Congreve, William

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'''William Congreve''' (January 24, 1670 – January 19, 1729) was an [[England|English]] [[playwright]] and poet. He was born at Bardsey near Leeds and attended school through his elementary years in Ireland. His works include plays, opera, and other various other works of literature. Two of his most popular and well-known plays are ''Love for Love'' in 1965, and ''The Way of the World'' in 1970, for which he is most famous. For the majority of his life, he lived on his reputation and the royalties from his plays. He died on January 19, 1729, in a carriage accident and was buried in Westminster Abbey. A monument over the grave site was erected by the Duchess of Marlborough, with whom he was rumored to be romantically involved. His plays are still produced due to his mastery of pure comedy.
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'''William Congreve''' (January 24, 1670 – January 19, 1729) was an [[England|English]] [[playwright]] and [[poet]]. He was born at Bardsey near Leeds and attended school through his elementary years in [[Ireland]]. His works include plays, [[opera]], and other various works of [[literature]]. Two of his most popular and well-known plays are ''Love for Love'' in 1695, and ''The Way of the World'' in 1700, for which he is most famous. Congreve came at the end of the period of [[Restoration literature]] as the population appeared to rebel against the earlier strictures of the [[Puritan revolution]]. As tastes changed again, Congreve fell silent. For the majority of his life, he lived on his reputation and the royalties from his plays.  
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Congreve died on January 19, 1729, in a carriage accident and was buried in [[Westminster Abbey]]. A monument over the grave site was erected by the Duchess of Marlborough, with whom he was rumored to be romantically involved. His plays are still produced due to his mastery of pure comedy.
  
 
[[Image:William Congreve.jpg|thumb|right|William Congreve]]
 
[[Image:William Congreve.jpg|thumb|right|William Congreve]]
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===Early Life===
 
===Early Life===
  
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William Congreve was born Congreve was born in [[Bardsey, West Yorkshire]], England (near [[Leeds]]) to William Congreve (1637–1708) and his wife, Mary (''née'' Browning; 1636?–1715). Although the inscription on his monument over his grave lists his date of birth as 1672, he was actually born and baptized in 1970. His sister, of whom, little is known, was born in 1972 shortly after his birth. His father was a [[Cavalier]] solider, had settled during the reign of [[Charles II of England|Charles II]], and was placed in command of the garrison at Youghal soon after William was born. Due to his father's tour duty, William spent his childhood in Ireland, where he was a school boy at Kilkenny. He was then educated at [[Trinity College, Dublin|Trinity College]] in [[Dublin]], there he met [[Jonathan Swift]], which he formed a strong friendship with, and remained in contact with for the remainder of his life. Upon graduation, he moved to [[London]] where he matriculated in the [[Middle Temple]]as a student of law. However, he felt himself pulled toward literature, drama, and the fashionable life. His literary apprenticeship was served under the tutelage of John Dryden, the leading playwright of the day, whom he learned a great deal from in terms of his own works and literature pieces.
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William Congreve was born in Bardsey, West Yorkshire, [[England]] (near Leeds) to William Congreve (1637–1708) and his wife, Mary (''née'' Browning; 1636?–1715). Although the inscription on his monument over his grave lists his date of birth as 1672, he was actually born and baptized in 1670. His sister, of whom, little is known, was born in 1672 shortly after his birth. His father was a [[Cavalier]] solider, had settled during the reign of [[Charles II of England|Charles II]], and was placed in command of the garrison at Youghal soon after William was born. Due to his father's tour of duty, William spent his childhood in Ireland, where he attended school at Kilkenny. He was then educated at [[Trinity College, Dublin|Trinity College]] in [[Dublin]], where he met [[Jonathan Swift]], forming a lifelong friendship with him. Upon graduation, he moved to [[London]] where he matriculated in the Middle Temple as a student of [[law]]. However, he felt himself pulled toward literature, drama, and the fashionable life. His literary [[apprenticeship]] was served under the tutelage of [[John Dryden]], the leading playwright of the day, from whom he learned a great deal.  
  
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He originally used the pseudonym of "Cleophil," in his works, shown in the form of a novel whose existence is now remembered only through the unabashed avowal of so austere a moralist as Dr. Johnson.  He claimed that he "would rather praise it than read it" in a critical analysis of the novel.  In 1693, Congreve's real career began, and early enough by the latest computation, with the brilliant appearance and instant success of his first comedy, ''The Old Bachelor.'' This success was under the generous auspices of Dryden, then as ever a living and immortal witness to the falsehood of the vulgar charges which taxes the greater among poets with jealousy or envy, the natural badge and brand of the smallest that would claim a place among their kind. The dis-crowned laureate had never, he said, seen such a first play, and was in awe of Congreve and his work.
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He originally used the pseudonym of "Cleophil" in his works, especially in a novel whose existence is now remembered only through the unabashed avowal of the austere moralist, [[Samuel Johnson|Dr. Johnson]], who waggishly claimed that he "would rather praise it than read it." In 1693, Congreve's real career began with the brilliant appearance and instant success of his first comedy, ''The Old Bachelor.'' This success was under the generous auspices of Dryden, then as ever a living and immortal witness to the falsehood of the vulgar charges which taxes the greater among poets with jealousy or envy, the natural badge and brand of the smallest that would claim a place among their kind. The dis-crowned laureate had never, he said, seen such a first play, and was in awe of Congreve and his work.  
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He went on to write three more plays, and lived a mundane routine in the latter part of his life, not publishing any major works. The one memorable incident of his later life was the visit of [[Voltaire]]. It is thought that Congreve astonished and repelled Voltaire with his rejection of proffered praise and the expression of his wish to be considered merely as any other gentleman of no literary fame. The great master of well-nigh every province in the empire of letters, except the only one in which his host reigned supreme, replied that in that sad case Congreve would not have received his visit.
  
