."[11] 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.
+
+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;[12] 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
+_Lethe_, the beginning of a relationship to become one of the most
+tempestuous and fruitful in all theater history.
+
+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.[13] 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.
+
+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.
+
+In light of the number and variety of the published commentary which
+accompanied the revolt, perhaps a highlighting of Clive's _Case_ 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,[14] 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."[15] 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."[16] 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.
+
+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., _Gentleman's Magazine_,
+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 (_Gentleman's Magazine_, XIII, November 1743, 609), hit at
+Fleetwood for citing 1708-1709 salaries, for "the Stage [then] both of
+_Drury-Lane_ and the _Hay-market_, 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.
+
+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.)
+
+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 _The Case Between the Managers_ (p.
+11) presents it, a conversation between a personified Covent Garden and
+Drury Lane would have gone like this: "Well, but, Brother _Drury_, 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."
+
+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 _Mr. Garrick's Answer_ (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."
+
+Others were not so generous as Macklin. The author of _The Disputes
+between the Director of D----y, and the Pit Potentates,_ 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."[17] 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.
+
+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."
+
+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,[18] 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."
+
+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,[19] 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.[20] 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."[21]
+
+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,[22] 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 _The Merchant of Venice_ was hardly her
+forte.
+
+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.[23] In the latter
+regard Mrs. Clive's case is revealing in that it gives a new emphasis to
+the epithet His Majesties' Servants.[24]
+
+Indiana State University
+Terre Haute
+
+
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] _The Dramatic Congress_ (London, 1743). Throughout I use short
+titles.
+
+[2] Three major documents concerning this quarrel are published under
+the title _Mr. Macklin's Reply to Mr. Garrick's Answer_ (London, 1743).
+
+[3] 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," _DUJ_, N.S., 32 No. 2 (March
+1971), 125-132.
+
+[4] James Boswell, _Boswell's Life of Johnson_, ed. George Birkbeck
+Hill, rev. L.F. Powell (Oxford: Clarendon Press, 1934-1950), IV, 243.
+
+[5] _Dramatic Miscellanies_ (London, 1785), III, 131, 376.
+
+[6] Quoted by [John Genest], _Some Account of the English Stage_ (Bath:
+H.E. Carrington, 1832), V, 230.
+
+[7] _Memoirs of His Own Life_ (York, 1790), II, 257. See _Theatrical
+Correspondence in Death. An Epistle from Mrs. Oldfield_ (London, 1743),
+p. 7.
+
+[8] _The Complete Works of Henry Fielding, Esq._, ed. William Ernest
+Henley (New York: Croscup & Sterling Co., [1902]; reprinted Barnes &
+Noble, 1967), X, 277-278.
+
+[9] For a useful exposition of the 1733 and 1743 disputes in terms of
+the licensing act see Watson Nicholson, _The Struggle for a Free Stage
+in London_ (Cambridge, Mass.: Archibald Constable & Co., 1906.).
+
+[10] Percy Fitzgerald, _The Life of Mrs. Catherine Clive_ (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.
+
+[11] Quoted in Mary E. Knapp, _Prologues and Epilogues of the Eighteenth
+Century_ (New Haven: Yale University Press, 1961), p. 69.
+
+[12] Yet, with Fitzgerald (_Life_, 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."
+
+[13] 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, _Roscius Anglicanus_ (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.
+
+[14] See Arthur H. Scouten, "Introduction," _The London Stage_
+(Carbondale, III.: Southern Illinois University Press, 1961), Pt. 3,
+xcv, cxlvii, and Dramatic Congress, p. 20.
+
+[15] Cf. James Ralph, _The Case of our Present Theatrical Disputes_
+(London, 1743), pp. 3, 48.
+
+[16] _The Case Between the Managers of the Two Theatres, and their
+Principal Actors_ (London, 1743, misdated 1713), p. 20. Cf. _An
+Impartial Examen_ (London, 1744), pp. 10-11, 21-22. See also the three
+_Queries_ pamphlets: _Queries to be Answered by the Manager of
+Drury-Lane_ (London, 1743); _Queries upon Queries_ (London, 1743); _A
+Full Answer to Queries upon Queries_ (London, 1743).
+
+[17] (London, 1744), pp. 15-16.
+
+[18] _Dramatic Congress_, p. 22. Thomas Davies, _Memoirs of the Life of
+David Garrick_, 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."
+
+[19] See Clive's afterpiece _The Faithful Irish Woman_ in "An Edition of
+the Afterpieces."
+
+[20] See _Mr. Macklin's Reply to Mr. Garrick's Answer_, pp. 18, 29-30,
+and _An Impartial Examen_, pp. 10-11.
+
+[21] Nicholson, _Struggle for a Free Stage_, p. 124; see, too, pp.
+83-86.
+
+[22] 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.
+
+[23] See Nicholson's concluding chapter. For other effects of the
+licensing act see Scouten, _London Stage_, cxlvii, and Ralph, _Case of
+the Present Theatrical Disputes_, pp. 22, 43.
+
+[24] 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, _A
+Bibliographical Account of English Theatrical Literature_ (London: J.C.
+Nimmo, 1888), p. 95.
+
+_Dramatic Congress_, Univ. Chicago, Austrian Coll., PR 3346. C3D7 1743.
+
+_Mr. Macklin's Reply_, Newberry Library, V1845. 54.
+
+_Theatrical Correspondence in Death_, Harvard, Thr 417. 43. 12.
+
+_Case of Present Theatrical Disputes_, Newberry Library, Rare Book Room.
+
+_Case Between the Managers_, Univ. Chicago, Austrian Coll., PN 2596.
+L6C22.
+
+_An Impartial Examen_, Harvard, Thr 465. 20. 23.
+
+_Queries to be Answered_, Harvard, Thr 465. 20. 22.
+
+_Queries upon Queries_, Harvard, Thur 465. 20. 12.
+
+_A Full Answer to Queries_, Harvard, Thr 465. 20. 12.
+
+_Disputes between the Director_, Univ. Chicago, Austrian Coll., PN 2596.
+L7D832.
+
+BIBLIOGRAPHICAL NOTE
+
+The facsimile of _The Case of Mrs. Clive_ (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.
+
+
+
+       *       *       *       *       *
+
+
+THE CASE OF MRS. _CLIVE_
+
+[Price Six Pence.]
