The Works of Aphra Behn, Volume III · Chapter 13The Lucky Chance; Or, an Alderman’s Bargain
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Harry Bellmour, having killed his man in a duel, flies to Brussels, perforce leaving behind him Leticia, to whom he is affianced. During his absence Sir Feeble Fainwou’d, a doting old alderman and his rival, having procured his pardon from the King to prevent it being granted if applied for a second time, and keeping this stratagem secret, next forges a letter as if from the Hague which describes in detail Bellmour’s execution for killing a toper during a tavern brawl. He then plies his suit with such ardour that Leticia, induced by poverty and wretchedness, reluctantly consents to marry him. On the wedding morning Bellmour returns in disguise and intercepts a letter that conveys news of the arrival of Sir Feeble’s nephew, Frank, whom his uncle has never seen. The lover straightway resolves to personate the expected newcomer, and he is assisted in his design by his friend Gayman, a town gallant, who having fallen into dire need is compelled to lodge, under the name of Wasteall, with a smith in Alsatia. His estate has been mortgaged to an old banker, Sir Cautious Fulbank, whose wife Julia he loves, and to her he pretends to have gone to Northamptonshire to his uncle’s death bed. He is discovered, unknown to himself, in his slummy retreat by Bredwel, Sir Cautious’ prentice, who has to convey him a message with reference to the expiration of the mortgage, and who reveals the secret to Lady Fulbank. She promptly abstracts five hundred pounds from her husband’s strong box and forwards it to her lover by Bredwel, disguised as a devil, with an amorous message purporting to be from some unknown bidding him attend at a certain trysting place that night without fail. Gayman, now able to redeem his forfeited estates, dresses in his finest clothes and appears at Sir Feeble Fainwou’d’. wedding. Bellmour has meanwhile revealed himself to Leticia, who is plunged in despair at the nuptials. Lady Fulbank, who is present, greets Gayman and asks him to give her an assignation in the garden, but he excuses himself in order to keep his prior appointment, and she leaves him in dissembled anger. Bredwel then in his satanic masquerade meets Gayman, and bringing him a roundabout way, introduces him into Sir Cautious’ house, where, after having been entertained with a masque of dances and songs as by spirits, he is conducted to Lady Fulbank’s chamber by her maid disguised as an ancient crone, and admitted to his mistress’ embraces. Meanwhile Sir Feeble Fainwou’d, who just at the moment of entering the bridal chamber has been hurriedly fetched away by Bellmour under the pretext of an urgent message from Sir Cautious concerning some midnight plot and an outbreak in the city, arrives at the house in great terror, and Sir Cautious (not knowing the reason of so late a visit) and he sit opposite each other for a while, gaping and staring in amaze. Bredwel, to pass Gayman out undetected, ushers him through the room white-sheeted like a ghost, and the two old fools are well frightened, but eventually they conclude there has been some mistake or trick. Sir Feeble returns home to find Leticia with her jewels about to flee, but she succeeds in reassuring him. Gayman now visits Lady Fulbank and gives her some account of his adventures with the she-devil, all of which he half jestingly ascribes to magic. Sir Cautious and various guests enter, dice are produced and, luck favouring the gallant, Gayman wins one hundred pounds from the old Banker, and a like sum from several others of the company. As the niggardly Sir Cautious bewails his losses the victor offers to stake three hundred pounds against a night with Julia, the bargain, of course, being kept from the lady. After some rumination Sir Cautious accepts and Gayman wins the throw. That night he causes himself to be conveyed to Sir Cautious’ house in a chest and Sir Cautious leads him to Lady Fulbank in bed, she supposing him to be her husband. Meanwhile Sir Feeble being with Leticia is about to enter her bed when from behind the curtains Bellmour appears unmasqued, dressed in a torn and blood-stained shirt and brandishing a dagger. Sir Feeble flies in terror. The next morning Lady Fulbank discovers the trick which has been played upon her and rates both her husband and lover soundly. Bellmour and Leticia arriving throw themselves on her protection. Sir Feeble and Sir Cautious are at length obliged to acquiesce in the existing state of things and to resign their ladies to their two gallants. They are unable to protest even when Sir Feeble finds that his daughter Diana has married Bredwel instead of Sir Cautious’ nephew Bearjest for whom she was designed, whilst the choused fop is wedded to Pert, Lady Fulbank’s woman, to whom he had been previously contracted.
