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.
his parts—we wits rail and make love often, but to show our parts: as we have no affections, so we have no malice, we—
Alithea
He said you were a wretch below an injury—
Sparkish
Pshaw!
Harcourt
Damned, senseless, impudent, virtuous jade! Well, since she won’t let me have her, she’ll do as good, she’ll make me hate her. Aside.
Alithea
A common bubble—
Sparkish
Pshaw!
Alithea
A coward—
Sparkish
Pshaw, pshaw!
Alithea
A senseless, drivelling idiot—
Sparkish
How! did he disparage my parts? Nay, then, my honour’s concerned, I can’t put up that, sir, by the world—brother, help me to kill him—Aside. I may draw now, since we have the odds of him:—’tis a good occasion, too, before my mistress—Offers to draw.
Alithea
Hold, hold!
Sparkish
What, what?
Alithea
Aside. I must not let ’em kill the gentleman neither, for his kindness to me: I am so far from hating him, that I wish my gallant had his person and understanding. Nay, if my honour—
Sparkish
I’ll be thy death.
Alithea
Hold, hold! Indeed, to tell the truth, the gentleman said after all, that what he spoke was but out of friendship to you.
Sparkish
How! say, I am, I am a fool, that is, no wit, out of friendship to me?
Alithea
Yes, to try whether I was concerned enough for you; and made love to me only to be satisfied of my virtue, for your sake.
Harcourt
Kind, however. Aside.
Sparkish
Nay, if it were so, my dear rogue, I ask thee pardon; but why would not you tell me so, faith?
Harcourt
Because I did not think on’t, faith.
Sparkish
Come, Horner does not come; Harcourt, let’s be gone to the new play.—Come, madam.
Alithea
I will not go, if you intend to leave me alone in the box, and run into the pit, as you use to do.
Sparkish
Pshaw! I’ll leave Harcourt with you in the box to entertain you, and that’s as good; if I sat in the box, I should be thought no judge but of trimmings.—Come away, Harcourt, lead her down.
Exeunt Sparkish, Harcourt, and Alithea.
Pinchwife
Well, go thy ways, for the flower of the true town fops, such as spend their estates before they come to ’em, and are cuckolds before they’re married. But let me go look to my own freehold.—How!
Enter Lady Fidget, Mrs. Dainty Fidget, and Mrs. Squeamish.
Lady Fidget
Your servant, sir: where is your lady? We are come to wait upon her to the new play.
Pinchwife
New play!
Lady Fidget
And my husband will wait upon you presently.
Pinchwife
Aside. Damn your civility.—Aloud. Madam, by no means; I will not see Sir Jasper here, till I have waited upon him at home; nor shall my wife see you till she has waited upon your ladyship at your lodgings.
Lady Fidget
Now we are here, sir?
Pinchwife
No, Madam.
Mrs. Dainty
Pray, let us see her.
Mrs. Squeamish
We will not stir till we see her.
Pinchwife
Aside. A pox on you all!—Goes to the door, and returns. She has locked the door, and is gone abroad.
Lady Fidget
No, you have locked the door, and she’s within.
Mrs. Dainty
They told us below she was here.
Pinchwife
Aside. Will nothing do?—Aloud. Well, it must out then. To tell you the truth, ladies, which I was afraid to let you know before, lest it might endanger your lives, my wife has just now the smallpox come out upon her; do not be frightened; but pray be gone, ladies; you shall not stay here in danger of your lives; pray get you gone, ladies.
Lady Fidget
No, no, we have all had ’em.
Mrs. Squeamish
Alack, alack!
Mrs. Dainty
Come, come, we must see how it goes with her; I understand the disease.
Lady Fidget
Come!
Pinchwife
Aside. Well, there is no being too hard for women at their own weapon, lying, therefore I’ll quit the field.
Exit.
Mrs. Squeamish
Here’s an example of jealousy!
Lady Fidget
Indeed, as the world goes, I wonder there are no more jealous, since wives are so neglected.
Mrs. Dainty
Pshaw! as the world goes, to what end should they be jealous?
Lady Fidget
Foh! ’tis a nasty world.
Mrs. Squeamish
That men of parts, great acquaintance, and quality, should take up with and spend themselves and fortunes in keeping little playhouse creatures, foh!
Lady Fidget
Nay, that women of understanding, great acquaintance, and good quality, should fall a-keeping too of little creatures, foh!
Mrs. Squeamish
Why, ’tis the men of quality’s fault; they never visit women of honour and reputation as they used to do; and have not so much as common civility for ladies of our rank, but use us with the same indifferency and ill-breeding as if we were all married to ’em.
Lady Fidget
She says true; ’tis an arrant shame women of quality should be so slighted; methinks birth—birth should go for something; I have known men admired, courted, and followed for their titles only.
Mrs. Squeamish
Ay, one would think men of honour should not love, no more than marry, out of their own rank.
Mrs. Dainty
Fy, fy, upon ’em! they are come to think cross breeding for themselves best, as well as for their dogs and horses.
Lady Fidget
They are dogs and horses for’t.
Mrs. Squeamish
One would think, if not for love, for vanity a little.
Mrs. Dainty
Nay, they do satisfy their vanity upon us sometimes; and are kind to us in their report, tell all the world they lie with us.
Lady Fidget
Damned rascals, that we should be only wronged by ’em! To report a man has had a person, when he has not had a person, is the greatest wrong in the whole world that can be done to a person.
Mrs. Squeamish
Well, ’tis an arrant shame noble persons should be so wronged and neglected.
Lady Fidget
But still ’tis an arranter shame for a noble person to neglect her own honour, and defame her own noble person with little inconsiderable fellows, foh!
Mrs. Dainty
I suppose the crime against our honour is the same with a man of quality as with another.
Lady Fidget
How! no sure, the man of quality is likest one’s husband, and therefore the fault should be
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