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He went on to write three more plays, and lived a mundane routine in the latter part of his life, not publishing any major works.  The one memorable incident of his later life was the visit of Voltaire.  It is thought that Congreve astonished and repelled Voltaire with his rejection of proffered praise and the expression of his wish to be considered merely as any other gentleman of no literary fame. The great master of well-nigh every province in the empire of letters, except the only one in which his host reigned supreme, replied that in that sad case Congreve would not have received his visit.
 
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===Love Life===
 
===Love Life===
  
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Although Congreve never married, he was famous for his friendships and romances with prominent actresses and noblewomen in his own era and through subsequent generations. One of these women include [[Anne Bracegirdle]], for whom he wrote major parts in all his plays. He also courted [[Henrietta Godolphin, 2nd Duchess of Marlborough]], daughter of the famous general, [[John Churchill, 1st Duke of Marlborough]], whom he had probably met by 1703. Congreve and Henrietta had a love affair that produced his sole offspring, a daughter, Mary (1723–1764).
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Although Congreve never married, he was famous for his friendships and romances with prominent actresses and noblewomen in his own era and through subsequent generations. One of these women included Anne Bracegirdle, for whom he wrote major parts in all his plays. He also courted Henrietta Godolphin, 2nd Duchess of Marlborough, daughter of the famous general, John Churchill, 1st Duke of Marlborough, whom he had probably met by 1703. Congreve and Henrietta had a love affair that produced his sole offspring, a daughter, Mary (1723–1764).
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===Death===
 
===Death===
  
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His even course of good fortune under Whig and Tory governments alike was counterweighted by the physical infirmities of gout and failing sight. As early as 1710, he suffered both from gout and from cataracts on his eyes. Then, in late September 1728, Congreve suffered a carriage accident of an upsetting of his carriage, from which he never recovered. It is thought that from this accident, he received an internal injury, which was from a journey to Bath. He died on January 19, 1729, in consequence of that injury and his internal wounds.  
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His even course of good fortune under Whig and Tory governments alike was counterweighted by the physical infirmities of gout and failing sight. As early as 1710, he suffered both from gout and from cataracts on his eyes. Then, in late September 1728, Congreve suffered a carriage accident of an upsetting of his carriage, from which he never recovered. It is thought that from this accident, he received an internal injury, which was from a journey to Bath. He died on January 19, 1729, in consequence of that injury and his internal wounds.  
  
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He was buried in Westminster Abbey, after lying in state in the Jerusalem Chamber, where a monument was erected in his honor. The patron and solicitor of the monument, Henrietta Godolphin, 2nd Duchess of Marlborough, was said to not only be romantically involved with Congreve during his later years, to also have beared him a daughter as well. William bequeathed the bulk of his fortune to the chief friend of his last years, Henrietta, duchess of Marlborough, daughter of the great duke.  There was controversy surrounding his fortune, in regards to who received the final pay out from Congreve. The upset that Henrietta should receive the money, rather than his family, which were reported to be going through a period of financial difficulty, upset many. Another surprise in his last will and testament was that Mrs. Bracegirdle, the actress, with whom he had lived longer on intimate terms than with any other mistress or friend, only inherited £200.
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He was buried in [[Westminster Abbey]], after lying in state in the Jerusalem Chamber, where a monument was erected in his honor. The patron and solicitor of the monument, Henrietta Godolphin, 2nd Duchess of Marlborough, with whom he was romantically involved during his later years. William bequeathed the bulk of his fortune to her, although there was controversy as to who received the final pay out from Congreve's fortune. That Henrietta should receive the money, rather than his family, which were reported to be going through a period of financial difficulty, upset many. Another surprise in his last will and testament was that Mrs. Bracegirdle, the actress, with whom he had lived longer on intimate terms than with any other mistress or friend, only inherited £200.
  
 
==Works==
 
==Works==
  
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Congreve's first play, ''The Old Bachelor'' (1693) was an enormous success when it was produced at the Theatre Royal, Drury Lane. Dryden, Congreve's mentor, wrote that he had never read so brilliant a first play, and was impressed with the level of sophistication that Congreve mastered through the play. Congreve's next effort, however, was not so successful. His next play, ''The Double-Dealer'' (1693), revolved around a socialite who deceives everyone with the simple device of telling the plain truth. Although most modern critics consider ''The Double-Dealer'' an improvement over Congreve's first play, it was snubbed by critics and audiences alike in his life. Congreve was irritated by what he perceived as the obtuseness of the public through their reaction to the play, and took a two year absence because of such before writing a play again.  
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Congreve's first play, ''The Old Bachelor'' (1693) was an enormous success when it was produced at the Theatre Royal, Drury Lane. [[John Dryden]], Congreve's mentor, wrote that he had never read so brilliant a first play, and was impressed with the level of sophistication that Congreve displayed through the play. Congreve's next effort, however, was not so successful. ''The Double-Dealer'' (1693) revolved around a socialite who deceives everyone with the simple device of telling the plain truth. Although most modern critics consider ''The Double-Dealer'' an improvement over Congreve's first play, it was snubbed by critics and audiences alike. Congreve was irritated by what he perceived as the obtuseness of the public in their reaction to the play, and took a two year absence before writing a play again.  
  
