ARGUMENT.
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.
SOURCE.
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.
THEATRICAL HISTORY.
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.