+
+
+       *       *       *       *       *
+
+
+THE CASE OF MRS. _CLIVE_
+
+Submitted to the PUBLICK.
+
+[Illustration: Printer's trophy-style decoration]
+
+_LONDON:_
+
+Printed for B. DOD at the _Bible_ and _Key_ in _Ave-Mary-Lane_ near
+_Stationers-Hall_. MDCCXLIV.
+
+[Price Six Pence.]
+
+
+       *       *       *       *       *
+
+THE CASE OF MRS. _CLIVE_
+
+Submitted to the PUBLICK.
+
+
+In 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.
+
+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.
+
+Before the Diſputes happened betwixt the Manager of _Drury-Lane_ 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, _per_ Year; and at the Expiration of my
+Agreements the Manager offered me an additional Salary to continue at
+that Theatre.
+
+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.
+
+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.
+
+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.
+
+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
+_Drury-Lane_ 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
+_Covent-Garden_ Theatre, and others to _Drury-Lane_; I did, indeed,
+apprehend I ſhould meet with better Terms at _Covent-Garden_, 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.
+
+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
+_Drury-Lane._
+
+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.
+
+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 _Covent-Garden_ 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 _Ireland_, 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.
+
+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.
+
+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
+_Drury-Lane_ 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.
+
+The Manager of _Drury-Lane_ 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
+_Chriſtmas_ 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.
+
+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.
+
+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.
+
+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 _Covent-Garden_
+Theatre. The Manager of _Drury-Lane,_ 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.
+
+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.
+
+C. CLIVE
+
+FINIS.
+
+
+       *       *       *       *       *
+
+
+WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+THE AUGUSTAN REPRINT SOCIETY
+
+PUBLICATIONS IN PRINT
+
+
+       *       *       *       *       *
+
+
+The Augustan Reprint Society
+
+PUBLICATIONS IN PRINT
+
+
+1948-1949
+
+16. Henry Nevil Payne, _The Fatal Jealousie_ (1673).
+
+17. Nicholas Rowe. _Some Account of the Life of Mr. William Shakespear_
+(1709).
+
+18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. 10
+(1719), and Aaron Hill, Preface to _The Creation_ (1720).
+
+
+1949-1950
+
+19. Susanna Centlivre, _The Busie Body_ (1709).
+
+20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734).
+
+22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two
+_Rambler_ papers (1750).
+
+23. John Dryden, _His Majesties Declaration Defended_ (1681).
+
+
+1951-1952
+
+26. Charles Macklin, _The Man of the World_ (1792).
+
+31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
+_The Eton College Manuscript_.
+
+
+1952-1953
+
+41. Bernard Mandeville, _A Letter to Dion_ (1732).
+
+
+1962-1963
+
+98. Selected Hymns Taken Out of Mr. Herbert's _Temple_ ... (1697).
+
+
+1964-1965
+
+109. Sir William Temple, _An Essay Upon the Original and Nature of
+Government_ (1680).
+
+110. John Tutchin, _Selected Poems_ (1685-1700).
+
+111. Anonymous, _Political Justice_ (1736).
+
+112. Robert Dodsley, _An Essay on Fable_ (1764).
+
+113. T.R., _An Essay Concerning Critical and Curious Learning_ (1698).
+
+114. Two Poems Against Pope: Leonard Welsted. _One Epistle to Mr. A.
+Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).
+
+
+1965-1966
+
+115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_.
+
+116. Charles Macklin, _The Covent Garden Theatre_ (1752).
+
+117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680).
+
+118. Henry More, _Enthusiasmus Triumphatus_ (1662).
+
+119. Thomas Traherne, _Meditations on the Six Days of the Creation_
+(1717).
+
+120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_
+(1740).
+
+
+1966-1967
+
+123. Edmond Malone, _Cursory Observations on the Poems Attributed to Mr.
+Thomas Rowley_ (1782).
+
+124. Anonymous, _The Female Wits_ (1704).
+
+125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference
+Between Verbal and Practical Virtue_ (1742).
+
+
+1967-1968
+
+129. Lawrence Echard, Prefaces to _Terence's Comedies_ (1694) and
+_Plautus's Comedies_ (1694).
+
+
+1968-1969
+
+133. John Courtenay, _A Poetical Review of the Literary and Moral
+Character of the Late Samuel Johnson_ (1786).
+
+134. John Downes, _Roscius Anglicanus_ (1708).
+
+135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766).
+
+136. Thomas Sheridan, _Discourse ... Being Introductory to His Course of
+Lectures on Elocution and the English Language_ (1759).
+
+137. Arthur Murphy, _The Englishman From Paris_ (1736).
+
+
+1969-1970
+
+138. [Catherine Trotter], _Olinda's Adventures_ (1718).
+
+139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_
+(1762).
+
+140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding Burnt to
+Pot or a Compleat Key to the Dissertation on Dumpling_ (1727).
+
+141. Selections from Sir Roger L'Estrange's _Observator_ (1681-1687).
+
+142. Anthony Collins, _A Discourse Concerning Ridicule and Irony in
+Writing_ (1729).
+
+143. _A Letter From A Clergyman to His Friend, With An Account of the
+Travels of Captain Lemuel Gulliver_ (1726).
+
+144. _The Art of Architecture, A Poem. In Imitation of Horace's Art of
+Poetry_ (1742).
+
+
+1970-1971
+
+145-146. Thomas Shelton, _A Tutor to Tachygraphy, or Short-writing_
+(1642) and _Tachygraphy_ (1647).
+
+147-148. _Deformities of Dr. Samuel Johnson_ (1782).
+
+149. _Poeta de Tristibus: or the Poet's Complaint_ (1682).
+
+150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the
+English Stage_ (1687).
+
+
+1971-1972
+
+151-152. Evan Lloyd, _The Methodist._ A Poem (1766).
+
+153. _Are these Things So?_ (1740), and _The Great Man's Answer to Are
+these Things So?_ (1740).
+
+154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A
+Catalogue of Dr. Arbuthnot's Library_ (1779).
+
+155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_
+(1624), with English Adaptations by Francis Quarles and Edmund Arwaker.