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In ''Love for Love'' (1695), Congreve temporarily returned to the public favor, and still remains popular with audiences. His reputation improved still further with the production of his only tragedy, ''The Mourning Bride'', in 1697. However, the masterpiece of Congreve was by far ''The Way of the World'', which was released in 1700.
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In ''Love for Love'' (1695), Congreve temporarily returned to the public favor, and it still remains popular with audiences. His reputation improved still further with the production of his only tragedy, ''The Mourning Bride'', in 1697. However, the masterpiece of Congreve was by far ''The Way of the World'', which was released in 1700.  
  
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Unfortunately, through his plays, Congreve's wit and his characters' sexual freedom and experimentation was at odds with the thinking of certain moralists of the day. In a critique by  
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Unfortunately, through his plays, Congreve's wit and his characters' sexual freedom and experimentation was at odds with the thinking of certain moralists of the day. In a critique by [[Jeremy Collier]], ''(A Short View of the Immorality and Profaneness of the English Stage)'' in 1698, Congreve was directly attacked, along with his predecessor, Dryden. Collier succeeded in garnering public support for his cause by beginning with the accepted neoclassical doctrine that the purpose of drama is to teach and please and then pointing out the disparity between theory and practice. Congreve responded to Collier's accusations in ''Amendments of Mr. Collier's False and Imperfect Citations'' that same year, defending his work and his honor. However, the conservative middle class, determined to make its tastes felt, sided with Collier and the Society for the Reformation of Manners. It became increasingly difficult to get a play produced during this time, unless it conformed to Collier's doctrine. Realizing that his protests were in vain, Congreve gave up playwriting altogether, resolving to "commit his quiet and his fame no more to the caprices of an audience," when he was only thirty years of age.
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[[Jeremy Collier]], (''A Short View of the Immorality and Profaneness of the English Stage'') in (1698), Congreve was directly attacked, along with his predecessor, Dryden. Collier succeeded in garnering public support for his cause by beginning with the accepted neoclassical doctrine that the purpose of drama is to teach and please and then pointing out the disparity between theory and practice. Congreve responded to Collier's accusations in [[''Amendments of Mr. Collier's False and Imperfect Citations'']] that same year, defending his work and his honor. However, the conservative middle class, determined to make its tastes felt, sided with Collier and the Society for the Reformation of Manners. It became increasingly difficult to get a play produced during this time, unless it conformed to Collier's doctrine. Realizing that his protests were in vain, Congreve gave up playwriting altogether, resolving to "commit his quiet and his fame no more to the caprices of an audience," when he was only thirty years of age.
 
  
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Although, he would write no more plays, Congreve did not retire entirely from the theater. He wrote the libretto for two operas and collaborated, in 1704, in translating [[Molière]]'s ''Monsieur de Pourceaugnac'' for Lincoln's Inn Fields. However, for the next twenty-nine years, he lived mostly on his reputation and the royalties from his plays, as he withdrew from the theater and lived the rest of his life on residuals from his early work. His output from 1700 was restricted to the occasional poem and some translations.  
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Although, he would write no more plays, Congreve did not retire entirely from the theater. He wrote the libretto for two [[opera]]s and collaborated, in 1704, in translating [[Molière]]'s ''Monsieur de Pourceaugnac'' for Lincoln's Inn Fields. However, for the next twenty-nine years, he lived mostly on his reputation and the royalties from his plays, as he withdrew from the theater, living on residuals from his early work. His output from 1700 was restricted to the occasional poem and some translations.  
  
 
===''The Way of the World''===
 
===''The Way of the World''===
  
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Although ''The Way of the World'' was coolly received when it was first acted at Lincoln's Inn Fields, it has since come to be considered one of the most intellectually accomplished of English comedies. The story revolves around a pair of lovers, Millamant and Mirabell, who establish a rather unconventional marriage arrangement based on their knowledge of the way of the world which, as they know, is inhabited primarily by intriguers, fops, and fools.  
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Although ''The Way of the World'' was coolly received when it was first acted at Lincoln's Inn Fields, it has since come to be considered one of the most intellectually accomplished of English comedies. The story revolves around a pair of lovers, Millamant and Mirabell, who establish a rather unconventional [[marriage]] arrangement based on their knowledge of the way of the world which, as they know, is inhabited primarily by intriguers, fops, and fools.  
  