The plot of The Lucky Chance; or, An Alderman’s Bargain is original save for the details of Lady Fulbank’s design upon Gayman, when he is conveyed to her house by masqued devils and conducted to her chamber by Pert dressed as a withered beldame. In this Mrs. Behn exactly copies Shirley’s excellent comedy, The Lady of Pleasure, produced at the Private House in Drury Lane, October, 1635, (4to 1637). In the course of Lady Bornwell’s intrigue with Kickshaw he is taken blindfold to the house of the procuress, Decoy, who, in the guise of a doting crone, leads him to a chamber where he imagines he is to meet a succubus, whilst the Lady, unknown to him, entertains him herself.
The Lucky Chance; or, An Alderman’s Bargain, produced at the Theatre Royal, Drury Lane, in 1687, was, with the exception of the disapproval of a certain pudibond clique, received with great favour, and kept the stage for a decade or more. During the summer season of 1718 there was, on 24 July, a revival, ‘not acted twenty years,’ of this witty comedy at Lincoln’s Inn Fields. Gayman was played by Frank Leigh, son of the famous low comedian; Sir Feeble Fainwou’d by Bullock.
On 25 November, 1786, there was produced at Drury Lane a comedy by Mrs. Hannah Cowley (1743-1809), a prolific but mediocre dramatist, entitled, A School for Greybeards; or, The Mourning Bride (4to 1786 and 1787). Genest writes: ‘On the first night it struck me that I had seen something like the play before and when the 4th act came I was fully satisfied—that part of the plot which concerns Antonia, Henry, and Gasper [Donna Antonia (The Mourning Bride), Mrs. Crouch; Don Henry, Kemble; Don Gasper (a Greybeard), Parsons; Donna Seraphina, Miss Farren]; and even the outlines of Seraphina’s character, are taken from The Lucky Chance—as Mrs. Behn’s play, though a very good one is too indecent to be ever represented again. Mrs. Cowley might without any disgrace to herself have borrowed whatever she pleased provided she had made a proper acknowledgement—instead of which she says in her preface “—The idea of the business which concerns Antonia, Henry and Gasper was presented to me in an obsolete Comedy; I say the idea, for when it is known that in the original the scene lay among traders in London—and those traders of the lowest and most detestable manners, it will be conceived at once, that in removing it to Portugal and fixing the characters among the nobility, it was hardly possible to carry with me more than the idea”—the traders whom Mrs. Cowley mentions, are both Knights, the one an Alderman, the other a Banker.’ Genest then compares various scenes and expressions from The Lucky Chance with Mrs. Cowley and concludes ‘The other scenes though they may differ in the dialogue yet agree in essentials—the scene in the 5th act between Alexis and Gasper bears the strongest resemblance to that between Sir Feeble and Sir Cautious in The Lucky Chance. Mrs. Cowley was ashamed to advance a direct lie, but she was not ashamed to insinuate a falsehood—A Naeuio uel sumpsisti multa, si fateris; uel, si negas surripuisti—Cicero.’ The strictures of our stage historian are entirely apposite and correct. Henry, Don Gasper and Antonia of the Georgian comedy are none other but Bellmour, Sir Feeble, and Leticia. With regard to the reception of The School for Greybeards ‘the audience took needless offence at a scene in the 4th act, and an unfortunate expression in Young Bannister’s part [Don Sebastian. Bannister, jun., also spoke the prologue], revived the opposition in the last scene—no more was heard till King [Don Alexis] advanced to speak the last speech—some alteration was made on the 2nd night, and the play was acted 9 times or more in the course of the season, but never afterwards [It was played at Bath 28 October, 1813. Chatterley acted Don Gasper; Miss Greville (from the Pantheon theatre), Donna Seraphina. It had little success]—it is a good Comedy and was very well acted.’
The audience must indeed have been qualmish prudes. Of all plays it is the most harmless. The scene in the fourth Act to which exception was taken seems to have been No. II, after the marriage of Gasper and Antonia, a most trifling and inept business. In Act V, IV, Alexis says to Viola: ‘As for you Madam bread and water, and a dark chamber shall be your lot—’ but Sebastian (Bannister, jun.), who has married Viola, breaks in crying: ‘No, Sir,—I am the arbiter of her lot;—however, I confirm half your punishment; and a dark chamber she shall certainly have.’ To this speech in the 4to Mrs. Cowley appends the following note: ’.his is the expression, I am told, which had nearly prov’d fatal to the Comedy. I should not have printed it, but from the resolution I have religiously kept, of restoring every thing that was objected to.’ Imagination and ingenuity fail to fathom the cryptic indecency. The School for Greybeards is, in fine, a modest and mediocre comedy of little value.
