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    Congreve

    by Samuel Johnson
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    From Samuel Johnson's Lives of the Poets series, published in 3 volumes between 1779 and 1781.

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    William Congreve descended from a family in Staffordshire of so great antiquity, that it claims a place among the few that extend their hue beyond the Norman Conquest, and was the son of William Congreve, second son of Richard Congreve, of Congreve and Stratton. He visited, once at least, the residence of his ancestors; and, I believe, more places than one are still shown in groves and gardens, where he is related to have written his Old Bachelor.

    Neither the time nor place of his birth is certainly known. If the inscription upon his monument be true, he was born in 1672. For the place, it was said by himself that he owed his nativity to England, and by everybody else that he was born in Ireland. Southern mentioned him with sharp censure as a man that meanly disowned his native country. The biographers assigned his nativity to Bardsa, near Leeds, in Yorkshire, from the account given by himself, as they suppose, to Jacob. To doubt whether a man of eminence has told the truth about his own birth is, in appearance, to be very deficient in candour; yet nobody can live long without knowing that falsehoods of convenience or vanity, falsehoods from which no evil immediately visible ensues, except the general degradation of human testimony, are very lightly uttered, and once uttered are sullenly supported. Boileau, who desired to be thought a rigorous and steady moralist, having told a pretty lie to Louis XIV., continued it afterwards by false dates; thinking himself obliged In Honour, says his admirer, to maintain what, when he said it, was so well received. [Congreve was baptised at Bardsey, February 10, 1670.]

    Wherever Congreve was born, he was educated first at Kilkenny, and afterwards at Dublin, his father having some military employment that stationed him in Ireland; but after having passed through the usual preparatory studies, as may be reasonably supposed, with great celerity and success, his father thought it proper to assign him a profession, by which something might be gotten, and about the time of the Revolution sent him, at the age of sixteen, to study law in the Middle Temple, where he lived for several years, but with very little attention to statutes or reports. His disposition to become an author appeared very early, as he very early felt that force of imagination, and possessed that copiousness of sentiment, by which intellectual pleasure can be given. His first performance was a novel called "Incognita; or, Love and Duty Reconciled;" it is praised by the biographers, who quote some part of the preface, that is, indeed, for such a time of life, uncommonly judicious. I would rather praise it than read it.

    His first dramatic labour was The Old Bachelor, of which he says, in his defence against Collier, "That comedy was written, as several know, some years before it was acted. When I wrote it I had little thoughts of the stage; but did it to amuse myself in a slow recovery from a fit of sickness. Afterwards, through my indiscretion it was seen, and in some little time more it was acted; and I, through the remainder of my indiscretion suffered myself to be drawn into the prosecution of a difficult and thankless study, and to be involved in a perpetual war with knaves and fools."

    There seems to be a strange affectation in authors of appearing to have done everything by chance. The Old Bachelor was written for amusement in the languor of convalescence. Yet it is apparently composed with great elaborateness of dialogue, and incessant ambition of wit. The age of the writer considered, it is indeed a very wonderful performance; for, whenever written, it was acted (1693) when he was not more than twenty-one years old; and was then recommended by Mr. Dryden, Mr. Southern, and Mr. Maynwaring. Dryden said that he never had seen such a first play; but they found it deficient in some things necessary to the success of its exhibition, and by their greater experience fitted it for the stage. Southern used to relate of one comedy, probably of this, that when Congreve read it to the players he pronounced it so wretchedly, that they had almost rejected it; but they were afterwards so well persuaded of its excellence that, for half a year before it was acted, the manager allowed its author the privilege of the house.

    Few plays have ever been so beneficial to the writer, for it procured him the patronage of Halifax, who immediately made him one of the commissioners for licensing coaches, and soon after gave him a place in the Pipe-office, and another in the Customs, of six hundred pounds a year. Congreve's conversation must surely have been at least equally pleasing with his writings.