+
+
+
+
+
+End of Project Gutenberg's The Case of Mrs. Clive, by Catherine Clive
+
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+<!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">
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+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Case of Mrs. Clive, by Catherine Clive
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Case of Mrs. Clive
+
+Author: Catherine Clive
+
+Release Date: October 27, 2004 [EBook #13881]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CASE OF MRS. CLIVE ***
+
+
+
+
+Produced by David Starner, Susan Skinner and the PG Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+
+
+
+<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&#39;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 &quot;To My Honoured Kinsman John
+Driden,&quot; 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 &quot;legitimate&quot; 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 &quot;Bashas&quot; 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: &quot;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.&quot;<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>: &quot;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.&quot; And on
+Zara, &quot;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.&quot;<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&mdash;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 &quot;a mixture of combustibles; she was passionate,
+cross, and vulgar,&quot; 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 &quot;the
+Clive&quot; 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 &quot;Epistle to Mrs. Clive,&quot; 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 &quot;two women&mdash;Mrs. Wilks, the widow of her [Kitty's]
+old theatrical idol, and Mrs. Booth&mdash;were in he[* the? her?] direction&quot;
+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 &quot;servants.&quot; The &quot;Town,&quot;
+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 &quot;... <i>alas! how alter'd is our Case!/ I view
+with Tears this poor deserted Place</i>.&quot;<a name="FNanchor_11_11"></a><a href="#Footnote_11_11"><sup>[11]</sup></a> With few exceptions, the
+&quot;place&quot; 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 &quot;Ellen-a-Roon,&quot;
+&quot;The Cuckoo,&quot; and &quot;The Life of a Beau.&quot; 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&mdash;leaky&mdash;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 &quot;the Favour of the Publick,&quot; 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 &quot;Custom,&quot; an iterative word throughout the essay. Mrs. Clive
+first speaks of salary, a matter obviously important to her &quot;Liberty and
+Livelihood.&quot;<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:
+&quot;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&mdash;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.&quot;<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 &quot;a better Face to the
+Town&quot; by publishing (inaccurate) salary figures&mdash;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 &quot;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.&quot; The players use instead
+salaries of the 1729 players &quot;to place the salaries of the present
+Actors in a true light,&quot; 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 &quot;Fallacy&quot; of the manager's account and his &quot;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.&quot;
+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 &quot;handled&quot; salaries
+were not the first fear of the actors; it was instead, she says, the
+fear of what &quot;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.&quot; 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: &quot;Well, but, Brother <i>Drury</i>, we
+can manage that matter [how to keep audiences]&mdash;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&mdash;I'gad, we may cramp 'em rarely this way&mdash;they must
+serve us at any rate we tax their Merit at, for they'll then have no
+where else to go to.&quot; Drury Lane responds, &quot;D&mdash;n me, if that is not
+divinely thought&mdash;my dear Friend, give me a Kiss.&quot;</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&mdash;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 &quot;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.&quot;</p>
+
+<p>Others were not so generous as Macklin. The author of <i>The Disputes
+between the Director of D&mdash;&mdash;y, and the Pit Potentates,</i> one &quot;B.Y.,&quot;
+champions the cause of the non-principal players against such as Mrs.
+Clive, &quot;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,&quot; one of whom, he says, is Mrs. Clive, an
+&quot;avaritious&quot; person whom he is confident &quot;has found, and feels, her
+Error by this Time.&quot;<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 &quot;agreements&quot; with her. Clive says, &quot;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.&quot;</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
+&quot;When I apply'd to him, he offered me exactly the same which I had
+refused at the other Theatre.&quot; 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
+&quot;clear&quot; 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: &quot;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.&quot;</p>
+
+<p>Mrs. Clive did not regularly play for Rich until December 1743, from
+which time she &quot;determined to stay there,&quot; doing all in her power to
+please her audiences and him. Yet she &quot;found, by his Behaviour to me, it
+was designed I should not continue with him.&quot; 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&mdash;against custom and justice&mdash;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
+&quot;it is unlawful to act any where but with them.&quot; Fleetwood was the only
+alternative for the next season, and he still owed her &pound;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 &quot;but know I am
+disengag'd from the other Theatre.&quot; 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 &quot;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.&quot; 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 &quot;interpreted in the narrow
+sense of forming the legal safeguard to the patent monopoly.&quot;<a name="FNanchor_21_21"></a><a href="#Footnote_21_21"><sup>[21]</sup></a></p>
+
+<p>The &quot;Ladies&quot; 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&mdash;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
+&quot;An Edition of the Afterpieces of Kitty Clive,&quot; Diss. Duquesne Univ.