 
===Plot Summary===
 
===Plot Summary===
  
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The main character and libertine, Mirabell is in love with Millamant, a niece of Lady Wishfort, and has pretended to make love to the aunt to conceal his suit for the niece. His trick has been revealed by Mrs. Marwood, who does it out of revenge because Mirabell has rejected her advances. Lady Wishfort, who now hates Mirabell "more than a quaker hates a parrot," will deprive her niece of the half of the inheritance she controls if Millamant marries Mirabell. Mirabell has his servant Waitwell impersonate his uncle, Sir Rowland, and pretend to marry Lady Wishfort, but only after having secretly married him off to her maid Foible. He hopes to use this humiliating deception to force Lady Wishfort to consent to his marriage to Millamant.
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The main character and libertine, Mirabell, is in love with Millamant, a niece of Lady Wishfort, who pretends to make love to the aunt to conceal his suit for the niece. His trick is revealed by Mrs. Marwood, who does so to seek revenge because Mirabell has rejected her advances. Lady Wishfort, who now hates Mirabell "more than a quaker hates a parrot," will deprive her niece of the half of the inheritance she controls if Millamant marries Mirabell. Mirabell has his servant Waitwell impersonate his uncle, Sir Rowland, and pretend to marry Lady Wishfort, but only after having secretly married him off to her maid, Foible. He hopes to use this humiliating deception to force Lady Wishfort to consent to his marriage to Millamant.  
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The plot is discovered by Mrs. Marwood, who also finds out that Mirabell has had a previous intrigue with Mrs. Fainall, daughter of Lady Wishfort, after which she married her off to Mr. Fainall, thinking that she was pregnant with his child. She conspires with Fainall, her lover, who pretends to be the friend of Mirabell, to reveal this information to Lady Wishfort, while Fainall threatens to divorce his wife and to discredit Lady Wishfort unless he is given full control of Mrs. Fainallís property and Millamant's portion is handed over to him. The scheme fails. Mrs. Fainall denies all and brings proof of Fainall's affair with Mrs. Marwood, while Mirabell produces a deed by which Mrs. Fainall, before her marriage, made him trustee of all her property. In the end, Lady Wishfort, grateful for her release from Fainall's threats, forgives Mirabell and consents to the marriage.
  
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The plot is discovered by Mrs. Marwood, who also finds out that Mirabell has had a past intrigue with Mrs. Fainall, daughter of Lady Wishfort, and after married her off to Mr. Fainall, thinking that she was pregnant with his child.  She conspires with Fainall, her lover and the pretended friend of Mirabell, to reveal this information to Lady Wishfort, while Fainall threatens to divorce his wife and to discredit Lady Wishfort unless he is given full control of Mrs. Fainallís property and Millamantís portion is handed over to him.  The scheme fails. Mrs. Fainall denies all and brings proof of Fainallís affair with Mrs. Marwood, while Mirabell produces a deed by which Mrs. Fainall, before her marriage, made him trustee of all her property.  In the end, Lady Wishfort, grateful for her release from Fainallís threats, forgives Mirabell and consents to the marriage.
 
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===Excerpt===
 
===Excerpt===
  
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:::''Fainall:     Your fame I have preserved. Your fortune has been bestowed as the prodigality of your love would have it, in pleasures which we both have shared. Yet, had not you been false, I had e’er this repaid it—’Tis true—had you permitted Mirabell with Millamant to have stolen their marriage, my lady had been incensed beyond all means of reconcilement: Millamant had forfeited the moiety of her fortune; which then would have descended to my wife;—And wherefore did I marry, but to make lawful prize of a rich widow’s wealth, and squander it on love and you?
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:::''Fainall:   Your fame I have preserved. Your fortune has been bestowed as the prodigality of your love would have it, in pleasures which we both have shared. Yet, had not you been false, I had e’er this repaid it—’Tis true—had you permitted Mirabell with Millamant to have stolen their marriage, my lady had been incensed beyond all means of reconcilement: Millamant had forfeited the moiety of her fortune; which then would have descended to my wife;—And wherefore did I marry, but to make lawful prize of a rich widow’s wealth, and squander it on love and you?
  
 
:::''Mrs. Marwood: Deceit and frivolous pretense.
 
:::''Mrs. Marwood: Deceit and frivolous pretense.
  
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:::''Fainall:     Death, am I not married? What’s pretense? Am I not imprisoned, fettered? Have I not a wife? Nay, a wife that was a widow, a young widow, a handsome widow; and would be again a widow, but that I have a heart of proof, and something of a constitution to bustle through the ways of wedlock and this world. Will you yet be reconciled to truth and me?
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:::''Fainall:   Death, am I not married? What’s pretense? Am I not imprisoned, fettered? Have I not a wife? Nay, a wife that was a widow, a young widow, a handsome widow; and would be again a widow, but that I have a heart of proof, and something of a constitution to bustle through the ways of wedlock and this world. Will you yet be reconciled to truth and me?
  
 
:::''Mrs. Marwood: Impossible. Truth and you are inconsistent—I hate you, and shall for ever.
 
:::''Mrs. Marwood: Impossible. Truth and you are inconsistent—I hate you, and shall for ever.
  
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:::''Fainall:     For loving you?
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:::''Fainall:   For loving you?
  
 
:::''Mrs. Marwood: I loath the name of love after such usage; and next to the guilt with which you would asperse me, I scorn you most. Farewell.
 
:::''Mrs. Marwood: I loath the name of love after such usage; and next to the guilt with which you would asperse me, I scorn you most. Farewell.
  
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This excerpt demonstrates the essence of the world of Restoration manners, where all language of personal experience and feeling is tainted. Love, hatred, deception, and vows, are all discussed between the characters, showing that the corruption of such values touches everything in their lives. Through this encounter, Fainall and Mrs. Marwood allow the play, through Congreve, to insist that this is what the world is about, jealousy and detestation.
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This excerpt demonstrates the essence of the world of Restoration manners, where all language of personal experience and feeling is tainted. Love, hatred, deception, and vows are all discussed between the characters, showing that the corruption of such values touches everything in their lives. Through this encounter, Congreve uses Fainall and Mrs. Marwood to reveal that the essence of this world is about, jealousy and detestation.
  