12 December, 1786, Walpole, writing from Berkeley Square to the Countess of Upper Ossary, says: ‘To-night … I am going to Mrs. Cowley’s new play, which I suppose is as instructive as the Marriage of Figaro, for I am told it approaches to those of Mrs. Behn in spartan delicacy; but I shall see Miss Farren, who, in my poor opinion, is the first of all actresses.’ Writing three days later to the same lady he has: ‘The Greybeards have certainly been chastised, for we did not find them at all gross. The piece is farcical and improbable, but has some good things, and is admirably acted.’ Those ‘good things’ are entirely due to Mrs. Behn.
To the Right Honourable Laurence, Lord Hyde, Earl of Rochester, one of his Majesty’s most Honourable Privy Council, Lord High Treasurer of England, and Knight of the Noble Order of the Garter.
My Lord,
When I consider how Ancient and Honourable a Date Plays have born, how they have been the peculiar Care of the most Illustrious Persons of Greece and Rome, who strove as much to outdoe each other in Magnificence, (when by Turns they manag’d the great Business of the Stage, as if they had contended for the Victory of the Universe;) I say, my Lord, when I consider this, I with the greater Assurance most humbly address this Comedy to your Lordship, since by right of Antient Custom, the Patronage of Plays belong’d only to the great Men, and chiefest Magistrates. Cardinal Richelieu, that great and wise Statesman, said, That there was no surer Testimony to be given of the flourishing Greatness of a State, than publick Pleasures and Divertisements—for they are, says he—the Schools of Vertue, where Vice is always either punish’t, or disdain’d. They are secret Instructions to the People, in things that ‘tis impossible to insinuate into them any other Way. ‘Tis Example that prevails above Reason or DIVINE PRECEPTS. (Philosophy not understood by the Multitude;) ‘tis Example alone that inspires Morality, and best establishes Vertue, I have my self known a Man, whom neither Conscience nor Religion cou’d perswade to Loyalty, who with beholding in our Theatre a Modern Politician set forth in all his Colours, was converted, renounc’d his opinion, and quitted the Party.
The Abbot of Aubignac to show that Plays have been ever held most important to the very Political Part of Government, says, The Phylosophy of Greece, and the Majesty and Wisdom of the Romans, did equally concern their Great Men in making them Venerable, Noble, and Magnificent: Venerable, by their Consecration to their Gods: Noble, by being govern’d by their chiefest Men; and their Magnificency was from the publick Treasury, and the liberal Contributions of their Noble Men.
It being undeniable then, that Plays and publick Diversions were thought by the Greatest and Wisest of States, one of the most essential Parts of good Government, and in which so many great Persons were interested; suffer me to beg your Lordships Patronage for this little Endeavour, and believe it not below the Grandure of your Birth and State, the Illustrious Places you so justly hold in the Kingdom, nor your Illustrious Relation to the greatest Monarch of the World, to afford it the Glory of your Protection; since it is the Product of a Heart and Pen, that always faithfully serv’d that Royal Cause, to which your Lordship is by many Tyes so firmly fixt: It approaches you with that absolute Veneration, that all the World is oblig’d to pay you; and has no other Design than to express my sense of those excellent Vertues, that make your Lordship so truly admir’d and lov’d. Amongst which we find those two so rare in a Great Man and a Statesman, those of Gracious Speech and easie Access, and I believe none were ever sent from your Presence dissatisfied. You have an Art to please even when you deny; and something in your Look and Voice has an Air so greatly good, it recompences even for Disappointment, and we never leave your Lordship but with Blessings. It is no less our Admiration, to behold with what Serenity and perfect Conduct, that great Part of the Nations Business is carry’d on, by one single Person; who having to do with so vast Numbers of Men of all Qualitys, Interests, and Humours, nevertheless all are well satisfi’d, and none complain of Oppression, but all is done with Gentleness and Silence, as if (like the first Creator) you cou’d finish all by a Word. You have, my Lord, a Judgment so piercing and solid, a Wisdom so quick and clear, and a Fortitude so truly Noble, that those Fatigues of State, that wou’d even sink a Spirit of less Magnitude, is by yours accomplish’t without Toil, or any Appearance of that harsh and crabbed Austerity, that is usually put on by the buisy Great. You, my Lord, support the Globe, as if you did not feel its Weight; nor so much as seem to bend beneath it: Your Zeal for the Glorious Monarch you love and serve, makes all things a Pleasure that advance his Interest, which is so absolutely your Care. You are, my Lord, by your generous Candor, your unbyast Justice, your Sweetness, Affability, and Condescending Goodness (those never-failing Marks of Greatness) above that Envy which reigns in Courts, and is aim’d at the most elevated Fortunes and Noblest Favourites of Princes: And when they consider your Lordship, with all the Abilitys and Wisdom of a great Counsellor, your unblemisht Vertue, your unshaken Loyalty, your constant Industry for the Publick Good, how all things under your Part of Sway have been refin’d and purg’d from those Grossnesses, Frauds, Briberys, and Grievances, beneath which so many of his Majestys Subjects groan’d, when we see Merit establish’t and prefer’d, and Vice discourag’d; it imposes Silence upon Malice it self, and compells ‘em to bless his Majesty’s Choice of such a Pillar of the State, such a Patron of Vertue.
