MORE PLAYS—MARRIAGE—THE LICENSING ACT.
The very subordinate part in the Miser of "Furnish, an Upholsterer," was taken by a third-rate actor, whose surname has been productive of no little misconception among Henry Fielding's biographers. This was Timothy Fielding, sometime member of the Haymarket and Drury Lane companies, and proprietor, for several successive years, of a booth at Bartholomew, Southwark, and other fairs. In the absence of any Christian name, Mr. Lawrence seems to have rather rashly concluded that the Fielding mentioned by Genest as having a booth at Bartholomew Fair in 1733 with Hippisley (the original Peachum of the Beggar's Opera), was Fielding the dramatist; and the mistake thus originated at once began that prosperous course which usually awaits any slip of the kind. It misled one notoriously careful inquirer, who, in his interesting chronicles of Bartholomew Fair, minutely investigated the actor's history, giving precise details of his doings at "Bartlemy" from 1728 to 1736; but, although the theory involved obvious inconsistencies, apparently without any suspicion that the proprietor of the booth which stood, season after season, in the yard of the George Inn at Smithfield, was an entirely different person from his greater namesake. The late Dr. Rimbault carried the story farther still, and attempted to show, in Notes and Queries for May 1859, that Henry Fielding had a booth at Tottenham Court in 1738, "subsequent to his admission into the Middle Temple;" and he also promised to supply additional particulars to the effect that even 1738 was not the "last year of Fielding's career as a booth-proprietor." At this stage (probably for good reasons) inquiry seems to have slumbered, although, with the fatal vitality of error, the statement continued (and still continues) to be repeated in various quarters. In 1875, however, Mr. Frederick Latreille published a short article in Notes and Queries, proving conclusively, by extracts from contemporary newspapers and other sources, that the Timothy Fielding above referred to was the real Fielding of the fairs; that he became landlord of the Buffalo Tavern "at the corner of Bloomsbury Square" in 1733; and that he died in August 1738, his christian name, so often suppressed, being duly recorded in the register of the neighbouring church of St. George's, where he was buried. The admirers of our great novelist owe Mr. Latreille a debt of gratitude for this opportune discovery. It is true that a certain element of Bohemian picturesqueness is lost to Henry Fielding's life, already not very rich in recorded incident; and it would certainly have been curious if he, who ended his days in trying to dignify the judicial office, should have begun life by acting the part of a "trading justice," namely that of Quorum in Coffey's Beggar's Wedding, which Timothy Fielding had played at Drury Lane. But, on the whole, it is satisfactory to know that his early experiences did not, of necessity, include those of a strolling player. Some obscure and temporary connection with Bartholomew Fair he may have had, as Smollett, in the scurrilous pamphlet issued in 1742, makes him say that he blew a trumpet there in quality of herald to a collection of wild beasts; but this is probably no more than an earlier and uglier form of the apparition laid by Mr. Latreille. The only positive evidence of any connection between Henry Fielding and the Smithfield carnival is, that Theophilus Cibber's company played the Miser at their booth in August 1733.
With the exception of the Miser and an afterpiece, never printed, entitled Deborah; or, A Wife for you all, which was acted for Miss Raftor's benefit in April 1733, nothing important was brought upon the stage by Fielding until January of the following year, when he produced the Intriguing Chambermaid, and a revised version of the Author's Farce. By a succession of changes, which it is impossible here to describe in detail, considerable alterations had taken place in the management of Drury Lane. In the first place, Wilks was dead, and his share in the Patent was represented by his widow. Booth also was dead, and Mrs. Booth had sold her share to Giffard of Goodman's Fields, while the elder Cibber had retired. At the beginning of the season of 1733-34 the leading patentee was an amateur called Highmore, who had purchased Cibber's share. He had also purchased part of Booth's share before his death in May 1733. The only other shareholder of importance was Mrs. Wilks. Shortly after the opening of the theatre in September, the greater part of the Drury Lane Company, led by the younger Cibber, revolted from Highmore and Mrs. Wilks, and set up for themselves. Matters were farther complicated by the fact that John Rich had not long opened a new theatre in Covent Garden, which constituted a fresh attraction; and that what Fielding called the "wanton affected Fondness for foreign Musick," was making the Italian opera a dangerous rival—the more so as it was patronised by the nobility. Without actors, the patentees were in serious case. Miss Raftor, who about this time became Mrs. Clive, appears, however, to have remained faithful to them, as also did Henry Fielding. The lively little comedy of the Intriguing Chambermaid was adapted from Regnard especially for her; and in its published form was preceded by an epistle in which the dramatist dwells upon the "Factions and Divisions among the Players," and compliments her upon her compassionate adherence to Mr. Highmore and Mrs. Wilks in their time of need. The epistle is also valuable for its warm and generous testimony to the private character of this accomplished actress, whose part in real life, says Fielding, was that of "the best Wife, the best Daughter, the best Sister, and the best Friend." The words are more than mere compliment; they appear to have been true. Madcap and humourist as she was, no breath of slander seems ever to have tarnished the reputation of Kitty Clive, whom Johnson—a fine judge, when his prejudices were not actively aroused—called in addition "the best player that he ever saw."
The Intriguing Chambermaid was produced on the 15th of January 1734. Lettice, from whom the piece was named, was well personated by Mrs. Clive, and Colonel Bluff by Macklin, the only actor of any promise that Highmore had been able to secure. With the new comedy the Author's Farce was revived. It would be unnecessary to refer to this again, but for the additions that were made to it. These consisted chiefly in the substitution of Marplay Junior for Sparkish, the actor-manager of the first version. The death of Wilks may have been a reason for this alteration; but a stronger was no doubt the desire to throw ridicule upon Theophilus Cibber, whose behaviour in deserting Drury Lane immediately after his father had sold his share to Highmore had not passed without censure, nor had his father's action escaped sarcastic comment. Theophilus Cibber—whose best part was Beaumont and Fletcher's Copper Captain, and who carried the impersonation into private life, had played in several of Fielding's pieces; but Fielding had linked his fortunes to those of the patentees, and was consequently against the players in this quarrel. The following scene was accordingly added to the farce for the exclusive benefit of "Young Marplay":—
"Marplay junior. Mr. Luckless, I kiss your Hands—Sir, I am your most obedient humble Servant; you see, Mr. Luckless, what Power you have over me. I attend your Commands, tho' several Persons of Quality have staid at Court for me above this Hour.
Luckless. I am obliged to you—I have a Tragedy for your House, Mr. Marplay.
Mar. jun. Ha! if you will send it me, I will give you my Opinion of it; and if I can make any Alterations in it that will be for its Advantage, I will do it freely.
Witmore. Alterations, Sir?
Mar. jun. Yes, Sir, Alterations—I will maintain it, let a Play be never so good, without Alteration it will do nothing.
Wit. Very odd indeed.