    Such a comedy, written at such an age, requires some consideration. As the lighter species of dramatic poetry professes the imitation of common life, of real manners. and daily incidents, it apparently presupposes a familiar knowledge of many characters, and exact observation of the passing world; the difficulty, therefore, is to conceive how this knowledge can be obtained by a boy.

    But if The Old Bachelor be more nearly examined, it will be found to be one of those comedies which may be made by a mind vigorous and acute, and furnished with comic characters by the perusal of other poets, without much actual commerce with mankind. The dialogue is one constant reciprocation of conceits or clash of wit, in which nothing flows necessarily from the occasion, or is dictated by nature. The characters, both of men and women, are either fictitious and artificial, as those of Heartwell and the ladies, or easy and common, as Wittol, a tame idiot; Bluff, a swaggering coward; and Fondlewife, a jealous Puritan; and the catastrophe arises from a mistake, not very probably produced, by marrying a woman in a mask. Yet this gay comedy, when all these deductions are made, will still remain the work of very powerful and fertile faculties; the dialogue is quick and sparkling, the incidents such as seize the attention, and the wit so exuberant that it "o'er- informs its tenement."

    Next year he gave another specimen of his abilities in The Double Dealer, which was not received with equal kindness. He writes to his patron the Lord Halifax a dedication, in which he endeavours to reconcile the reader to that which found few friends among the audience. These apologies are always useless: de gestibus non est disputandem. Men may be convinced, but they cannot be pleased, against their will. But though taste is obstinate, it is very variable, and time often prevails when arguments have failed. Queen Mary conferred upon both those plays the honour of her presence; and when she died soon after, Congreve testified his gratitude by a despicable effusion of elegiac pastoral, a composition in which all is unnatural and yet nothing is new.

    In another year (1695) his prolific pen produced Love for Love, a comedy of nearer alliance to life, and exhibiting more real manners, than either of the former. The character of Foresight was then common. Dryden calculated nativities; both Cromwell and King William had their lucky days; and Shaftesbury himself, though he had no religion, was said to regard predictions. The Sailor is not accounted very natural, but he is very pleasant. With this play was opened the New Theatre, under the direction of Betterton, the tragedian, where he exhibited two years afterwards (1687) The Mourning Bride, a tragedy, so written as to show him sufficiently qualified for either kind of dramatic poetry. In this play, of which, when he afterwards revised it, he reduced the versification to greater regularity; there is more bustle than sentiment; the plot is busy and intricate, and the events take hold on the attention; but, except a very few passages, we are rather amused with noise and perplexed with stratagem, than entertained with any true delineation of natural characters. This, however, was received with more benevolence than any other of his works, and still continues to be acted and applauded.

    But whatever objections may be made either to his comic or tragic excellence, they are lost at once in the blaze of admiration, when it is remembered that he had produced these four plays before he had passed his twenty-fifth year, before other men, even such as are some time to shine in eminence, have passed their probation of literature, or presume to hope for any other notice than such as is bestowed on diligence and inquiry. Among all the efforts of early genius, which literary history records, I doubt whether any one can be produced that more surpasses the common limits of nature than the plays of Congreve.

    About this time began the long-continued controversy between Collier and the poets. In the reign of Charles I. the Puritans had raised a violent clamour against the drama, which they considered as an entertainment not lawful to Christians, an opinion held by them in common with the Church of Rome; and Prynne published "Histriomastix," a huge volume in which stage-plays were censured. The outrages and crimes of the Puritans brought afterwards their whole system of doctrine into disrepute, and from the Restoration the poets and players were left at quiet; for to have molested them would have had the appearance of tendency to puritanical malignity. This danger, however, was worn away by time, and Collier, a fierce and implacable non-juror, knew that an attack upon the theatre would never make him suspected for a Puritan; he therefore (1698) published "A Short View of the Immorality and Profaneness of the English Stage," I believe with no other motive than religious zeal and honest indignation. He was formed for a controvertist, with sufficient learning, with diction vehement and pointed, though often vulgar and incorrect, with unconquerable pertinacity, with wit in the highest degree and sarcastic, and with all those powers exalted and invigorated by just confidence in his cause. Thus qualified and thus incited, he walked out to battle, and assailed at once most of the living writers, from Dryden to Durfey. His onset was violent; those passages, which, while they stood single, had passed with little notice, when they were accumulated and exposed together, excited horror. The wise and the pious caught the alarm, and the nation wondered why it had so long suffered irreligion and licentiousness to be openly taught at the public charge.

