Sentimental poetry, it is well known, has a great effect in softening the female heart; and Sheridan soon succeeded in sonnetteering Miss Linley into sympathy. He had, however, a sturdy opponent to contend against in the person of Captain Mathews, a married man, of specious address and persevering gallantry. This roué beset the fair vocalist in every possible way, and, when mildly but firmly repulsed, threw out a menace of attacking her good fame. Alarmed at this unmanly threat, and at the consequences of her father's indignation should the captain's dishonourable proposals become known to him, Miss Linley had recourse to Sheridan, who instantly advised her to accept of his escort to France, where he promised that he would place her under the secure protection of a convent. With some hesitation she complied with his advice, assisted not a little in her resolution by the repugnance which she had long entertained to her profession; and the parties set out for Calais, accompanied by a third person, a female, by way of chaperon.
On reaching the place of their destination, Sheridan at once threw off the mask of the friend, and, addressing Miss Linley as the lover, so worked upon her feelings by artful hints about the injury her character would sustain, if she did not give him a legal title to protect her, that she consented to a private marriage, which accordingly took place in 1772, at a little village near Calais. The parties then made the best of their way back to England where they returned to their respective families; old Linley, from whom the marriage was kept a profound secret, being, of course, not less incensed than surprised by the, to him, unaccountable conduct of his daughter.
Meanwhile Captain Mathews, on learning Miss Linley's extraordinary flight, instantly made good his threat of defaming her character in the local journals, for which he was twice called out by Sheridan, who in the second duel received a wound which long confined him to his bed. His situation at this period must have been one of extreme uneasiness. He was separated from his wife, and was on ill terms with his father, who, on his return from London shortly after the catastrophe, refused to see him, and even went the length of forbidding any of his family to hold the slightest intercourse with the Linleys. A communication was nevertheless kept up between the lovers through the agency of Sheridan's sisters, who had not the heart to resist the imploring appeals of their brother.
In the autumn of 1772 the young Benedict was sent by his father—who was anxious to detach him wholly from the Linleys—to the house of a friend in Essex, where he remained for some months in strict retirement, and spent much of his time in study. While here, he paid occasional flying visits to London, for the purpose of seeing his wife, who was then professionally engaged at the Covent Garden oratorios; but, finding no means of procuring an interview with her, so closely was she watched by her father, he more than once, it is said, disguised himself as a hackney-coachman, for the sole pleasure of driving her home from the theatre.
The time, however, was at hand when his perseverance was to meet with its reward. Old Linley, finding that neither threat, supplication, nor remonstrance could change the current of his daughter's affections and that, by some mysterious process, letters from her husband always found their way into her hands, at length gave his reluctant consent to their union, and they were re-married, by licence, in 1773.
About this time Sheridan entered himself of the Middle Temple, and took a small cottage at East Burnham, whither he retired immediately after his marriage, with no other resources than his wife's slender jointure and his own talents afforded him. Yet, though cramped in his finances, he had the fortitude to resist all the golden temptations which Mrs. Sheridan's musical abilities held out to him; and withdrew her for ever from public life, resolving henceforth to be himself the artificer of his own fortunes.
After a short stay at East Burnham, to which in after-years he often looked back with regret as being the happiest period of his life, Sheridan took a house in the neighbourhood of Portman-square, which his father-in-law kindly furnished for him. Here he laboured with great assiduity; wrote several political tracts, among which was a reply to "Junius;" and completed his comedy of the "Rivals," which was brought out at Covent Garden in the year 1775, and proved a failure on its first representation, though it subsequently won its way into public favour. The "Rivals" is a lively play, whose interest seldom or never flags; is easy and graceful in its dialogue; and contains one or two characters drawn with consummate skill. That of Falkland, in particular,—the sensitive, wayward lover, the idea of which was, no doubt, suggested by Sheridan's own personal experience,—is a masterpiece; and not less effective is the sketch of Sir Anthony Absolute. Mrs. Malaprop—an evident imitation of Fielding's Mrs. Slip-slop—is a mere whimsical caricature; while, as respects Lydia Languish, she is one of the insipid common-places to be picked up at all watering-places, well delineated, it is true, but scarcely worth the labour of delineation.
Sheridan's next production was "St. Patrick's Day;" a clever, bustling farce, but bearing marks of haste and negligence. It was followed, in the winter of 1775, by the well-known opera of the "Duenna," which at once obtained a popularity unexampled in the annals of the drama. The plot of this delightful play is remarkable for the tact with which it is conducted; the language is elegant, without being too ornate or elaborate,—a very common defect in Sheridan's dramas;—and the songs are prettily versified, which is the highest praise we can accord them.
In the year 1776, on the retirement of Garrick from the stage, Sheridan became one of the proprietors of Drury Lane Theatre. How, or by whose assistance, he obtained the large sum—upwards of forty-five thousand pounds—necessary to make this purchase, is a mystery which none of his numerous biographers, with all their research and ingenuity, have ever been able to fathom. We conclude it must have been by that winning address, and the strenuous exercise of those unrivalled powers of persuasion, which, at a later period, enabled Sheridan to work a miracle,—that is, to soften the soul of an attorney! It was in allusion to these fascinating powers that a rich City banker once observed, "Whenever Sherry makes me a bow, it always costs me a good dinner; and when he calls me 'Tom,' it is a full hundred pounds out of my pocket!"
The year 1777 was rendered memorable by the production of the "School for Scandal," which is incomparably the finest comedy of which modern times can boast. Its success was proportionate to its deserts. It completely took the town by storm. Nevertheless, transcendent as are the excellencies of this brilliant play, it is not without many and serious defects. Its dialogue is too studiously artificial; it has little or no sustained interest of plot; and its characters—with the exception of Charles Surface, whose airy, Mercutio-like vivacity conciliates us in spite of ourselves—are such as them from first to last we regard with indifference. The incessant dazzle of the language, however,—for the "School for Scandal" is a perfect repertory of wit,—its consummate polish, and the power of quick, apt repartee, that it exhibits in every page, altogether blind us to its defects. The only play that can bear a comparison with it is Congreve's "Love for Love," which shows an equal opulence of wit, and an equal sacrifice to effect, of the free and easy play of nature.