Your affectte Husband,
“ThoS. AugNE. Arne. (Seal.)
“Saturday Morng.
“One o’clock
“Novr.-ye-23d.”
Evidently Mrs. Arne left the matter in the Attorney’s hands; accordingly he wrote a reply as follows:—“Mrs. Arne is Extremely sorry to hear of any Distresses of Dr. Arne’s and wishes ’twas in her power to Avoid calling on him, for a subsistence. Her loss of Doctor Arne’s affections has been a misfortune she has labour’d under too many years and that without doing him ye least injury but on the Contrary behaved with that affection and Justice that will give her Satisfaction in her last Moments. She hopes Doctor Arne has not so little humanity as to add to her Misery by refusing her a Necessary Subsistance if not Equal to Dr. Arne’s wife yet Sufficient to provide her with Common Necessaries which ’tis impossible for her to do for less than a Guinea a week. If that is paid into Mr. Rennett’s hands Weekly who will have the Receipts ready Mrs. Arne must Content herself with wearing out an Unhappy Life depriv’d of that Comfort which She had a right to expect from her Husband. Doctor Arne threatens to proceed to Extremities with his wife she is sorry to hear it But must be Contented with her fate and rely upon the justice of her case.”
No further correspondence is available, nor is there any record of proceedings at common law; it is therefore reasonable to suppose that an arrangement was concluded. (See [page 108].)
In 1772, on the 26th of February, the oratorio “Judith” was performed at Covent Garden Theatre, with women in the chorus, for the first time, as has already been narrated. Shortly afterwards Arne had a performance at the Theatre in the Haymarket; the bill of announcement said, “By desire, for one night only, under the Direction of Dr. Arne. At the Theatre Royal in the Hay-Market, this present Monday, March 16, 1772, will be performed the celebrated Catches and Glees. With a Concerto on the Violin by Mr. Fisher. After which (by permission) will be performed a New Burletta, called ’Squire Badger. Altered and planned for Music, from a favourite Piece. Written by Henry Fielding Esq.; the Music entirely New Composed by Dr. Arne & With a New Irish and Scotch Medley Overture. Fairlove by Mr. Phillips, Sir Thomas Loveland by Mr. Fox, ’Squire Badger by Mr. Smith, Landlord by Mr. Hamilton, Clarinda by Mrs. Jewell, Pert by Mrs. Thompson. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. To begin exactly at Six o’clock. Books of both Performances may be had together at the Theatre at 1s. 6d.”
In 1775 Arne wrote the following letter to Garrick: “Aug. 21st, 1775. Dr. Arne presents his best compliments to Mr. Garrick, heartily returning thanks for his permission to several of his company to perform in the intended new comedy at the Opera-House, for the Doctor’s advantage. He is unluckily, and indeed ungenteelly cut out of, at least, a clear £100, by Mrs. Greville’s accepting and promising to perform the principal comic character, and, after keeping it near three weeks when it was too late to substitute another, returning the part with frivolous excuses. The Doctor knows not whether he is rightly informed; but he has heard that Mr. Garrick discharged Mr. Dibdin. If (as he has likewise been told, Mr. Garrick has engaged Mr. Arne[22] in the other’s place, the Doctor can better reconcile his being neglected; otherwise should have thought himself at least as capable of the business as any other person, and that his name and credit in the profession would have brought no disgrace on his friendly employer. Cannot help regretting likewise that, though he has ever maintained the most cordial respect and regard to Mr. Garrick for many signal good qualities, as well as for his being incontestably the first genius of this age in all that he professes,) any young person’s belonging to him, though ever so conspicuous for his abilities, is sufficient cause for his rejection. These unkind prejudices the Doctor can no otherwise account for, than as arising from an irresistible apathy, to which (though painfully) he submits; but will never (notwithstanding) deviate a tittle from that respect, with which he has ever been Mr. Garrick’s most obedient servant.”
To this letter Garrick replied: “Drury Lane Theatre, Aug. 24, 1775. Dear Sir,—I am very sorry that Mrs. Greville (to whom I gave free leave to assist you) should behave so ill to you, and more so, that your loss will be so great by her ill-behaviour. The managers of Drury-lane have no intention to employ a constant composer, but to engage with different gentlemen, as business may arise in the theatre. How can you imagine that I have an irresistible apathy to you? I suppose you mean antipathy, my dear Doctor, by the general turn of your letter. Be assured, as my nature is very little inclined to apathy, so it is as far from conceiving an antipathy to you or any genius in this or any other country. You ask me why I will not make use of your pupils?—Shall I tell you fairly? because I have not the opinion of them which you have. I tried Mrs. Bradford, Miss Weller, and I have now Mr. Fawcet: the two first (as I in a most friendly manner foretold) did no credit to you or myself by appearing in a piece which you obstinately insisted on bringing out, though you knew it would be the means of making a coolness between us. In short, dear sir, your heart and your genius seem more inclined to the theatre of Covent-Garden than that of Drury-Lane; and when I consider the additional music to ‘King Arthur,’ and the music to ‘Elfrida,’ I trust that I am justified in my opinion. Whether I am mistaken or not, I have not the least antipathy, I give you my honour I have not, to Doctor Arne; but on the contrary, if I had a work of consequence, I should wish to employ him, notwithstanding that our theatrical connections have not yet been serviceable to either of us. I am, dear Sir, your very sincere well wisher, and humble Servant. David Garrick.”