    Nothing now remained for the poets but to resist or fly. Dryden's conscience or his prudence, angry as he was, withheld him from the conflict. Congreve and Vanbrugh attempted answers. Congreve, a very young man, elated with success, and impatient of censure, assumed an air of confidence and security. His chief art of controversy is to retort upon his adversary his own words: he is very angry, and hoping to conquer Collier with his own weapons, allows himself in the use of every term of contumely and contempt, but he has the sword without the arm of Scanderbeg; he has his antagonist's coarseness but not his strength. Collier replied, for contest was his delight. "He was not to be frighted from his purpose or his prey."

    The cause of Congreve was not tenable; whatever glosses he might use for the defence or palliation of single passages, the general tenour and tendency of his plays must always be condemned. It is acknowledged, with universal conviction, that the perusal of his works will make no man better, and that their ultimate effect is to represent pleasure in alliance with vice, and to relax those obligations by which life ought to be regulated.

    The stage found other advocates, and the dispute was protracted through ten years: but at last comedy grew more modest, and Collier lived to see the reformation of the theatre.

    Of the powers by which this important victory was achieved, a quotation from Love for Love, and the remark upon it, may afford a specimen:-

    Sir Samps. "Sampson's a very good name; for your Sampsons were strong dogs from the beginning."

    Angel. "Have a care--if you remember, the strongest Sampson of your name pulled an old house over his head at last."

    "Here you have the sacred history burlesqued, and Sampson once more brought into the house of Dagon, to make sport for the Philistines!"

    Congreve's last play was The Way of The World, which, though, as he hints in him dedication it was written with great labour and much thought, was received with so little favour, that being in a high degree offended and disgusted, he resolved to commit his quiet and his fame no more to the caprices of an audience.

    From this time his life ceased to be public; he lived for himself and his friends, and among his friends was able to name every man of his time whom wit and elegance had raised to reputation. It may be therefore reasonably supposed that his manners were polite, and his conversation pleasing. He seems not to have taken much pleasure in writing, as he contributed nothing to the Spectator, and only one paper to the Tatler, though published by men with whom he might be supposed willing to associate: and though he lived many years after the publication of his "Miscellaneous Poems," yet he added nothing to them, but lived on in literary indolence, engaged in no controversy, contending with no rival, neither soliciting flattery by public commendations, nor provoking enmity by malignant criticism, but passing his time among the great and splendid, in the placid enjoyment of his fame and fortune.

    Having owed his fortune to Halifax, he continued, always of his patron's party, but, as it seems, without violence or acrimony, and his firmness was naturally esteemed, as his abilities were reverenced. His security therefore was never violated; and when, upon the extrusion of the Whigs, some intercession was used lest Congreve should be displaced, the Earl of Oxford made this answer:-

    "Non obtusa adeo gestamus pectora Poeni, Nec tam aversus equos Tyria sol jungit ab urbe."

    He that was thus honoured by the adverse party might naturally expect to be advanced when his friends returned to power, and he was accordingly made secretary for the island of Jamaica, a place, I suppose without trust or care, but which, with his post in the Customs, is said to have afforded him twelve hundred pounds a year. His honours were yet far greater than his profits. Every writer mentioned him with respect, and among other testimonies to his merit, Steele made him the patron of his "Miscellany," and Pope inscribed to him his translations of the "Iliad." But he treated the muses with ingratitude; for, having long conversed familiarly with the great, he wished to be considered rather as a man of fashion than of wit; and, when he received a visit from Voltaire, disgusted him by the despicable foppery of desiring to be considered not as an author but a gentleman; to which the Frenchman replied, "that, if he had been only a gentleman, he should not have come to visit him."