 
==Legacy==
 
==Legacy==
  
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William Congreve wrote some of the most popular English plays of the Restoration period of the late 17th century. By the age of thirty, he had written four comedies, including ''[[Love for Love]]'' (premiered [[April 30]], [[1695 in literature|1695]]) and ''[[The Way of the World]]'' (premiered [[1700 in literature|1700]]), and one tragedy, ''[[The Mourning Bride]]'' ([[1697 in literature|1697]]).
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William Congreve wrote some of the most popular English plays of the Restoration period of the late seventeenth century. By the age of thirty, he had written four comedies, including ''Love for Love'' (premiered April 30, 1695) and ''The Way of the World'' (premiered 1700), as well as one tragedy, ''The Mourning Bride'' (1697). His popularity and fame during and after his lifetime came from all of his plays, especially his masterpiece, ''The Way of the World'', in which, he was able to demonstrate his ability to write comedy in its highest and purest form. William Congreve has been compared to some great literary writers in and after his time period. Of Congreve's immediate predecessors, [[William Wycherley]] most often mirrored many of the techniques and situations that Congreve himself implored, but was not match for his wit and candor.  
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The fame of the greatest English comic dramatist is founded wholly or mainly on but three of his five plays. Although the types of Congreve's first work were the common conventional properties of stage tradition, it was little more than a brilliant study after such models as were eclipsed by this earliest effort of their imitator, and tragedy under his hands appears rouged and wrinkled, in the patches and powder of Lady Wishfort in his masterpiece, ''The Way of the World''. But his three great comedies are more than enough to sustain a reputation as durable as our language. Were it not for these we should have no samples to show of comedy in its purest and highest form.  
 
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William Congreve has been compared to some great literary writers in and after his time period. Of Congreve's immediate predecessors, whose aim had been to raise on French foundations a new English fabric of simple and unmixed comedy, Wycherley was of too base metal and Etherege was of metal too light to be weighed against him; and besides theirs no other or finer coin was current than the crude British ore of Shadwell's brutal and burly talent. Borrowing a metaphor from Landor, we may say that a limb of Molière would have sufficed to make a Congreve, a limb of Congreve would have sufficed to make a Sheridan.  
 
  
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The broad and roebust humor of Vanbrugh's admirable comedies gives him a place on the master's right hand; on the left stands Farquhar, whose bright light genius is to Congreve's as female is to male, or "as moonlight unto sunlight." No English writer, on the whole, has so nearly touched the skirts of Molière; but his splendid intelligence is wanting in the deepest and subtlest quality which has won for Molière from the greatest poet of his country and our age the tribute of exact and final definition conveyed in that perfect phrase which salutes at once and denotes him—"ce moqueur pensif comme un apôtre." Only perhaps in a single part has Congreve half consciously touched a note of almost tragic depth and suggestion; there is something well-nigh akin to the grotesque and piteous figure of Arnolphe himself in the venerable old age of Lady Wishfort, set off and relieved as it is, with grace and art worthy of the supreme French master, against the only figure on any stage which need not shun comparison even with that of Célimène.
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While Congreve cannot be equally compared to the likes of [[Moliere]], he earned himself a place in literature due to his comedy throughout his plays. It is said that "only perhaps in a single part has Congreve half consciously touched a note of almost tragic depth and suggestion; there is something well-nigh akin to the grotesque and piteous figure of Arnolphe himself in the venerable old age of Lady Wishfort, set off and relieved as it is, with grace and art worthy of the supreme French master, against the only figure on any stage which need not shun comparison even with that of Célimène."<ref>Scott McMillin, ''Restoration and Eighteenth-Century Comedy (Norton Critical Editions)'' (New York and London: W. W. Norton & Company; 2 Sub edition, January 1997).</ref>
  
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Unfortunately, his career ended almost as soon as it began. After writing five plays from his first in 1693 until 1700, he produced no more as public tastes turned against the sort of high-brow sexual comedy of manners in which he specialized.
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Unfortunately, Congreve's career ended almost as soon as it began. After writing five plays from his first in 1693 until 1700, he produced no more as public tastes turned against the sort of high-brow sexual comedy of manners in which he specialized.
  
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===Bibliography===
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===Bibliography===  
  
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* ''[[The Old Bachelor]]'' ([[1693 in literature|1693]]), comedy, 1693
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* ''The Old Bachelor'' (1693), comedy
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* ''[[The Double Dealer]]'' ([[1693 in literature|1693]]), comedy, 1693.
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* ''The Double Dealer'' (1693), comedy
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* ''[[Love for Love]]'' ([[1695 in literature|1695]]), comedy, 1695.
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* ''Love for Love'' (1695), comedy
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* ''[[The Mourning Bride]]'' ([[1697 in literature|1697]]), tragedy, 1697.
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* ''The Mourning Bride'' (1697), tragedy
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* ''[[Amendments of Mr. Collier's False and Imperfect Citations]]'', critique, 1698.
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* ''Amendments of Mr. Collier's False and Imperfect Citations'', critique, 1698
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* ''[[The Way of the World]]'' ([[1700 in literature|1700]]), comedy, 1700.
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* ''The Way of the World'' (1700), comedy
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* ''[[Monsieur de Pourceaugnac]]'', translation, 1704.
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* ''Monsieur de Pourceaugnac'', translation, 1704
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* ''[[False Though She Be]]'', poem, date unknown.
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* ''False Though She Be'', poem, date unknown.
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* ''[[A Hue and Cry after Fair Amoret]]'', poem, date unknown.
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* ''A Hue and Cry after Fair Amoret'', poem, date unknown.<ref>William Congreve also participated in a number of translations after 1700, much of which are not accounted for.</ref>
  
