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.
ill poet; or what is yet more impudent, a secondhand critic.
Horner
But what say the ladies? have they no pity?
Harcourt
What ladies? The vizard-masks, you know, never pity a man when all’s gone, though in their service.
Dorilant
And for the women in the boxes, you’d never pity them when ’twas in your power.
Harcourt
They say ’tis pity but all that deal with common women should be served so.
Dorilant
Nay, I dare swear they won’t admit you to play at cards with them, go to plays with ’em, or do the little duties which other shadows of men are wont to do for ’em.
Horner
What do you call shadows of men?
Dorilant
Half-men.
Horner
What, boys?
Dorilant
Ay, your old boys, old beaux garçons, who, like superannuated stallions, are suffered to run, feed, and whinny with the mares as long as they live, though they can do nothing else.
Horner
Well, a pox on love and wenching! Women serve but to keep a man from better company. Though I can’t enjoy them, I shall you the more. Good fellowship and friendship are lasting, rational, and manly pleasures.
Harcourt
For all that, give me some of those pleasures you call effeminate too; they help to relish one another.
Horner
They disturb one another.
Harcourt
No, mistresses are like books. If you pore upon them too much, they doze you, and make you unfit for company; but if used discreetly, you are the fitter for conversation by ’em.
Dorilant
A mistress should be like a little country retreat near the town; not to dwell in constantly, but only for a night and away, to taste the town the better when a man returns.
Horner
I tell you, ’tis as hard to be a good fellow, a good friend, and a lover of women, as ’tis to be a good fellow, a good friend, and a lover of money. You cannot follow both, then choose your side. Wine gives you liberty, love takes it away.
Dorilant
Gad, he’s in the right on’t.
Horner
Wine gives you joy; love, grief and tortures, besides surgeons. Wine makes us witty; love, only sots. Wine makes us sleep; love breaks it.
Dorilant
By the world he has reason, Harcourt.
Horner
Wine makes—
Dorilant
Ay, wine makes us—makes us princes; love makes us beggars, poor rogues, egad—and wine—
Horner
So, there’s one converted.—No, no, love and wine, oil and vinegar.
Harcourt
I grant it; love will still be uppermost.
Horner
Come, for my part, I will have only those glorious manly pleasures of being very drunk and very slovenly.
Enter Boy.
Boy
Mr. Sparkish is below, sir.
Exit.
Harcourt
What, my dear friend! a rogue that is fond of me only, I think, for abusing him.
Dorilant
No, he can no more think the men laugh at him than that women jilt him; his opinion of himself is so good.
Horner
Well, there’s another pleasure by drinking I thought not of—I shall lose his acquaintance, because he cannot drink: and you know ’tis a very hard thing to be rid of him; for he’s one of those nauseous offerers at wit, who, like the worst fiddlers, run themselves into all companies.
Harcourt
One that, by being in the company of men of sense, would pass for one.
Horner
And may so to the shortsighted world; as a false jewel amongst true ones is not discerned at a distance. His company is as troublesome to us as a cuckold’s when you have a mind to his wife’s.
Harcourt
No, the rogue will not let us enjoy one another, but ravishes our conversation; though he signifies no more to’t than Sir Martin Mar-all’s4 gaping, and awkward thrumming upon the lute, does to his man’s voice and music.
Dorilant
And to pass for a wit in town shows himself a fool every night to us, that are guilty of the plot.
Horner
Such wits as he are, to a company of reasonable men, like rooks to the gamesters; who only fill a room at the table, but are so far from contributing to the play, that they only serve to spoil the fancy of those that do.
Dorilant
Nay, they are used like rooks too, snubbed, checked, and abused; yet the rogues will hang on.
Horner
A pox on ’em, and all that force nature, and would be still what she forbids ’em! Affectation is her greatest monster.
Harcourt
Most men are the contraries to that they would seem. Your bully, you see, is a coward with a long sword; the little humbly-fawning physician, with his ebony cane, is he that destroys men.
Dorilant
The usurer, a poor rogue, possessed of mouldy bonds and mortgages; and we they call spendthrifts, are only wealthy, who lay out his money upon daily new purchases of pleasure.
Horner
Ay, your arrantest cheat is your trustee or executor; your jealous man, the greatest cuckold; your churchman the greatest atheist; and your noisy pert rogue of a wit, the greatest fop, dullest ass, and worst company, as you shall see; for here he comes.
Enter Sparkish.
Sparkish
How is’t, sparks? how is’t? Well, faith, Harry, I must rally thee a little, ha! ha! ha! upon the report in town of thee, ha! ha! ha! I can’t hold i’faith; shall I speak?
Horner
Yes; but you’ll be so bitter then.
Sparkish
Honest Dick and Frank here shall answer for me; I will not be extreme bitter, by the universe.
Harcourt
We will be bound in a ten thousand pound bond, he shall not be bitter at all.
Dorilant
Nor sharp, nor sweet.
Horner
What, not downright insipid?
Sparkish
Nay then, since you are so brisk, and provoke me, take what follows. You must know, I was discoursing and rallying with some ladies yesterday, and they happened to talk of the fine new signs in town—
Horner
Very fine ladies, I believe.
Sparkish
Said I, I know where the best new sign is.—Where? says one of the ladies.—In Covent-Garden, I replied.—Said another, In what street?—In Russel-street, answered I.—Lord, says another, I’m sure there was never a fine new sign there yesterday.—Yes, but there was, said I again; and it came out of France,
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