    In his retirement he may be supposed to have applied himself to books, for he discovers more literature than the poets have commonly attained. But his studies were in his later days obstructed by cataracts in his eyes, which at last terminated in blindness. This melancholy state was aggravated by the gout, for which he sought relief by a journey to Bath: but, being overturned in his chariot, complained from that time of a pain in his side, and died at his house in Surrey Street in the Strand, January 29, 1728-9. Having lain in state in the Jerusalem Chamber, he was buried in Westminster Abbey, where a monument is erected to his memory by Henrietta Duchess of Marlborough, to whom, for reasons either not known or not mentioned, he bequeathed a legacy of about ten thousand pounds, the accumulation of attentive parsimony, which, though to her superfluous and useless, might have given great assistance to the ancient family from which he descended, at that time, by the imprudence of his relation, reduced to difficulties and distress.

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    Congreve has merit of the highest kind; he is an original writer, who borrowed neither the models of his plot nor the manner of his dialogue. Of his plays I cannot speak distinctly, for since I inspected them many years have passed, but what remains upon my memory is, that his characters are commonly fictitious and artificial, with very little of nature, and not much of life. He formed a peculiar idea of comic excellence, which he supposed to consist in gay remarks and unexpected answers; but that which he endeavoured, he seldom failed of performing. His scenes exhibit not much of humour, imagery, or passion: his personages are a kind of intellectual gladiators; every sentence is to ward or strike; the contest of smartness is never intermitted; his wit is a meteor playing to and fro with alternate coruscations. His comedies have, therefore, in some degree, the operation of tragedies, they surprise rather than divert, and raise admiration oftener than merriment. But they are the works of a mind replete with images, and quick in combination.

    Of his miscellaneous poetry I cannot say anything very favourable. The powers of Congreve seem to desert him when he leaves the stage, as Antaeus was no longer strong than when he could touch the ground. It cannot be observed without wonder, that a mind so vigorous and fertile in dramatic compositions should on any other occasion discover nothing but impotence and poverty. He has in these little pieces neither elevation of fancy, selection of language, nor skill in versification: yet, if I were required to select from the whole mass of English poetry the most poetical paragraph, I know not what I could prefer to an exclamation in the "Mourning Bride":-

    ALMERIA.

    It was a fancied noise; for all is hushed.

    LEONORA.

    It bore the accent of a human voice.

    ALMERIA.

    It was thy fear, or else some transient wind Whistling through hollows of this vaulted isle: We'll listen -

    LEONORA.

    Hark!

    ALMERIA.

    No, all is hushed and still as death.--'Tis dreadful! How reverend is the face of this tall pile, Whose ancient pillars rear their marble heads, To bear aloft its arched and ponderous roof, By its own weight made steadfast and immovable, Looking tranquillity! It strikes an awe And terror on my aching sight; the tombs And monumental caves of death look cold, And shoot a chillness to my trembling heart. Give use thy hand, and let me hear thy voice; Nay, quickly speak to me, and let me hear Thy voice--my own affrights me with its echoes.

    He who reads these lines enjoys for a moment the powers of a poet; he feels what he remembers to have felt before, but he feels it with great increase of sensibility; he recognises a familiar image, but meets it again amplified and expanded, embellished with beauty and enlarged with majesty. Yet could the author, who appears here to have enjoyed the confidence of Nature, lament the death of Queen Mary in lines like these:-

    "The rocks are cleft, and new-descending rills Furrow the brows of all the impending hills. The water-gods to floods their rivulets turn, And each, with streaming eyes, supplies his wanting urn. The fauns forsake the woods, the nymphs the grove, And round the plain in sad distractions rove: In prickly brakes their tender limbs they tear, And leave on thorns their locks of golden hair. With their sharp nails, themselves the satyrs wound, And tug their shaggy beards, and bite with grief the ground. Lo Pan himself, beneath a blasted oak, Dejected lies, his pipe in pieces broke See Pales weeping too in wild despair, And to the piercing winds her bosses bare. And see yon fading myrtle, where appears The Queen of Love, all bathed in flowing tears; See how she wrings her hands, and beats her breast, And tears her useless girdle from her waist: Hear the sad murmurs of her sighing doves! For grief they sigh, forgetful of their loves."