Long may your Lordship live to remain in this most Honourable Station, that his Majesty may be serv’d with an entire Fidelity, and the Nation be render’d perfectly Happy. Since from such Heads and Hearts, the Monarch reaps his Glory, and the Kingdom receives its Safety and Tranquility. This is the unfeign’d Prayer of,
My Lord, Your Lordships most Humble And most Obedient Servant A. Behn
The little Obligation I have to some of the witty Sparks and Poets of the Town, has put me on a Vindication of this Comedy from those Censures that Malice, and ill Nature have thrown upon it, tho in vain: The Poets I heartily excuse, since there is a sort of Self-Interest in their Malice, which I shou’d rather call a witty Way they have in this Age, of Railing at every thing they find with pain successful, and never to shew good Nature and speak well of any thing; but when they are sure ‘tis damn’d, then they afford it that worse Scandal, their Pity. And nothing makes them so thorough-stitcht an Enemy as a full Third Day, that’s Crime enough to load it with all manner of Infamy; and when they can no other way prevail with the Town, they charge it with the old never failing Scandal—That ‘tis not fit for the Ladys: As if (if it were as they falsly give it out) the Ladys were oblig’d to hear Indecencys only from their Pens and Plays and some of them have ventur’d to treat ‘em as Coursely as ‘twas possible, without the least Reproach from them; and in some of their most Celebrated Plays have entertained ‘em with things, that if I should here strip from their Wit and Occasion that conducts ’.m in and makes them proper, their fair Cheeks would perhaps wear a natural Colour at the reading them: yet are never taken Notice of, because a Man writ them, and they may hear that from them they blush at from a Woman—But I make a Challenge to any Person of common Sense and Reason—that is not wilfully bent on ill Nature, and will in spight of Sense wrest a double Entendre from every thing, lying upon the Catch for a Jest or a Quibble, like a Rook for a Cully; but any unprejudic’d Person that knows not the Author, to read any of my Comedys and compare ’.m with others of this Age, and if they find one Word that can offend the chastest Ear, I will submit to all their peevish Cavills; but Right or Wrong they must be Criminal because a Woman’s; condemning them without having the Christian Charity, to examine whether it be guilty or not, with reading, comparing, or thinking; the Ladies taking up any Scandal on Trust from some conceited Sparks, who will in spight of Nature be Wits and Beaus; then scatter it for Authentick all over the Town and Court, poysoning of others Judgments with their false Notions, condemning it to worse than Death, Loss of Fame. And to fortifie their Detraction, charge me with all the Plays that have ever been offensive; though I wish with all their Faults I had been the Author of some of those they have honour’d me with. For the farther Justification of this Play; it being a Comedy of Intrigue Dr. Davenant out of Respect to the Commands he had from Court, to take great Care that no Indecency should be in Plays, sent for it and nicely look’t it over, putting out anything he but imagin’d the Criticks would play with. After that, Sir Roger L’Estrange read it and licens’d it, and found no such Faults as ‘tis charg’d with: Then Mr. Killigrew, who more severe than any, from the strict Order he had, perus’d it with great Circumspection; and lastly the Master Players, who you will I hope in some Measure esteem Judges of Decency and their own Interest, having been so many Years Prentice to the Trade of Judging.