+1968, and &quot;The Textual Relationship and Biographical Significance of Two
+Petite Pieces by Mrs. Catherine (Kitty) Clive,&quot; RECTR, 9 (May 1970),
+51-58, and &quot;Kitty Clive as Dramatist,&quot; <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 &amp; Sterling Co., [1902]; reprinted
+Barnes &amp; 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 &amp; 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, &quot;The Life and Times of
+Kitty Clive,&quot; 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 &quot;correctness&quot; of that printed text could not have been
+achieved by her alone. Cf. Clive's MS letters, Appendix, &quot;An Edition of
+the Afterpieces.&quot;</p></div>
+
+<a name="Footnote_13_13"></a><a href="#FNanchor_13_13">[13]</a><div class="note"><p> See Crean, &quot;Life and Times,&quot; 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, &quot;Introduction,&quot; <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
+&quot;seems to have imbibed, from his very early years, a dislike of the
+people with whom he was obliged to live and converse.&quot;</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 &quot;An
+Edition of the Afterpieces.&quot;</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, &quot;Life and Times,&quot; 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&#39;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&#39;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 &#383;ome fal&#383;e Reports, which have been rai&#383;ed in
+Relation to my not acting this Sea&#383;on, as well as to be&#383;peak the Favour
+of the Publick, I have, by the Advice of my Friends, ventured to addre&#383;s
+my &#383;elf to them, from whom I have received many and great Marks of
+Favour, and who&#383;e further Protection I now &#383;tand in need of.</p>
+
+<p>I know Appeals of this Nature, which relate to Di&#383;putes that happen at a
+Theatre, are by &#383;ome thought pre&#383;uming and impertinent, &#383;uppo&#383;ing they
+are too trifling to demand Attention: But, as I per&#383;uade my &#383;elf that
+Inju&#383;tice and Oppre&#383;&#383;ion are by no means thought Matters of Indifference
+by any who have Humanity, I hope I &#383;hall not be thought to take too
+great a Liberty. I am the more encouraged to hope this from Experience;
+it having been ob&#383;erved, that tho&#383;e Performers, who have had the
+Happine&#383;s to plea&#383;e on the Stage, and who never did any thing to offend
+the Publick, whenever they have been injured by tho&#383;e who pre&#383;ided over
+Theatres, have &#383;eldom, if ever, failed of Redre&#383;s upon repre&#383;enting the
+Hard&#383;hips they met with: And, as I at this time, apprehend my &#383;elf to
+be greatly oppre&#383;&#383;ed by the Managers of both Theatres, I hope I &#383;hall be
+ju&#383;tified in taking this Method of acquainting the Publick with my Ca&#383;e,
+&#383;ubmitting it to their Determination.</p>
+
+<p>Before the Di&#383;putes 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 &#383;ince I have mentioned tho&#383;e Di&#383;putes, which ended &#383;o greatly to the
+Di&#383;advantage of the Actors, I mu&#383;t beg Leave to endeavour to &#383;et that
+Matter in a clear Light, which hitherto has been mi&#383;repre&#383;ented to the
+Publick: I think my &#383;elf obliged to this, as the Hard&#383;hips I at pre&#383;ent
+labour under are owing to that Di&#383;agreement; if any think I treat this
+Matter too &#383;eriou&#383;ly, I hope they will remember, that however trifling
+&#383;uch Things may appear to them, to me, who am &#383;o much concerned in 'em,
+they are of great Importance, &#383;uch as my Liberty and Livelihood depend
+on.</p>
+
+<p>As only two Theatres were authori&#383;ed, the Managers thought it was in
+their Power to reduce the Incomes of tho&#383;e Performers, who could not
+live independant of their Profe&#383;&#383;ion; 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 fal&#383;e Account was publi&#383;hed
+of them in the daily Papers, by whom I will not &#383;ay: Whether, or no,
+&#383;ome particular Salaries were &#383;o, 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 Per&#383;on concerned in the Theatre, and
+rai&#383;ed very con&#383;iderable Fortunes for them&#383;elves.</p>
+
+<p>But &#383;uppo&#383;ing the Expence of the Theatre too high, I am very certain it
+was not the Actors refu&#383;ing to &#383;ubmit to a proper Reduction of them,
+which made &#383;o many of them quit the Stage, but from great Hard&#383;hips they
+underwent, and greater which they feared would happen from an Agreement
+&#383;uppo&#383;ed to be concluded betwixt the two Managers, which made 'em
+apprehend, that if they &#383;ubmitted to act under &#383;uch Agreements, they
+mu&#383;t be ab&#383;olutely in the Managers Power; and the Event has proved that
+their Fears were not ill-grounded, as I doubt not but I &#383;hall make
+appear.</p>
+
+<p>When the Actors Affairs obliged 'em to return to the Theatres la&#383;t
+Winter, under &#383;uch Abatements of their Salaries as hardly afforded the
+greater Part of them a Sub&#383;i&#383;tence, I was offered, by the Manager of
+<i>Drury-Lane</i> Theatre, &#383;uch Terms as bore no Proportion to what he gave
+other Performers, or to tho&#383;e he had offered me at the beginning of the
+Sea&#383;on. They were &#383;uch as I was advi&#383;'d not to accept, becau&#383;e it was
+known they were propo&#383;ed for no rea&#383;on but to in&#383;ult me, and make me
+&#383;eek for better at the other Theatre; for I knew it had been &#383;ettled, by
+&#383;ome 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 &#383;hould meet with better Terms at <i>Covent-Garden</i>, becau&#383;e
+that Manager had made many Overtures to get me into his Company the
+preceding Sea&#383;on, and many times before: But when I apply'd to him, he
+offered me exactly the &#383;ame which I had refu&#383;ed at the other Theatre,
+and which I likewi&#383;e rejected, but was per&#383;uaded to accept &#383;ome very
+little better, rather than &#383;eem ob&#383;tinate in not complying as well as
+others, and yielded &#383;o far to the Nece&#383;&#383;ity of the Time, as to Act under
+a much le&#383;s Salary than &#383;everal other Performers on that Stage, and
+&#383;ubmitted to pay a Sum of Money for my Benefit, notwith&#383;tanding I had
+had one clear of all Expence for Nine Years before; an Advantage the
+fir&#383;t Performers had been thought to merit for near Thirty Years, and
+had grown into a Cu&#383;tom.</p>
+
+<p>When I was fixed at that Theatre I determined to &#383;tay there; I did, in
+all things which related to my Profe&#383;&#383;on, &#383;ubmit intirely to that
+Manager's Direction, and, with the help of other principal Performers,
+did greatly promote his Intere&#383;t, as was evident from the Audiences
+after we went to Act there; but I found, by his Behaviour to me, it was
+de&#383;igned I &#383;hould not continue with him, but return the next Sea&#383;on 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 mu&#383;t depend for the