    And many years after he gave no proof that time had improved his wisdom or his wit, for, on the death of the Marquis of Blandford, this was his song:-

    "And now the winds, which had so long been still, Began the swelling air with sighs to fill; The water-nymphs, who motionless remained Like images of ice, while she complained, Now loosed their streams; as when descending rains Roll the steep torrents headlong o'er the plains. The prone creation who so long had gazed Charmed with her cries, and at her griefs amazed, Began to roar and howl with horrid yell, Dismal to hear, and terrible to tell! Nothing but groans and sighs were heard around, And echo multiplied each mournful sound."

    In both these funeral poems, when he has yelled out many syllables of senseless dolour, he dismisses his reader with senseless consolation. From the grave of Pastora rises a light that forms a star, and where Amaryllis wept for Amyntas from every tear sprung up a violet. But William is his hero, and of William he will sing:-

    "The hovering winds on downy wings shall wait around, And catch, and waft to foreign lands, the flying sound."

    It cannot but be proper to show what they shall have to catch and carry:-

    "'Twas now, when flowery lawns the prospect made, And flowing brooks beneath a forest shade, A lowing heifer, loveliest of the herd, Stood feeding by; while two fierce bulls prepared Their armed heads for light, by fate of war to prove The victor worthy of the fair one's love; Unthought presage of what met next my view; For soon the shady scene withdrew. And now, for woods, and fields, and springing flowers, Behold a town arise, bulwarked with walls and lofty towers; Two rival armies all the plain o'erspread, Each in battalia ranged, and shining arms arrayed With eagle eyes beholding both from far, Namur, the price and mistress of the war."

    The "Birth of the Muse" is a miserable fiction. One good line it has which was borrowed from Dryden. The concluding verses are these:-

    "This said, no more remained. The ethereal host Again impatient crowd the crystal coast. The father now, within his spacious hands, Encompassed all the mingled mass of seas and lands; And, having heaved aloft the ponderous sphere, He launched the world to float in ambient air."

    Of his irregular poems, that to Mrs. Arabella Hunt seems to be the best; his Ode for St. Cecilia's Day, however, had some lines which Pope had in his mind when he wrote his own. His imitations of Horace are feebly paraphrastical, and the additions which he makes are of little value. He sometimes retains what were more properly omitted, as when he talks of vervain and gums to propitiate Venus.

    Of his Translations, the "Satire of Juvenal" was written very early, and may therefore be forgiven, though it had not the massiness and vigour of the original. In all his versions strength and sprightliness are wanting; his "Hymn to Venus," from Homer, is perhaps the best. His lines are weakened with expletives, and his rhymes are frequently imperfect. His petty poems are seldom worth the cost of criticism; sometimes the thoughts are false and sometimes common. In his verses on Lady Gethin, the latter part is in imitation of Dryden's ode on Mrs. Killigrew; and "Doris," that has been so lavishly flattered by Steele, has indeed some lively stanzas, but the expression might be mended, and the most striking part of the character had been already shown in "Love for Love." His "Art of Pleasing" is founded on a vulgar, but perhaps impracticable principle, and the staleness of the sense is not concealed by any novelty of illustration or elegance of diction. This tissue of poetry, from which he seems to have hoped a lasting name, is totally neglected, and known only as it is appended to his plays.

    While comedy or while tragedy is regarded, his plays are likely to be read; but, except what relates to the stage, I know not that he has ever written a stanza that is sung, or a couplet that is quoted. The general character of his "Miscellanies" is that they show little wit and little virtue. Yet to him it must be confessed that we are indebted for the connection of a national error, and for the cure of our Pindaric madness. He first taught the English writers that Pindar's odes were regular; and though certainly he had not the lire requisite for the higher species of lyric poetry, he has shown us that enthusiasm has its rules, and that in mere confusion there is neither grace nor greatness.

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