The Country Wife was first performed in January 1672 at the Theatre Royal, Drury Lane. It traces several plot lines, the principle of which follows notorious rake Harry Horner’s attempt to carry on affairs by spreading a rumor that he was now a eunuch and no longer a threat to any man’s wife. It was controversial for its sexual explicitness even in its own time, having several notorious scenes filled with extended sexual innuendo and women carousing, singing riotous songs, and behaving exactly like their male counterparts.
With the restoration of the monarchy in 1660 the eighteen year ban on theater imposed by the Puritans was lifted. Charles II’s time in France had nurtured a fascination with the stage and, with his enthusiastic support, Restoration drama was soon once again a thriving part of the London culture—but it provided a completely different experience from Jacobean theater.
Christopher Wren’s newly built Theatre Royal provided a modern stage that accommodated innovations in scenic design and created a new relationship between actors and the audience. Another novelty, imported from France, was the presence of women on stage for the first time in British history. Restoration audiences were fascinated and often aghast to see real women perform, matching their male counterparts both in their wit and use of double entendre.
William Wycherley had spent some of the Commonwealth years in France and become interested in French drama. Borrowing extensively from Molière and others, he wrote several plays for this new theater, with his last two comedies, The Country Wife and The Plain Dealer, being the most famous. At the time, The Country Wife was considered the bawdiest and wittiest play yet seen on the English stage. It enjoyed popularity throughout the period but, as mores shifted and became more strict, the play was eventually considered too outrageous to be performed at all and between 1753 and 1924 was generally replaced on the stage by David Garrick’s cleaned-up, bland version.
had for her at first sight in the playhouse.
Mrs. Pinchwife
But did you love her indeed, and indeed?
Pinchwife
Aside. So, so.—Aloud. Away, I say.
Horner
Nay, stay.—Yes, indeed, and indeed, pray do you tell her so, and give her this kiss from me. Kisses her.
Pinchwife
Aside. O Heavens! what do I suffer? Now ’tis too plain he knows her, and yet—
Horner
And this, and this—Kisses her again.
Mrs. Pinchwife
What do you kiss me for? I am no woman.
Pinchwife
Aside. So, there, ’tis out.—Aloud. Come, I cannot, nor will stay any longer.
Horner
Nay, they shall send your lady a kiss too. Here, Harcourt, Dorilant, will you not? They kiss her.
Pinchwife
Aside. How! do I suffer this? Was I not accusing another just now for this rascally patience, in permitting his wife to be kissed before his face? Ten thousand ulcers gnaw away their lips.—Aloud. Come, come.
Horner
Good night, dear little gentleman; madam, good night: farewell, Pinchwife.—Apart to Harcourt and Dorilant. Did not I tell you I would raise his jealous gall?
Exeunt Horner, Harcourt and Dorilant.
Pinchwife
So, they are gone at last; stay, let me see first if the coach be at this door.
Exit.
Re-enter Horner, Harcourt, and Dorilant.
Horner
What, not gone yet? Will you be sure to do as I desired you, sweet sir?
Mrs. Pinchwife
Sweet sir, but what will you give me then?
Horner
Anything. Come away into the next walk.
Exit, haling away Mrs. Pinchwife.
Alithea
Hold! hold! what d’ye do?
Lucy
Stay, stay, hold—
Harcourt
Hold, madam, hold, let him present him—he’ll come presently; nay, I will never let you go till you answer my question.
Lucy
For God’s sake, sir, I must follow ’em. Alithea and Lucy, struggling with Harcourt and Dorilant.
Dorilant
No, I have something to present you with too, you shan’t follow them.
Re-enter Pinchwife.
Pinchwife
Where?—how—what’s become of?—gone!—whither?
Lucy
He’s only gone with the gentleman, who will give him something, an’t please your worship.
Pinchwife
Something!—give him something, with a pox!—where are they?
Alithea
In the next walk only, brother.
Pinchwife
Only, only! where, where?
Exit and returns presently, then goes out again.
Harcourt
What’s the matter with him? why so much concerned? But, dearest madam—
Alithea
Pray let me go, sir; I have said and suffered enough already.
Harcourt
Then you will not look upon, nor pity, my sufferings?
Alithea
To look upon ’em, when I cannot help ’em, were cruelty, not pity; therefore, I will never see you more.
Harcourt
Let me then, madam, have my privilege of a banished lover, complaining or railing, and giving you but a farewell reason why, if you cannot condescend to marry me, you should not take that wretch, my rival.
Alithea
He only, not you, since my honour is engaged so far to him, can give me a reason why I should not marry him; but if he be true, and what I think him to me, I must be so to him. Your servant, sir.
Harcourt
Have women only constancy when ’tis a vice, and are, like Fortune, only true to fools?
Dorilant
Thou sha’t not stir, thou robust creature; you see I can deal with you, therefore you should stay the rather, and be kind. To Lucy, who struggles to get from him.
Re-enter Pinchwife.
Pinchwife
Gone, gone, not to be found! quite gone! ten thousand plagues go with ’em! Which way went they?
Alithea
But into t’other walk, brother.
Lucy
Their business will be done presently sure, an’t please your worship; it can’t be long in doing, I’m sure on’t.
Alithea
Are they not there?
Pinchwife
No, you know where they are, you infamous wretch, eternal shame of your family, which you do not dishonour enough yourself you think, but you must help her to do it too, thou legion of bawds!
Alithea
Good brother—
Pinchwife
Damned, damned sister!
Alithea
Look you here, she’s coming.
Re-enter Mrs. Pinchwife running, with her hat full of oranges and dried fruit under her arm, Horner following.
Mrs. Pinchwife
O dear bud, look you here what I have got, see!
Pinchwife
And what I have got here too, which you can’t see! Aside, rubbing his forehead.
Mrs. Pinchwife
The fine gentleman has given me better things yet.
Pinchwife
Has he so?—Aside. Out of breath and coloured!—I must hold yet.
Horner
I have only given your little brother an orange, sir.
Pinchwife
To Horner. Thank you, sir.—Aside. You have only squeezed my orange, I suppose, and given it me again; yet I must have a city patience.—To his Wife. Come, come away.
Mrs. Pinchwife
Stay, till I have put up my fine things, bud.
Enter Sir Jasper Fidget.
Sir Jasper
O, Master Horner, come, come, the ladies stay for you; your mistress, my wife, wonders you make not more haste to her.
Horner
I have stayed this half hour for you here, and ’tis your fault I am not now with your wife.
Sir Jasper
But, pray, don’t let her know so much; the truth on’t is, I was advancing a certain project to his majesty about—I’ll tell you.
Horner
No, let’s go, and hear it at your house. Good night, sweet little gentleman; one kiss more, you’ll remember me now, I hope. Kisses her.
Dorilant
What, Sir Jasper, will you separate friends? He promised to sup with us, and if you take him to your house, you’ll be in danger of our company too.
Sir Jasper
Alas! gentlemen, my house is not fit for you; there are none but civil women there, which are not for your turn. He, you know, can bear with the society of civil women now, ha! ha! ha! besides, he’s one of my family—he’s—he! he! he!
Dorilant
What is he?
Sir Jasper
Faith, my eunuch, since you’ll have it; he! he! he!
Exeunt Sir Jasper Fidget and Horner.
Dorilant
I rather wish thou wert his or my cuckold. Harcourt, what a good cuckold is lost there for want of a man to make him one? Thee and I cannot have Horner’s privilege, who can make use of it.
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