+fulfilling of them; they were for one Year. At the end of the
+Acting-&#383;ea&#383;on the Manager &#383;ent an Office-keeper to me with &#383;ome Salary
+that was due, who required a Receipt in full; I told him a very great
+Part of my Agreements were yet due, and reque&#383;ted to &#383;ee the Manager,
+who came and acknowledged them, and promi&#383;ed to bring one of the
+Gentlemen who was pre&#383;sent at our Ingagements in a Day or two and pay me,
+and then he &#383;aid he had done with me; but he has not paid me, nor have I
+ever &#383;een him &#383;ince, or as much as heard from him.</p>
+
+<p>It has always been a Cu&#383;tom in Theatres, that if ever any Actor or
+Actre&#383;s was to be di&#383;charged, or their Allowance le&#383;&#383;en'd, they were
+acquainted with it at the End of the Sea&#383;on; the Rea&#383;on of this will
+appear to be the giving them a proper Notice to provide for them&#383;elves:
+This the Manager of <i>Covent-Garden</i> did to all his Company whom he
+de&#383;igned to di&#383;charge, or who&#383;e Allowance was to be le&#383;&#383;en'd, except to
+me, which made me actually then conclude he determined I &#383;hould
+continue with him, 'till I was undeceived by his Play-Bills with the
+Names of other Actre&#383;&#383;es in Parts I u&#383;ed to perform; &#383;o that he has not
+only broke thro' the Cu&#383;toms of the Theatre, but tho&#383;e in practice
+almo&#383;t every where, in di&#383;mi&#383;&#383;ing me, and has done me a real Injury in
+&#383;uch an unprecedented Act of Inju&#383;tice; for had I been informed of his
+De&#383;ign at the End of the Sea&#383;on, I could have made Terms to have acted
+in <i>Ireland</i>, where I had met with mo&#383;t uncommon Civilities, and
+received very great Advantages, which I &#383;hall ever remember with the
+utmo&#383;t Gratitude, and take this and every other Opportunity to
+acknowledge.</p>
+
+<p>As I have &#383;aid, it has been a Cu&#383;tom to give Actors Notice of a
+Di&#383;charge: I mu&#383;t at the &#383;ame time ob&#383;erve, That it never was a Cu&#383;tom
+to di&#383;charge any, but upon Neglect of their Bu&#383;ine&#383;s, or &#383;uch as were
+obnoxious to the Publick; this Maxim extended even to tho&#383;e of the
+lowe&#383;t Cla&#383;s; but to tho&#383;e, on who&#383;e Performances the Town had been
+plea&#383;ed to &#383;tamp a Value, by their Indulgence and Applau&#383;e, the Stage
+was always a Support, even after Age or any Accident had made 'em
+incapable of their Profe&#383;&#383;ion; for the then Patentees thought it as
+great a Piece of In&#383;olence to deprive the Publick of their Plea&#383;ures, as
+of Cruelty and Inju&#383;tice to deny tho&#383;e a Sub&#383;i&#383;tence who had contributed
+towards 'em; for they knew and acknowledged, that the Publick was the
+only Support of all, con&#383;equently had an indi&#383;putable Right to be
+plea&#383;ed in the be&#383;t manner po&#383;&#383;ible.</p>
+
+<p>It is pretended by the Managers, that they have the &#383;ame Right to
+di&#383;charge an Actor that a Ma&#383;ter has to turn away a Servant, than which
+nothing can be more fal&#383;e and ab&#383;urd; for, when a Ma&#383;ter di&#383;mi&#383;&#383;es a
+Servant, there are many thou&#383;ands be&#383;ides to apply to; but when the
+Managers di&#383;mi&#383;s an Actor, where are they to apply? It is unlawful to
+act any where but with them; Nece&#383;&#383;ity or Inclination brings every one
+to the Stage; if the former happens to be the Ca&#383;e, they will not
+readily find an Employment; and if the latter, they will not be fit for
+one; &#383;o that it will appear an Act of great Inju&#383;tice and Oppre&#383;&#383;ion. If
+it &#383;hould be objected, That the Actors Demands are &#383;o exorbitant, that
+the Managers cannot comply with 'em? I have already endeavoured to &#383;how,
+that tho' two or three Salaries might be thought &#383;o in general, they did
+not amount to more than had been allowed, and very con&#383;iderable Profits
+ari&#383;ing to the Patentees. But there is a very melancholy In&#383;tance, that
+the Actors Demands is not the Rea&#383;on of di&#383;mi&#383;&#383;ing 'em, but the Will of
+the Manager alone; since la&#383;t Sea&#383;on an Actor and Actre&#383;s returned to
+<i>Drury-Lane</i> under &#383;uch Abatements as that Manager thought proper, and
+&#383;uch as were in no degree equal to their Merit; and yet, at the
+beginning of this Sea&#383;on, were di&#383;mi&#383;&#383;ed, after having been from their
+Infancy on the Stage, and having no other Profe&#383;&#383;ions to live by, and
+very numerous Families to &#383;upport.</p>
+
+<p>The Manager of <i>Drury-Lane</i> tho' he can't but know I am di&#383;engag'd from
+the other Theatre, has not made any Application to me to act with him,
+which he has done to &#383;everal others who quitted that Stage at the Time I
+did: The Rea&#383;ons which obliged me to leave him &#383;till &#383;ub&#383;i&#383;t: He owes
+me a Hundred and Sixty Pounds, twelve Shillings, which he has
+acknowledged to be ju&#383;tly due, and promi&#383;ed Payment of it by la&#383;t
+<i>Chri&#383;tmas</i> to a Per&#383;on of too great Con&#383;equence for me to mention here,
+the greater Part of it Money I expended for Cloaths for his U&#383;e. He
+offer'd me, la&#383;t Sea&#383;on, not near half as much as he afterwards agreed
+to give another Performer, and le&#383;s than he then gave to &#383;ome others in
+his Company; &#383;o that I mu&#383;t conclude, as every one knows there are
+Agreements betwixt the Managers, that there is a De&#383;ign to di&#383;tre&#383;s me,
+and reduce me to &#383;uch Terms as I cannot comply with.</p>
+
+<p>I am &#383;orry I am reduced to &#383;ay any thing in favour of my&#383;elf; but, as I
+think I merit as much as another Performer, and the Managers are &#383;o
+de&#383;irous to convince me of the contrary, I hope I &#383;hall be excu&#383;ed;
+e&#383;pecially when I declare, that at this time, I am not in the lea&#383;t vain
+of my Profe&#383;&#383;ion.</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
+almo&#383;t all the Plays, but in Farces and Mu&#383;ical 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 Ma&#383;ters for Singing; for which
+Article alone, the Managers now give five and &#383;ix Pounds a Week. My
+additional Expences, in belonging to the Theatre, amount to upwards of
+one Hundred Pounds a Year, in Clothes, and other Nece&#383;&#383;aries; and the
+pretended great Salaries, of ten and twelve Pounds a Week, which have
+been &#383;o artfully, and fal&#383;ly repre&#383;ented to the Town, to the Prejudice
+of the Actors, will, upon Enquiry, appear to be no more than half as
+much, &#383;ince they performed half Sea&#383;on, at the Theatres, very &#383;eldom
+above three or four Days a Week; &#383;o taking in the long Vacation, when
+there are no Plays at all, to tho&#383;e Days the pre&#383;ent Managers omit