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===Note===
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==Notes==
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William Congreve also participated in a number of translations after 1700, much of which are not accounted for. 
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<references/>
  
 
==References==
 
==References==
  
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* William Congreve and Montague Summers: ''The Complete Works Of William Congreve''. London: Kessinger Publishing, March 31, 2004. ISBN 0766187381.
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* Congreve, William and Montague Summers. ''The Complete Works Of William Congreve''. London: Kessinger Publishing, March 31, 2004. ISBN 0766187381
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* Erskine-Hill: ''William Congreve: The Critical Heritage (The Collected Critical Heritage: the Restoration and the Augustans)''. UK: Routledge; 1 edition, March 5, 1996. ISBN 0415134315
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* Anthony G. Henderson: ''The Comedies of William Congreve: The Old Batchelour, Love for Love, The Double Dealer, The Way of the World (Plays by Renaissance and Restoration Dramatists)''. Cambridge: Cambridge University Press, November 30, 1982. ISBN 0521247470.
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* Henderson, Anthony G. ''The Comedies of William Congreve: The Old Batchelour, Love for Love, The Double Dealer, The Way of the World (Plays by Renaissance and Restoration Dramatists)''. Cambridge: Cambridge University Press, November 30, 1982. ISBN 0521247470
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* McMillin, Scott. ''Restoration and Eighteenth-Century Comedy (Norton Critical Editions)''. New York and London: W. W. Norton & Company; 2 Sub edition, January 1997. ISBN 0393963349
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* Erskine-Hill: ''William Congreve: The Critical Heritage (The Collected Critical Heritage : the Restoration and the Augustans)''. UK: Routledge; 1 edition, March 5, 1996. ISBN 0415134315.
 
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* Scott McMillin: ''Restoration and Eighteenth-Century Comedy (Norton Critical Editions)''. New York and London: W. W. Norton & Company; 2 Sub edition, January 1997. ISBN 0393963349.
 
  
 
==External links==
 
==External links==
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All links retrieved May 7, 2023.
  
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* [http://www.theatrehistory.com/british/congreve001.html William Congreve Biography] Retrieved June 9, 2007.
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* [http://www.theatrehistory.com/british/congreve001.html William Congreve Biography]
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* [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1273 Find-A-Grave profile for William Congreve]
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* [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1273 Find-A-Grave profile for William Congreve] Retrieved June 9, 2007.
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* [http://www.poetry-archive.com/c/congreve_william_bibliography.html Congreve Bibliography]
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* [http://www.poetry-archive.com/c/congreve_william_bibliography.html Congreve Bibliography] Retrieved June 9, 2007.
 
  
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[[category:biography]]
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[[Category:Writers and poets]]
  
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[[category:Art, music, literature, sports and leisure]]
 
 
{{credits|William_Congreve|129814624}}
 
{{credits|William_Congreve|129814624}}

Latest revision as of 15:55, 7 May 2023

William Congreve (January 24, 1670 – January 19, 1729) was an English playwright and poet. He was born at Bardsey near Leeds and attended school through his elementary years in Ireland. His works include plays, opera, and other various works of literature. Two of his most popular and well-known plays are Love for Love in 1695, and The Way of the World in 1700, for which he is most famous. Congreve came at the end of the period of Restoration literature as the population appeared to rebel against the earlier strictures of the Puritan revolution. As tastes changed again, Congreve fell silent. For the majority of his life, he lived on his reputation and the royalties from his plays.

Congreve died on January 19, 1729, in a carriage accident and was buried in Westminster Abbey. A monument over the grave site was erected by the Duchess of Marlborough, with whom he was rumored to be romantically involved. His plays are still produced due to his mastery of pure comedy.

William Congreve

Life

Early Life

William Congreve was born in Bardsey, West Yorkshire, England (near Leeds) to William Congreve (1637–1708) and his wife, Mary (née Browning; 1636?–1715). Although the inscription on his monument over his grave lists his date of birth as 1672, he was actually born and baptized in 1670. His sister, of whom, little is known, was born in 1672 shortly after his birth. His father was a Cavalier solider, had settled during the reign of Charles II, and was placed in command of the garrison at Youghal soon after William was born. Due to his father's tour of duty, William spent his childhood in Ireland, where he attended school at Kilkenny. He was then educated at Trinity College in Dublin, where he met Jonathan Swift, forming a lifelong friendship with him. Upon graduation, he moved to London where he matriculated in the Middle Temple as a student of law. However, he felt himself pulled toward literature, drama, and the fashionable life. His literary apprenticeship was served under the tutelage of John Dryden, the leading playwright of the day, from whom he learned a great deal.

He originally used the pseudonym of "Cleophil" in his works, especially in a novel whose existence is now remembered only through the unabashed avowal of the austere moralist, Dr. Johnson, who waggishly claimed that he "would rather praise it than read it." In 1693, Congreve's real career began with the brilliant appearance and instant success of his first comedy, The Old Bachelor. This success was under the generous auspices of Dryden, then as ever a living and immortal witness to the falsehood of the vulgar charges which taxes the greater among poets with jealousy or envy, the natural badge and brand of the smallest that would claim a place among their kind. The dis-crowned laureate had never, he said, seen such a first play, and was in awe of Congreve and his work.