I say, after all these Supervisors the Ladys may be convinc’d, they left nothing that could offend, and the Men of their unjust Reflections on so many Judges of Wit and Decencys. When it happens that I challenge any one, to point me out the least Expression of what some have made their Discourse, they cry, That Mr. Leigh opens his Night Gown, when he comes into the Bride-chamber; if he do, which is a Jest of his own making, and which I never saw, I hope he has his Cloaths on underneath? And if so, where is the Indecency? I have seen in that admirable Play of Oedipus, the Gown open’d wide, and the Man shown, in his Drawers and Waist coat, and never thought it an Offence before. Another crys, Why we know not what they mean, when the Man takes a Woman off the Stage, and another is thereby cuckolded; is that any more than you see in the most Celebrated of your Plays? as the City Politicks, the Lady Mayoress, and the Old Lawyers Wife, who goes with a Man she never saw before, and comes out again the joyfull’st Woman alive, for having made her Husband a Cuckold with such Dexterity, and yet I see nothing unnatural nor obscene: ‘tis proper for the Characters. So in that lucky Play of the London Cuckolds, not to recite Particulars. And in that good Comedy of Sir Courtly Nice, the Taylor to the young Lady—in the fam’d Sir Fopling Dorimont and Bellinda, see the very Words—in Valentinian, see the Scene between the Court Bawds. And Valentinian all loose and ruffld a Moment after the Rape, and all this you see without Scandal, and a thousand others The Moor of Venice in many places. The Maids Tragedy—see the Scene of undressing the Bride, and between the King and Amintor, and after between the King and Evadne—All these I Name as some of the best Plays I know; If I should repeat the Words exprest in these Scenes I mention, I might justly be charg’d with course ill Manners, and very little Modesty, and yet they so naturally fall into the places they are designed for, and so are proper for the Business, that there is not the least Fault to be found with them; though I say those things in any of mine wou’d damn the whole Peice, and alarm the Town. Had I a Day or two’s time, as I have scarce so many Hours to write this in (the Play, being all printed off and the Press waiting,) I would sum up all your Beloved Plays, and all the Things in them that are past with such Silence by; because written by Men: such Masculine Strokes in me, must not be allow’d. I must conclude those Women (if there be any such) greater Critics in that sort of Conversation than my self, who find any of that sort in mine, or any thing that can justly be reproach’t. But ‘tis in vain by dint of Reason or Comparison to convince the obstinate Criticks, whose Business is to find Fault, if not by a loose and gross Imagination to create them, for they must either find the Jest, or make it; and those of this sort fall to my share, they find Faults of another kind for the Men Writers. And this one thing I will venture to say, though against my Nature, because it has a Vanity in it: That had the Plays I have writ come forth under any Mans Name, and never known to have been mine; I appeal to all unbyast Judges of Sense, if they had not said that Person had made as many good Comedies, as any one Man that has writ in our Age; but a Devil on’t the Woman damns the Poet.
Ladies, for its further Justification to you, be pleas’d to know, that the first Copy of this Play was read by several Ladys of very great Quality, and unquestioned Fame, and received their most favourable Opinion, not one charging it with the Crime, that some have been pleas’d to find in the Acting. Other Ladys who saw it more than once, whose Quality and Vertue can sufficiently justifie any thing they design to favour, were pleas’d to say, they found an Entertainment in it very far from scandalous; and for the Generality of the Town, I found by my Receipts it was not thought so Criminal. However, that shall not be an Incouragement to me to trouble the Criticks with new Occasion of affronting me, for endeavouring at least to divert; and at this rate, both the few Poets that are left, and the Players who toil in vain will be weary of their Trade.
I cannot omit to tell you, that a Wit of the Town, a Friend of mine at Wills Coffee House, the first Night of the Play, cry’d it down as much as in him lay, who before had read it and assured me he never ‘saw a prettier Comedy. So complaisant one pestilent Wit will be to another, and in the full Cry make his Noise too; but since ‘tis to the witty Few I speak, I hope the better Judges will take no Offence, to whom I am oblig’d for better Judgments; and those I hope will be so kind to me, knowing my Conversation not at all addicted to the Indecencys alledged, that I would much less practice it in a Play, that must stand the Test of the censoring World. And I must want common Sense, and all the Degrees of good Manners, renouncing my Fame, all Modesty and Interest for a silly Sawcy fruitless Jest, to make Fools laugh, and Women blush, and wise Men asham’d; My self all the while, if I had been guilty of this Crime charg’d to me, remaining the only stupid, insensible. Is this likely, is this reasonable to be believ’d by any body, but the wilfully blind? All I ask, is the Priviledge for my Masculine Part the Poet in me, (if any such you will allow me) to tread in those successful Paths my Predecessors have so long thriv’d in, to take those Measures that both the Ancient and Modern Writers have set me, and by which they have pleas’d the World so well: If I must not, because of my Sex, have this Freedom, but that you will usurp all to your selves; I lay down my Quill, and you shall hear no more of me, no not so much as to make Comparisons, because I will be kinder to my Brothers of the Pen, than they have been to a defenceless Woman; for I am not content to write for a Third day only. I value Fame as much as if I had been born a Hero; and if you rob me of that, I can retire from the ungrateful World, and scorn its fickle Favours.