+acting, a Salary which appears to be great, will be found, in effect, to
+be very moderate; and tho&#383;e which are le&#383;s, not a Sufficiency.</p>
+
+<p>I have now fini&#383;hed all I propo&#383;ed; I have &#383;hown in how aggravating a
+manner, without any Rea&#383;on a&#383;&#383;igned, and at a Time a very con&#383;iderable
+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 ju&#383;t
+Rea&#383;ons I had for quitting him, has never apply'd to me to return, nor
+made the lea&#383;t Excu&#383;e for not paying my Arrears, tho' due &#383;o long, and
+after promi&#383;ing Payment near a Year, notwith&#383;tanding I have, for many
+Years, not only endeavour'd, but &#383;ucceeded, in greatly promoting that
+Manager's Intere&#383;t, as is known to him&#383;elf and his whole Company.</p>
+
+<p>The Rea&#383;on of my taking the Liberty to communicate the&#383;e Things to the
+Publick, is mo&#383;t earne&#383;tly to interceed for their Favour and Protection,
+from whom I have always met with great Genero&#383;ity and Indulgence: For,
+as I have already declared, in a Letter publi&#383;hed by me la&#383;t Year in the
+Daily Papers, that I had not a Fortune to &#383;upport me, independent of my
+Profe&#383;&#383;ion, I doubt not but it will appear, I have not made any
+con&#383;iderable Acqui&#383;ition to it &#383;ince, 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
+Con&#383;ideration of the&#383;e Hard&#383;hips, been promi&#383;ed the Protection of many
+Ladies, to whom I have the Honour to be per&#383;onally known, and will not
+doubt the Concurrence of the Publick, in receiving my Performance in the
+be&#383;t manner I am, at pre&#383;ent, capable of, which I &#383;hall always mo&#383;t
+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&#39;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, &quot;Of Genius,&quot; 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>
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+The Project Gutenberg EBook of The Case of Mrs. Clive, by Catherine Clive
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
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+
+Title: The Case of Mrs. Clive
+
+Author: Catherine Clive
+
+Release Date: October 27, 2004 [EBook #13881]
+
+Language: English
+
+Character set encoding: ASCII
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+*** START OF THIS PROJECT GUTENBERG EBOOK THE CASE OF MRS. CLIVE ***
+
+
+
+
+Produced by David Starner, Susan Skinner and the PG Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+THE AUGUSTAN REPRINT SOCIETY
+
+
+CATHERINE CLIVE
+
+
+THE CASE OF Mrs. _CLIVE_
+
+(1744)
+
+
+
+_Introduction by_
+
+RICHARD C. FRUSHELL
+
+
+
+To
+
+H.T. Swedenberg, Junior
+
+_founder, protector, friend_
+
+    _He that delights to_ Plant _and_ Set,
+    _Makes_ After-Ages _in his_ Debt.
+
+    Where could they find another formed so fit,
+    To poise, with solid sense, a sprightly wit?
+    Were these both wanting, as they both abound,
+    Where could so firm integrity be found?
+
+
+The verse and emblem are from George Wither, _A Collection of Emblems,
+Ancient and Modern_ (London, 1635), illustration xxxv, page 35.
+
+The lines of poetry (123-126) are from "To My Honoured Kinsman John
+Driden," in John Dryden, _The Works of John Dryden_, ed. Sir Walter
+Scott, rev. and corr. George Saintsbury (Edinburgh: William Patterson,
+1885), xi, 78.
+
+
+       *       *       *       *       *
+
+
+GENERAL EDITORS
+
+William E. Conway, William Andrews Clark Memorial Library
+George Robert Guffey, University of California, Los Angeles
+Maximillian E. Novak, University of California, Los Angeles
+David S. Rodes, University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+Richard C. Boys, University of Michigan
+James L. Clifford, Columbia University
+Ralph Cohen, University of Virginia
+Vinton A. Dearing, University of California, Los Angeles
+Arthur Friedman, University of Chicago
+Louis A. Landa, Princeton University
+Earl Miner, Princeton University
+Samuel H. Monk, University of Minnesota
+Everett T. Moore, University of California, Los Angeles
+Lawrence Clark Powell, William Andrews Clark Memorial Library
+James Sutherland, University College, London
+H.T. Swedenberg, Jr., University of California, Los Angeles
+Robert Vosper, William Andrews Clark Memorial Library
+Curt A. Zimansky, State University of Iowa
+
+
+CORRESPONDING SECRETARY
+
+Edna C. Davis, William Andrews Clark Memorial Library
+
+
+EDITORIAL ASSISTANT
+
+Jean T. Shebanek, William Andrews Clark Memorial Library
+
+
+Typography by Wm. M. Cheney
+
+
+
+
+INTRODUCTION
+
+
+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,[1]
+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,[2] the conflict
+was not only between labor and management; but the latter confrontation
+is central to the conflict in 1743 and the subject of _The Case of Mrs.
+Clive Submitted to the Publick_, 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.
+
+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
+_The Devil to Pay_, one of several hundred she mastered. Her
+specialties: Flora in _The Wonder_, Lady Bab in _High Life Below
+Stairs_, Lappet in _The Miser_, Catherine in _Catherine and Petruchio_,
+Mrs. Heidelberg in _The Clandestine Marriage_, and the Fine Lady in
+_Lethe_. 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.[3] 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."[4] 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 _Hamlet_ and Zara in _The Mourning Bride_: "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."[5] Part of the half she could do well is noticed, once
+again, by Davies: particularly adroit and distinguished in chambermaid
+parts, Mrs. Clive
+
+     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 _Lethe_.
+     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].[6]
+
+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.
+
+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.[7] 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.
+
+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 _The Intriguing
+Chambermaid_:
+
+     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.[8]
+
+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.[9]
+
+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 direction of the
+theater.[10] 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 _The Rehearsal_ (I.i. 159-170) shows, was always her
+judge in matters professional.
+
+Fielding's prologue to his revised _Author's Farce_ (1734), spoken by
+Mrs. Clive, compares the settled, prosperous former days at Drury Lane
+with those of 1734, when "... _alas! how alter'd is our Case!/ I view
+with Tears this poor deserted Place_."[11] 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.
+
+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;[12] 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
+_Lethe_, the beginning of a relationship to become one of the most
+tempestuous and fruitful in all theater history.