He went on to write three more plays, and lived a mundane routine in the latter part of his life, not publishing any major works. The one memorable incident of his later life was the visit of Voltaire. It is thought that Congreve astonished and repelled Voltaire with his rejection of proffered praise and the expression of his wish to be considered merely as any other gentleman of no literary fame. The great master of well-nigh every province in the empire of letters, except the only one in which his host reigned supreme, replied that in that sad case Congreve would not have received his visit.

Love Life

Although Congreve never married, he was famous for his friendships and romances with prominent actresses and noblewomen in his own era and through subsequent generations. One of these women included Anne Bracegirdle, for whom he wrote major parts in all his plays. He also courted Henrietta Godolphin, 2nd Duchess of Marlborough, daughter of the famous general, John Churchill, 1st Duke of Marlborough, whom he had probably met by 1703. Congreve and Henrietta had a love affair that produced his sole offspring, a daughter, Mary (1723–1764).

Death

His even course of good fortune under Whig and Tory governments alike was counterweighted by the physical infirmities of gout and failing sight. As early as 1710, he suffered both from gout and from cataracts on his eyes. Then, in late September 1728, Congreve suffered a carriage accident of an upsetting of his carriage, from which he never recovered. It is thought that from this accident, he received an internal injury, which was from a journey to Bath. He died on January 19, 1729, in consequence of that injury and his internal wounds.

He was buried in Westminster Abbey, after lying in state in the Jerusalem Chamber, where a monument was erected in his honor. The patron and solicitor of the monument, Henrietta Godolphin, 2nd Duchess of Marlborough, with whom he was romantically involved during his later years. William bequeathed the bulk of his fortune to her, although there was controversy as to who received the final pay out from Congreve's fortune. That Henrietta should receive the money, rather than his family, which were reported to be going through a period of financial difficulty, upset many. Another surprise in his last will and testament was that Mrs. Bracegirdle, the actress, with whom he had lived longer on intimate terms than with any other mistress or friend, only inherited £200.

Works

Congreve's first play, The Old Bachelor (1693) was an enormous success when it was produced at the Theatre Royal, Drury Lane. John Dryden, Congreve's mentor, wrote that he had never read so brilliant a first play, and was impressed with the level of sophistication that Congreve displayed through the play. Congreve's next effort, however, was not so successful. The Double-Dealer (1693) revolved around a socialite who deceives everyone with the simple device of telling the plain truth. Although most modern critics consider The Double-Dealer an improvement over Congreve's first play, it was snubbed by critics and audiences alike. Congreve was irritated by what he perceived as the obtuseness of the public in their reaction to the play, and took a two year absence before writing a play again.

In Love for Love (1695), Congreve temporarily returned to the public favor, and it still remains popular with audiences. His reputation improved still further with the production of his only tragedy, The Mourning Bride, in 1697. However, the masterpiece of Congreve was by far The Way of the World, which was released in 1700.

Unfortunately, through his plays, Congreve's wit and his characters' sexual freedom and experimentation was at odds with the thinking of certain moralists of the day. In a critique by Jeremy Collier, (A Short View of the Immorality and Profaneness of the English Stage) in 1698, Congreve was directly attacked, along with his predecessor, Dryden. Collier succeeded in garnering public support for his cause by beginning with the accepted neoclassical doctrine that the purpose of drama is to teach and please and then pointing out the disparity between theory and practice. Congreve responded to Collier's accusations in Amendments of Mr. Collier's False and Imperfect Citations that same year, defending his work and his honor. However, the conservative middle class, determined to make its tastes felt, sided with Collier and the Society for the Reformation of Manners. It became increasingly difficult to get a play produced during this time, unless it conformed to Collier's doctrine. Realizing that his protests were in vain, Congreve gave up playwriting altogether, resolving to "commit his quiet and his fame no more to the caprices of an audience," when he was only thirty years of age.

Although, he would write no more plays, Congreve did not retire entirely from the theater. He wrote the libretto for two operas and collaborated, in 1704, in translating Molière's Monsieur de Pourceaugnac for Lincoln's Inn Fields. However, for the next twenty-nine years, he lived mostly on his reputation and the royalties from his plays, as he withdrew from the theater, living on residuals from his early work. His output from 1700 was restricted to the occasional poem and some translations.

The Way of the World

Although The Way of the World was coolly received when it was first acted at Lincoln's Inn Fields, it has since come to be considered one of the most intellectually accomplished of English comedies. The story revolves around a pair of lovers, Millamant and Mirabell, who establish a rather unconventional marriage arrangement based on their knowledge of the way of the world which, as they know, is inhabited primarily by intriguers, fops, and fools.

Plot Summary

The main character and libertine, Mirabell, is in love with Millamant, a niece of Lady Wishfort, who pretends to make love to the aunt to conceal his suit for the niece. His trick is revealed by Mrs. Marwood, who does so to seek revenge because Mirabell has rejected her advances. Lady Wishfort, who now hates Mirabell "more than a quaker hates a parrot," will deprive her niece of the half of the inheritance she controls if Millamant marries Mirabell. Mirabell has his servant Waitwell impersonate his uncle, Sir Rowland, and pretend to marry Lady Wishfort, but only after having secretly married him off to her maid, Foible. He hopes to use this humiliating deception to force Lady Wishfort to consent to his marriage to Millamant.

