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UGC MHRD ePGPathshala Subject: English Principal Investigator: Prof. Tutun Mukherjee; University of Hyderabad Paper 02: English Literature 1590 – 1798 Paper Coordinator: Dr. Anna Kurian; University of Hyderabad Module No 31: William Wycherley: The Country Wife Content writer: Ms.Maria RajanThaliath; St. Claret College; Bangalore Content Reviewer: Prof. Tutun Mukherjee; University of Hyderabad Language Editor: Dr. Anna Kurian; University of Hyderabad William Wycherley’s The Country Wife Introduction This lesson deals with one of the most famous examples of Restoration theatre: William Wycherley’s The Country Wife, which gained a reputation in its time for being both bawdy and witty. We will begin with an introduction to the dramatist and the form and then proceed to a discussion of the play and its elements and conclude with a survey of the criticism it has garnered over the years. Section One: William Wycherley and the Comedy of Manners William Wycherley (b.1640- d.1716) is considered one of the major Restoration playwrights. He wrote at a time when the monarchy in England had just been re-established with the crowning of Charles II in 1660. The newly crowned king effected a cultural restoration by reopening the theatres which had been shut since 1642. There was a proliferation of theatres and theatre-goers. A main reason for the last was the introduction of women actors. Puritan solemnity was replaced with general levity, a characteristic of the Caroline court. Restoration Comedy exemplifies an aristocratic albeit chauvinistic lifestyle of relentless sexual intrigue and conquest. The Comedy of Manners in particular, satirizes the pretentious morality and wit of the upper classes. These plays abound in witty dialogues, stock characters and rapidly moving plots with several twists- usually owing to miscommunication or deception. They commonly revolve around themes like marriage, intrigues and the relationship between the sexes. Apart from Wycherley, other dramatists who can be included in this tradition are George Etherege and later dramatists like John Vanbrugh, William Congreve and George Farquhar. Etherege’s Man of Mode(1676) depicts the life of a witty, aristocratic rake and libertine. Wycherley’s The Country Wife (1675) and The Plain Dealer (1676) are notorious for their sexually explicit dialogues. The later Restoration comedies were subtler in their treatment of similar themes. Vanbrugh’s The Provoked Wife (1697), Congreve’s The Way of the World (1700) and Farquhar’s The Beaux’s Stratagem (1707) are some examples. By the end of the seventeenth century there was a marked shift in taste as people turned towards more serious drama and Sentimental Comedy gained popularity. Jeremy Collier in his Short View of the Immorality and Profaneness of the English Stage (1698) attacked the restoration dramatists for their “smuttiness of expression; lewd application of scripture and making their top characters libertines and giving them success in their debauchery”. Thus, nearly four decades after the reopening of the theatres, some of the Puritan objections were being brought back against the drama of the period. Victorian critics like William Hazlitt, though appreciative of the aesthetic quality and linguistic energy of these plays, condemned them on the grounds of moral inadequacy. This view of the Restoration comedy prevailed for a long time, until the twentieth century, when a few critics started acknowledging their intrinsic worth and made them the subject of serious academic study. John Palmer in his book Comedy of Manners (1913)focuses on how the production of comedies changed after the publication of Collier’s pamphlet. In Crabbed Age and Youth: The Old Men and Women in the Restoration Comedy of Manners (1947), problems associated with youth and old age have been examined by Elisabeth Mignon, who perceived in the comedy of manners' a reflection of society's obsession with aging. Newell W. Sawyer has traced the development of the genre and the relation it bears to the changes in society at large in The Comedy of Manners: From Sheridan to Maugham (1969). Margaret Lamb McDonald (The Independent Woman in the Restoration Comedy of Manners, 1976) and Pat Gill (Interpreting Ladies: Women, Wit, and Morality in the Restoration Comedy of Manners, 1994)analysed the plays for what they reveal about attitudes towards women, with special regard to their independence, intelligence and sexuality. Some critics such as David L. Hirsthave devoted their time to close readings of the texts in order to judge the comedies on their merits (Comedy of Manners, 1979). Section Two: Summary The Country-Wife opens with a humorous prologue uttered by the so-called gentleman and protagonist, Mr Horner