+
+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.[13] 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.
+
+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.
+
+In light of the number and variety of the published commentary which
+accompanied the revolt, perhaps a highlighting of Clive's _Case_ 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,[14] 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."[15] 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."[16] 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.
+
+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., _Gentleman's Magazine_,
+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 (_Gentleman's Magazine_, XIII, November 1743, 609), hit at
+Fleetwood for citing 1708-1709 salaries, for "the Stage [then] both of
+_Drury-Lane_ and the _Hay-market_, 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.
+
+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.)
+
+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 _The Case Between the Managers_ (p.
+11) presents it, a conversation between a personified Covent Garden and
+Drury Lane would have gone like this: "Well, but, Brother _Drury_, 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."
+
+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 _Mr. Garrick's Answer_ (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."
+
+Others were not so generous as Macklin. The author of _The Disputes
+between the Director of D----y, and the Pit Potentates,_ 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."[17] 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.
+
+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."
+
+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,[18] 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."
+
+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,[19] 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 L160. 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.[20] 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."[21]
+
+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,[22] 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 _The Merchant of Venice_ was hardly her
+forte.
+
+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.[23] In the latter
+regard Mrs. Clive's case is revealing in that it gives a new emphasis to
+the epithet His Majesties' Servants.[24]
+
+Indiana State University
+Terre Haute
+
+
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] _The Dramatic Congress_ (London, 1743). Throughout I use short
+titles.
+
+[2] Three major documents concerning this quarrel are published under
+the title _Mr. Macklin's Reply to Mr. Garrick's Answer_ (London, 1743).
+
+[3] 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," _DUJ_, N.S., 32 No. 2 (March
+1971), 125-132.
+
+[4] James Boswell, _Boswell's Life of Johnson_, ed. George Birkbeck
+Hill, rev. L.F. Powell (Oxford: Clarendon Press, 1934-1950), IV, 243.
+
+[5] _Dramatic Miscellanies_ (London, 1785), III, 131, 376.
+
+[6] Quoted by [John Genest], _Some Account of the English Stage_ (Bath:
+H.E. Carrington, 1832), V, 230.
+
+[7] _Memoirs of His Own Life_ (York, 1790), II, 257. See _Theatrical
+Correspondence in Death. An Epistle from Mrs. Oldfield_ (London, 1743),
+p. 7.
+
+[8] _The Complete Works of Henry Fielding, Esq._, ed. William Ernest
+Henley (New York: Croscup & Sterling Co., [1902]; reprinted Barnes &
+Noble, 1967), X, 277-278.
+
+[9] For a useful exposition of the 1733 and 1743 disputes in terms of
+the licensing act see Watson Nicholson, _The Struggle for a Free Stage
+in London_ (Cambridge, Mass.: Archibald Constable & Co., 1906.).
+
+[10] Percy Fitzgerald, _The Life of Mrs. Catherine Clive_ (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.
+
+[11] Quoted in Mary E. Knapp, _Prologues and Epilogues of the Eighteenth
+Century_ (New Haven: Yale University Press, 1961), p. 69.
+
+[12] Yet, with Fitzgerald (_Life_, 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."
+
+[13] 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, _Roscius Anglicanus_ (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.
+
+[14] See Arthur H. Scouten, "Introduction," _The London Stage_
+(Carbondale, III.: Southern Illinois University Press, 1961), Pt. 3,
+xcv, cxlvii, and Dramatic Congress, p. 20.
+
+[15] Cf. James Ralph, _The Case of our Present Theatrical Disputes_
+(London, 1743), pp. 3, 48.
+
+[16] _The Case Between the Managers of the Two Theatres, and their
+Principal Actors_ (London, 1743, misdated 1713), p. 20. Cf. _An
+Impartial Examen_ (London, 1744), pp. 10-11, 21-22. See also the three
+_Queries_ pamphlets: _Queries to be Answered by the Manager of
+Drury-Lane_ (London, 1743); _Queries upon Queries_ (London, 1743); _A
+Full Answer to Queries upon Queries_ (London, 1743).
+
+[17] (London, 1744), pp. 15-16.
+
+[18] _Dramatic Congress_, p. 22. Thomas Davies, _Memoirs of the Life of
+David Garrick_, 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."
+
+[19] See Clive's afterpiece _The Faithful Irish Woman_ in "An Edition of
+the Afterpieces."
+
+[20] See _Mr. Macklin's Reply to Mr. Garrick's Answer_, pp. 18, 29-30,
+and _An Impartial Examen_, pp. 10-11.
+
+[21] Nicholson, _Struggle for a Free Stage_, p. 124; see, too, pp.
+83-86.
+
+[22] 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.
+
+[23] See Nicholson's concluding chapter. For other effects of the
+licensing act see Scouten, _London Stage_, cxlvii, and Ralph, _Case of
+the Present Theatrical Disputes_, pp. 22, 43.
+
+[24] 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, _A
+Bibliographical Account of English Theatrical Literature_ (London: J.C.
+Nimmo, 1888), p. 95.
+
+_Dramatic Congress_, Univ. Chicago, Austrian Coll., PR 3346. C3D7 1743.
+
+_Mr. Macklin's Reply_, Newberry Library, V1845. 54.
+
+_Theatrical Correspondence in Death_, Harvard, Thr 417. 43. 12.
+
+_Case of Present Theatrical Disputes_, Newberry Library, Rare Book Room.
+
+_Case Between the Managers_, Univ. Chicago, Austrian Coll., PN 2596.
+L6C22.
+
+_An Impartial Examen_, Harvard, Thr 465. 20. 23.
+
+_Queries to be Answered_, Harvard, Thr 465. 20. 22.
+
+_Queries upon Queries_, Harvard, Thur 465. 20. 12.
+
+_A Full Answer to Queries_, Harvard, Thr 465. 20. 12.
+
+_Disputes between the Director_, Univ. Chicago, Austrian Coll., PN 2596.
+L7D832.
+
+BIBLIOGRAPHICAL NOTE
+
+The facsimile of _The Case of Mrs. Clive_ (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.
+
+
+
+       *       *       *       *       *
+
+
+THE CASE OF MRS. _CLIVE_
+
+[Price Six Pence.]