The plot is discovered by Mrs. Marwood, who also finds out that Mirabell has had a previous intrigue with Mrs. Fainall, daughter of Lady Wishfort, after which she married her off to Mr. Fainall, thinking that she was pregnant with his child. She conspires with Fainall, her lover, who pretends to be the friend of Mirabell, to reveal this information to Lady Wishfort, while Fainall threatens to divorce his wife and to discredit Lady Wishfort unless he is given full control of Mrs. Fainallís property and Millamant's portion is handed over to him. The scheme fails. Mrs. Fainall denies all and brings proof of Fainall's affair with Mrs. Marwood, while Mirabell produces a deed by which Mrs. Fainall, before her marriage, made him trustee of all her property. In the end, Lady Wishfort, grateful for her release from Fainall's threats, forgives Mirabell and consents to the marriage.

Excerpt

Fainall: Your fame I have preserved. Your fortune has been bestowed as the prodigality of your love would have it, in pleasures which we both have shared. Yet, had not you been false, I had e’er this repaid it—’Tis true—had you permitted Mirabell with Millamant to have stolen their marriage, my lady had been incensed beyond all means of reconcilement: Millamant had forfeited the moiety of her fortune; which then would have descended to my wife;—And wherefore did I marry, but to make lawful prize of a rich widow’s wealth, and squander it on love and you?
Mrs. Marwood: Deceit and frivolous pretense.
Fainall: Death, am I not married? What’s pretense? Am I not imprisoned, fettered? Have I not a wife? Nay, a wife that was a widow, a young widow, a handsome widow; and would be again a widow, but that I have a heart of proof, and something of a constitution to bustle through the ways of wedlock and this world. Will you yet be reconciled to truth and me?
Mrs. Marwood: Impossible. Truth and you are inconsistent—I hate you, and shall for ever.
Fainall: For loving you?
Mrs. Marwood: I loath the name of love after such usage; and next to the guilt with which you would asperse me, I scorn you most. Farewell.

This excerpt demonstrates the essence of the world of Restoration manners, where all language of personal experience and feeling is tainted. Love, hatred, deception, and vows are all discussed between the characters, showing that the corruption of such values touches everything in their lives. Through this encounter, Congreve uses Fainall and Mrs. Marwood to reveal that the essence of this world is about, jealousy and detestation.

Legacy

William Congreve wrote some of the most popular English plays of the Restoration period of the late seventeenth century. By the age of thirty, he had written four comedies, including Love for Love (premiered April 30, 1695) and The Way of the World (premiered 1700), as well as one tragedy, The Mourning Bride (1697). His popularity and fame during and after his lifetime came from all of his plays, especially his masterpiece, The Way of the World, in which, he was able to demonstrate his ability to write comedy in its highest and purest form. William Congreve has been compared to some great literary writers in and after his time period. Of Congreve's immediate predecessors, William Wycherley most often mirrored many of the techniques and situations that Congreve himself implored, but was not match for his wit and candor.

While Congreve cannot be equally compared to the likes of Moliere, he earned himself a place in literature due to his comedy throughout his plays. It is said that "only perhaps in a single part has Congreve half consciously touched a note of almost tragic depth and suggestion; there is something well-nigh akin to the grotesque and piteous figure of Arnolphe himself in the venerable old age of Lady Wishfort, set off and relieved as it is, with grace and art worthy of the supreme French master, against the only figure on any stage which need not shun comparison even with that of Célimène."[1]

Unfortunately, Congreve's career ended almost as soon as it began. After writing five plays from his first in 1693 until 1700, he produced no more as public tastes turned against the sort of high-brow sexual comedy of manners in which he specialized.

Bibliography

  • The Old Bachelor (1693), comedy
  • The Double Dealer (1693), comedy
  • Love for Love (1695), comedy
  • The Mourning Bride (1697), tragedy
  • Amendments of Mr. Collier's False and Imperfect Citations, critique, 1698
  • The Way of the World (1700), comedy
  • Monsieur de Pourceaugnac, translation, 1704
  • False Though She Be, poem, date unknown.
  • A Hue and Cry after Fair Amoret, poem, date unknown.[2]

Notes

  1. ↑ Scott McMillin, Restoration and Eighteenth-Century Comedy (Norton Critical Editions) (New York and London: W. W. Norton & Company; 2 Sub edition, January 1997).
  2. ↑ William Congreve also participated in a number of translations after 1700, much of which are not accounted for.

References
ISBN links support NWE through referral fees

  • Congreve, William and Montague Summers. The Complete Works Of William Congreve. London: Kessinger Publishing, March 31, 2004. ISBN 0766187381
  • Erskine-Hill: William Congreve: The Critical Heritage (The Collected Critical Heritage: the Restoration and the Augustans). UK: Routledge; 1 edition, March 5, 1996. ISBN 0415134315
  • Henderson, Anthony G. The Comedies of William Congreve: The Old Batchelour, Love for Love, The Double Dealer, The Way of the World (Plays by Renaissance and Restoration Dramatists). Cambridge: Cambridge University Press, November 30, 1982. ISBN 0521247470
  • McMillin, Scott. Restoration and Eighteenth-Century Comedy (Norton Critical Editions). New York and London: W. W. Norton & Company; 2 Sub edition, January 1997. ISBN 0393963349

External links

All links retrieved May 7, 2023.

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