06 NUSSBAUM.pmd sus historiassexuales. —ofaltadeella—sepodíamantenernotablementediferenciada rada, ycómosuvirtud y AnneOldfieldparamostrarcómounageneracióndeactricesinglesashasidoconmemo- liares humildes.Me centraréenlavidadetrescélebres actrices:Nell Gwyn,LaviniaFenton near algunasemblanzade“virtud” concostumbres sexualestransgresorasyorígenesfami- ofrecían entretenidas descripcionesdeaventurasmujeresqueselasarreglaban paraali- disoluto,sinoqueensulugar morales quecastigabanalasactricesporuncomportamiento fías delasactriceslarestauración ydelsiglo te teníacomotemaladefensadecastidadmujer. Encontraste,lasprimerasbiogra- ABSTRACT PALABRAS Las primerasdécadasdelsiglo RESUMEN Fenton, AnneOldfield. KEY sexual histories. —orlack ofit—couldbekeptremarkablyized, andhow distinctfromtheir theirvirtue Fenton, andAnneOldfieldtoshow howagenerationofEnglishactresses wasmemorial- lowly familyorigins.Ifocusonthelives ofthree celebratedactresses, Nell Gwyn,Lavinia who managedtoalignsomesemblanceof“virtue” withtransgressivesexualmores and players forloosebehavior, accountsoffemaleadventurers butinsteadoffered entertaining actresses weretion andeighteenth-century notsimplymoralwarningsthatchastisedwomen took women’s defenceofchastityasitssubject.Incontrast,thefirstbiographiesRestora- witnessedtheriseoffictionthatfrequently The earlydecadesoftheeighteenthcentury Fenton, AnneOldfield. the heroine’s girl’sof aservant stubbornresistance andeventual marriagetoherseductivemaster,

WORDS

In Samuel Richardson’s CLAVE : Biography, actresses, eighteenthcentury, Nell Restoration,virtue, Gwyn,Lavinia “MORE THAN A WOMAN”: EARLYWOMAN”:MEMOIRS A “MORE THAN virtue : biografía,actrices,siglo R EVISTA issynonymouswithher C 89 ANARIA University ofCalifornia,LosAngeles OF BRITISHACTRESSES XVIII

DE E Felicity Nussbaum fueron testigosdelaugedelanovela, quefrecuentemen- Pamela STUDIOS I XVIII (1740),thecompellingCinderella-like story NGLESES , restauración, virtud, Nell, restauración, virtud, Gwyn,Lavinia XVIII chastity , 58;April 2009,pp. 89-103 nofueronsimplementeadvertencias . In thenovel, Pamela protests * 06/05/2009, 9:45