To this conciliatory epistle Dr. Arne replied in the following month: “Sept. 3rd 1775. Dear Sir.—I received the favour of your reply to my letter, which I could not doubt of, you never being deficient in politeness. You are certainly in the right to suppose that, if I wrote the word apathy, I meant antipathy. Did I make the blunder or is it a joke, like Mrs. Cibber’s asking you how you could possibly spell King with a Q? I must beg your permission to assure you that you are greatly mistaken in two points. First, when you imagine that I have the least partiality either in favour of the other theatre or its patentees: next in saying that the music in ‘Elfrida’ is much superior to the music I composed for you in ‘King Arthur.’ The principal songs, which for air and mastership I have never excelled, have not been performed. They were written for the late Mrs. Arne,[23] and fashioned to her sweet voice, and glaring abilities. Mr. Arne expected, from the music and her performances of it, that they would be productive of the highest pleasure, that a judicious audience ever received from either of our endeavours, and several eminent masters thought as he did: but when those coups de maître came out of the mouths of persons who could neither sing in time nor tune, nor turn out one jeu de la voix in them, the result was much the same as if an approved author had written a fine part for ——. I was near hurting your delicacy, in nominating a gentleman, with whose acquaintance I am honoured, and this part, through an unfortunate event, should be acted by Jemmy Raftor, or Dagger Marr. Champness’s songs, the chorus in the first scene of Mr. Vernon’s ‘Come, if you dare,’ and several other things that employed my utmost efforts, were laid aside, in favour of Purcell’s music, which (though excellent in its kind) was Cathedral, and not to the taste of a modern theatrical audience. But never was my surprise greater than when I perceived that a drama so fertile of invention and elegant in poetry, which brought so much to Harry Gifford, and lately in Dublin should (though strongly performed at a vast expense at Drury-lane) fail in making that impression on the public, which the managers had an undoubted right to expect. You frankly say that you have not engaged any of my pupils, because you have not the same opinion of them that I have. Be pleased to remember that I did not recommend Miss Weller as an accomplished singer; but as a young girl, with a good person, who would be useful in musical pieces; but whose talents in speaking and acting, might, with your friendly encouragement, in a little time bring so pretty a figure to be a shining object. Had you seen her play Mrs. Cadwallader in Foote’s farce at Covent Garden, your candour would induce you to think with that company, who all declared that no young actress ever did better. When I offered you this girl, you wanted an accomplished singer. When I recommended Miss Jameson as such, I was to whistle an angel from Heaven, or you were full; though you brought out a raw nothing last year, and have taken Mrs. Jewell and a Jewess[24] this season. I hope you will, as you have kindly done, excuse this frankness in me, and give me leave to add that I will positively bet a hundred pounds upon Miss Jameson, against any singer you can name in either theatre—I might safely a hundred to one. I wish you would ponder on the contents—not now, because your cast is rather overloaded—but hereafter, when it may not be so. And now, Sir, to the last matter I shall at present trouble you with. Bickerstaff added songs to the Oracle, and brought it out by the title of ‘Daphne and Amintor,’ at Drury Lane, which succeeded very well. I remember a piece of Mr. Lloyd’s, called the ‘Capricious Lovers,’ when performed in Clive’s time. Every body liked the Burletta, but none were pleased with the music—which has induced me to reset it. Now, Sir, if you think it will (with the addition of my new music) fill up a vacancy, till the town fills, the vocal, instrumental, and speaking parts, are ready drawn out: the title may, and should be altered to ‘The Country Girl at Court,’ being the original one, viz.: ‘La Contadina in Cort,’ and (for a sixth night) I will attend the getting up of the musical part, and deliver up the composition to your use. If you don’t want it, make no ceremony in saying so; for it will be of use to me, with my catches and glees. Have I been studying the longitude? Perhaps so; but if I have tired you, it is more than you could do by me, were you to fill a ream of paper.
“This requires no other answer, than just whether you can, with advantage to your undertaking, make use of my new composition or not. I am, Sir, with due respects, ever your friend and humble servant,