+
+
+       *       *       *       *       *
+
+
+THE CASE OF MRS. _CLIVE_
+
+Submitted to the PUBLICK.
+
+_LONDON:_
+
+Printed for B. DOD at the _Bible_ and _Key_ in _Ave-Mary-Lane_ near
+_Stationers-Hall_. MDCCXLIV.
+
+[Price Six Pence.]
+
+
+       *       *       *       *       *
+
+THE CASE OF MRS. _CLIVE_
+
+Submitted to the PUBLICK.
+
+
+In 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.
+
+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.
+
+Before the Disputes happened betwixt the Manager of _Drury-Lane_ 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, _per_ Year; and at the Expiration of my
+Agreements the Manager offered me an additional Salary to continue at
+that Theatre.
+
+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.
+
+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.
+
+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.
+
+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
+_Drury-Lane_ 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
+_Covent-Garden_ Theatre, and others to _Drury-Lane_; I did, indeed,
+apprehend I should meet with better Terms at _Covent-Garden_, 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.
+
+When I was fixed at that Theatre I determined to stay there; I did, in
+all things which related to my Profession, 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
+_Drury-Lane._
+
+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 present 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.
+
+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 _Covent-Garden_ 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 _Ireland_, 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.
+
+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.
+
+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
+_Drury-Lane_ 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.
+
+The Manager of _Drury-Lane_ 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
+_Christmas_ 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.
+
+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.
+
+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.
+
+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 _Covent-Garden_
+Theatre. The Manager of _Drury-Lane,_ 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.
+
+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.
+
+C. CLIVE
+
+FINIS.
+
+
+       *       *       *       *       *
+
+
+WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+THE AUGUSTAN REPRINT SOCIETY
+
+PUBLICATIONS IN PRINT
+
+
+       *       *       *       *       *
+
+
+The Augustan Reprint Society
+
+PUBLICATIONS IN PRINT
+
+
+1948-1949
+
+16. Henry Nevil Payne, _The Fatal Jealousie_ (1673).
+
+17. Nicholas Rowe. _Some Account of the Life of Mr. William Shakespear_
+(1709).
+
+18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. 10
+(1719), and Aaron Hill, Preface to _The Creation_ (1720).
+
+
+1949-1950
+
+19. Susanna Centlivre, _The Busie Body_ (1709).
+
+20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734).
+
+22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two
+_Rambler_ papers (1750).
+
+23. John Dryden, _His Majesties Declaration Defended_ (1681).
+
+
+1951-1952
+
+26. Charles Macklin, _The Man of the World_ (1792).
+
+31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
+_The Eton College Manuscript_.
+
+
+1952-1953
+
+41. Bernard Mandeville, _A Letter to Dion_ (1732).
+
+
+1962-1963
+
+98. Selected Hymns Taken Out of Mr. Herbert's _Temple_ ... (1697).
+
+
+1964-1965
+
+109. Sir William Temple, _An Essay Upon the Original and Nature of
+Government_ (1680).
+
+110. John Tutchin, _Selected Poems_ (1685-1700).
+
+111. Anonymous, _Political Justice_ (1736).
+
+112. Robert Dodsley, _An Essay on Fable_ (1764).
+
+113. T.R., _An Essay Concerning Critical and Curious Learning_ (1698).
+
+114. Two Poems Against Pope: Leonard Welsted. _One Epistle to Mr. A.
+Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).
+
+
+1965-1966
+
+115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_.
+
+116. Charles Macklin, _The Covent Garden Theatre_ (1752).
+
+117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680).
+
+118. Henry More, _Enthusiasmus Triumphatus_ (1662).
+
+119. Thomas Traherne, _Meditations on the Six Days of the Creation_
+(1717).
+
+120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_
+(1740).
+
+
+1966-1967
+
+123. Edmond Malone, _Cursory Observations on the Poems Attributed to Mr.
+Thomas Rowley_ (1782).
+
+124. Anonymous, _The Female Wits_ (1704).
+
+125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference
+Between Verbal and Practical Virtue_ (1742).
+
+
+1967-1968
+
+129. Lawrence Echard, Prefaces to _Terence's Comedies_ (1694) and
+_Plautus's Comedies_ (1694).
+
+
+1968-1969
+
+133. John Courtenay, _A Poetical Review of the Literary and Moral
+Character of the Late Samuel Johnson_ (1786).
+
+134. John Downes, _Roscius Anglicanus_ (1708).
+
+135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766).
+
+136. Thomas Sheridan, _Discourse ... Being Introductory to His Course of
+Lectures on Elocution and the English Language_ (1759).
+
+137. Arthur Murphy, _The Englishman From Paris_ (1736).
+
+
+1969-1970
+
+138. [Catherine Trotter], _Olinda's Adventures_ (1718).
+
+139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_
+(1762).
+
+140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding Burnt to
+Pot or a Compleat Key to the Dissertation on Dumpling_ (1727).
+
+141. Selections from Sir Roger L'Estrange's _Observator_ (1681-1687).
+
+142. Anthony Collins, _A Discourse Concerning Ridicule and Irony in
+Writing_ (1729).
+
+143. _A Letter From A Clergyman to His Friend, With An Account of the
+Travels of Captain Lemuel Gulliver_ (1726).
+
+144. _The Art of Architecture, A Poem. In Imitation of Horace's Art of
+Poetry_ (1742).
+
+
+1970-1971
+
+145-146. Thomas Shelton, _A Tutor to Tachygraphy, or Short-writing_
+(1642) and _Tachygraphy_ (1647).
+
+147-148. _Deformities of Dr. Samuel Johnson_ (1782).
+
+149. _Poeta de Tristibus: or the Poet's Complaint_ (1682).
+
+150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the
+English Stage_ (1687).
+
+
+1971-1972
+
+151-152. Evan Lloyd, _The Methodist._ A Poem (1766).
+
+153. _Are these Things So?_ (1740), and _The Great Man's Answer to Are
+these Things So?_ (1740).
+
+154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A
+Catalogue of Dr. Arbuthnot's Library_ (1779).
+
+155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_
+(1624), with English Adaptations by Francis Quarles and Edmund Arwaker.
+
+
+
+
+
+End of Project Gutenberg's The Case of Mrs. Clive, by Catherine Clive
+
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