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FELICITY NUSSBAUM 90 argument elaboratesuponbutalsorevises the conventional wisdomthatRestora- tue,” broadly interpreted, couldbekeptdistinctfrom hersexualbehaviour. This early periodimply—andnotalwayswithatouchofirony—thatwoman’s “vir- argue thatthesebiographicaldescriptionsofthebest-known actresses duringthis —orlack ofit—wastreated.Iwill memorialised andthewayinwhichtheirvirtue in order toexaminethewayinwhichagenerationofEnglishactresses was Nell Gwyn(1642?-87),LaviniaFenton (1708-60),andAnneOldfield (1683-1730), ers, sometimesattemptedtoexplainandevenjustifytheiruntoward behaviour. about thedangersofemulatingnotorioussexualpromiscuitywomenplay- the severaldecadesjustpreceding semblance of“virtue” sexuality. withanunorthodox The biographers ofactresses in fered entertainingaccountsoffemaleadventurers, whomanagedtoalignsome simply moraltalesthatchastisedactresses sexuality, forunorthodox butratherof- phies ofwomenplayersontheRestoration stagewere, not andeighteenth-century nature, are operatinginasphereand very thatisnottheirown. The firstbiogra- inthesamewaytopublicwomen,who,bybusiness, doesnotpertain theirgender inpubliclifewhichtheirprivatewasnobody’scratic men,whoparticipated text andinlife. The standard thatregulated thebehaviourofmen,especiallyaristo- what itmeanttobeawomanwhosesexualitywaspubliclyevaluatedandjudgedin rise offictionsthattookwomen’s defenceofchastityastheirsubject,considered throughout thedecadesleadinguptoRichardson’s novel. exploredother thanastrictlyinterpreted chastitywasconsistentlyandfervently tity, itself. ratherthanvirtue assomething The attempttodefinefemalevirtue cant word thatimpliedherself-interested manipulationoftheexpectation ofchas- transformed intotheloose-livingShamela, whomockinglyflauntedher“vartue,” a Colin Gibson andLisaMarr (Dunedin: UofOtagoP, 2005)225-42. Mr. B.intoanimprobablemarriage.In Fielding’s Henry parodyof cent maidendefendingherchastity, butasaskilledactress, whocunninglyenticed order tomockit. They regarded theheroineofRichardson’s novel, notasaninno- ring unconvincing,fastenedontothispotentialdoublemeaningofthenovel in sexual sizzle(Harris).But theanti-Pamelists, readers whofoundPamela’s demur- eroticaintomore of palatablemoralfare,withapersistentundertone temporary riches. Richardson’s novel, asJocelyn Harrishasacutelynoted,transformedcon- which, thereader asalegitimateexchange isencouraged toagree, serves forhis and...[anunequalled]naturalmeeknessandsweetness ofdisposition”virtue, (337), irresistible charms,her weddinggifttohimis“an awell-tried experiencedtruth, her virginity(15). When MrB.ultimatelyacceptshertermsandsuccumbsto that shewouldwillinglyprefer toembrace“RagsandPoverty,” ratherthanforfeit In thisessay, Iwouldliketofocusonthelivesofthree celebratedactresses, These earlyyearsoftheeighteenthcentury, inadditiontowitnessingthe * Anearlierversion ofthis essaywaspublishedin 90 Pamela , ratherthanmerely warningyoung ladies New Windows ona Woman’s World 06/05/2009, 9:45 Pamela , shewas . ed. 06 NUSSBAUM.pmd keep companywithladiesofquality. and CharlesChurchill,becameawealthyrespectedwoman,whowasknown to of hiswife;andAnneOldfield, thoughopenlyamistress Maynwaring toArthur came themistress ofthe Duke ofBoltonandeventually marriedhimafterthedeath actresses, whooftencame from thelower ranks.LaviniaFenton, forexample,be- tronage. For thefirsttimeinhistory, celebritymadepossiblereal socialmobilityfor class andeconomicsituation,withoutbenefitofmarriage,throughwagespa- Unlike thefictionalPamela, thesereal womenoftensoughttoimprove theirsocial actressesweretion andeighteenth-century consistentlyassumedtobewhores. Theatre, 1660-2000 aged hermeteoricrisebecauseoftalentforquick,sprightlyconversationdeliv- more extensive. whoman- herasaconnivingopportunist, The narrativeportrayed Lord Wilmot, andfinallytheking,thoughinfactheractuallistoflovers waseven to thatofaplayer namedDeviel,andthenontoLord Rupert, theEarlofMeredith, tus inacalculatedwayby advancingfrombeingthemistress of Thomas Betterton (7). The biography, inotherwords, describedGwynassteadilyimproving hersta- than merely impersonatingit:“ifnotaQueen, a[t]leasttheMistress ofaMonarch” however, according totheanonymousmemoirist,was one oftheMaids oftheBedchamber totheQueensofStage.” Her preference, with Success, shecouldseeno ObjectiontoherappearingasaLadyinwaiting,or ingly beautifulwomanwithlimitedskills:“At least,ifshecouldnotwear theBuskin tofindherwayinLondon,anavenuethatseemed naturalforastrik- struggling version ofherlife,Gwynturnedtoactingasthelastrefugeapoverty-stricken girl stances” tobecomingtheking’s (1).According mostcelebratedcourtesan tothis Gwyn, ittracedherrisefrombeingthedaughterofatradesman“inmeanCircum- during theearlyeighteenthcentury. Illustratedbyafrontispieceofbare-breasted the popularwhore androguebiographiesthatwere influentialonthenascentnovel than halfacentury’s distancefromherdeath. The memoirfollowed thepatternof atmore 1752), ananonymouspublication,offered thefirstfull-lengthlifestory intheReignCourtezan, ofKingCharles IandMistress to thatMonarch legends. the manyapocryphal and balladsabound,informationaboutherisoftendifficulttoextricatefrom her waswritteninthemid-eighteenthcentury. Aplethoraofbroadsides, satires, mistress, precedestheperiodindiscussionhere, thefirstfull-lengthmemoirabout sex lives,andIhaveattemptedtobeginthatcalibrationhere. nuanced fashionamongactualprostitutes,mistresses,andactresses whosimplyenjoyed unorthodox theatreIt todistinguishina wouldbeinstructive, Ithink,forcriticsoftheeighteenth-century Theatre Century Professional? RetheorizingtheRestoration Actress,” actress (8).For acounter-argumenttoRosenthal, seeDeborah Payne, “Reified ObjectorEmergent 1 Though theactuallifeofNell Gwyn,aRestoration actress andCharlesII’s 2 See alsomy“Actresses andtheEconomicsofCelebrity, 1700-1800,” LauraRosenthal ofthesign whore hasemphasisedtheimportance asappliedtothe , ed.J.Douglas CanfieldandDeborahPayne (Athens: P, UofGeorgia 1995)13-38. , ed. Mary Luckhurst andJane, ed.Mary Moody (London:Palgrave, 2005)148-68. 91 Memoirs oftheLife ofEleanor Gwinn,ACelebrated 2 Cultural Readings ofRestoration andEighteenth- become 06/05/2009, 9:45 Celebrity andBritish royalty, rather (London, 1