invoking the sympathy of the audience for the actors, who must willingly submit themselves to the whims of the audience. The play is set in London and Scene One begins with a conversation between Mr. Horner and a Quack at the former’s residence. The Quack, as per the instructions of Horner has spread rumours throughout the city that Horner had contracted a venereal disease while in France, the cure of which has left him no better than a “eunuch”. Mr. Horner, an incurable philanderer hopes to get close to the women of the city, with the consent of their unsuspecting husbands via this tale. Just as they are discussing the possibilities this ploy will open up for Horner, SirJasper Fidget,an old businessman comes visiting with his wife, Lady Fidget and his sister, Dainty Fidget. Sir Jasper, having heard of Horner’s “disease” teases him by introducing his wife and requesting Horner to “salute” her. Horner affects an aversion for women, thereby bolstering Sir Jasper’s belief in the story. Sir Jasper now invites Horner for dinner and a game of cards at his home, convinced of Horner’s “innocence”. After their exit, Mr.Dorilant and Mr. Frank Harcourt, two acquaintances of Horner call on him to confirm the reports they have heard. They are joined by Mr.Sparkish, a foolish fop who is despised by them and yet considers himself to be a wit and their friend. After he has his fill of mocking Horner he exits, only to be replaced by Mr. Pinchwife, a cunning old man who has recently married a pretty young, countrywife. Pinchwife, having been out of town, has heard nothing of the rumours and wants to save his wife’s “honour” and himself from becoming a cuckold by keeping her out of Horner’s sight. Horner had however spotted the young woman at the play with her husband and avows to be “in love with her”. Act Two introduces Margery Pinchwife, wife of Mr. Pinchwife and Alithea, sister of the same Mr. Pinchwife deep in conversation about the ways of men. Margery is unhappy at the way her husband refuses her any company, but his. Alithea comforts her by telling her that it his love for her and his jealousy for her “honour” that bids him do so. Inadvertently the countrywife expresses her admiration for the actors she saw at the play, in the hearing of her husband, Jack Pinchwife. He resolves to keep her away from the actors and the gallants who may see her and steal her away. Just as he locks her away, Mr.Sparkish who is Alithea’s fiancé enters with Mr. Harcourt. As the introductions are made, Harcourt falls in love with Alithea and flirts with her brazenly. Sparkish however, laughs it off. All three of them proceed to go to the play house. Now, Lady Fidget, Dainty Fidget and their cousin Mrs. Squeamish arrive to take Mrs. Pinchwife to the new play. Though Pinchwife does his best to ward them off, he has to finally slip away unnoticed in order to avoid them. They are joined by Sir Jasper, Mr. Horner and Mr. Dorilant. Sir Jasper owing to a prior commitment leaves the ladies in the company of the two men, who are to escort them to the play. Horner takes Lady Fidget into his confidence and reveals the fact that his “disease” was a mere hoax. Lady Fidget, who had nothing but contempt for him up till then, reconciles herself to him. Meanwhile Mrs. Pinchwife is sickening away for a taste of city life. Mr. Pinchwife decides to take her out in the guise of a man so as not to excite the curiosity of other men. After the play, Horner, Dorilant, Harcourt and Sparkish meet Mr.Pinchwife, his wife (in man’s clothing) and Alithea. Alithea hates Harcourt for trying to make love to her, while Sparkish wants his fiancée and his friend to put aside their differences. Harcourt meanwhile, tries desperately to win Alithea’s love. Finally Pinchwife intervenes and sends Harcourt on his way. Horner recognizes Margery and pretending to be taken up with the young gentleman who claims to be Mrs. Pinchwife’s “brother”, wants to take him to supper. From his words, Mrs. Pinchwife realizes that Horner is in love with her and she too falls in love with him. In the split second that it takes for Mr. Pinchwife to see to the coach, Horner drags away Mrs. Pinchwife and on the pretext of giving her some fruit kisses her, to which she acquiesces. The next Act opens with the imminent marriage of Sparkish and Alithea. The bride confides of her love for Harcourt to her maid, Lucy. As she does not want to injure her fiancé’s reputation she swears to go through with the marriage. Harcourt endeavours to break the match by coming dressed as Rev. Ned Harcourt, brother of Frank Harcourt and pretends to be the chaplain who has to perform the service. Alithea sees through the trick and warns Sparkish, who is too foolish to see that he is being used.
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