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FELICITY NUSSBAUM 92 from thattobeaLady ofFortune.” As intheNell Gwyn memoir, sexuality isagain how “Polly Peachum... jumptfrom anOrange Girl toanActress ontheStage, and Parentage andEducation broadsheet, heroine inJohn Gay’s Fenton’s life.Amongthefirstwomencelebrities,Fenton’s singingandactingasthe Peachum benevolence madeher“vartue” seemsufficienttoattractaprince. significance indefiningherlastingidentity, butthememoirist’s attentiontoher dominant one. The centralityofhersexualliferelegatedactingtoincidental (60). Chastity, then, wasonlyoneaspectofawoman’s morality, thoughperhapsthe tity, there are whochallengesuchlavishEncomiumsforothermoralQualities” few united Wit, Blame Beauty andBenevolence, forwantofChas- andifshedeserves of the inthoseoranyother Courtezan Times, washerSolicitude toeffecttheInstitution some detail:“Another Act ofGenerosity, whichraisedtheCharacterabove any to EnglishCivil War veterans,inproviding caretothewounded,wasexplainedin have beenregarded ascharacteristicofagentlewoman.In particular, herkindness displaying hergoodnature throughactsofgenerosityandbenevolence thatwould was severaltimesbolstered withreference toher Yet, thoughGwynwaslackinginchastityaccording tothese identity bytreating herasamistress, ratherthanasarespected professionalactress. his bastard childrenbecamewell known, andKingCharlesIIunderscoredthis simultaneously asactress andperson,asarealindividualwell asacharacter. itself, onethatestablishedapublicpersonaandallowed theaudiencetoassessher The epiloguerequired kindofskillsufficientlyremoved aparticular fromtheplay who, thoughsheliv’d aSlater’n,/ Yet dy’d aPrincess actinginS.Cathar’n” (Dryden). Tyrannick Love seemed torisefrom thedeadtospeak,asNell Gwyn,acomicepilogueattheendof audience bothasherselfandincharacter, as,forexample,whenthetragicheroine life atthestage’s periphery. Reciting anepilogue,Gwynwouldhaveengagedthe and Levity” (19),asiftoemphasisethelinkagesbetweenherrole intheplayandher role, whenshewas“speaking anEpilogue... withastrikingAirofCoquetishness Sedley. Asanactress, hergreatestpower butattheedgesofher laynotinherparts for her understanding, andgracefulness.In herbriefactingcareer, Gwynwasbestknown her beauty, itfaultsherasaplayer onstagewhenitcametoelocution,dignity, keen progress thatleadstoimpersonatingaladyofquality. Though thenarrativepraises means, butonlyamistress. the great goodsenseto realise thatshecouldnotaspiretobethewifeofaman had great Promptitude atRepartees” (21).She ispraised,too,forhavingdisplayed ered withpolitecandour: “She inheritedagreat dealof Wit andgoodSense; and Chelsea ingénue In contrast,theanonymous In fact,ofcourse,Gwyn’s publicidentityastheking’s whore andmotherof The memoir, then,isnotsomuchthebiographyofanactress asawhore’s (London,1728)maintainedfrom theoutsetthat actingwascentralto The Whole Life ofPolly Peachum; ContaininganAccount ofHer Birth, Hospital” (46).In sum,“she wasaLadyofdistinguished Talents: she roles,inplayswrittenbyJohn Robert Dryden, Howard, andCharles (1669),whilestillwearing hercostumeas Valeria: “Here Nelly lies, 92 Beggar’s Opera (London,n.d.),writtenjustaftertheplayopened,recounts Life ofLaviniaBeswick,aliasFenton, aliasPolly (1728)skyrocketed hertofame.Araunchy charity 06/05/2009, 9:45 . She wascredited with Memoirs , hervirtue 06 NUSSBAUM.pmd she earlybecame“a Sacrifice to a powerful theme.During Fenton’s younglife,describedwithdistant,amused irony, “ bours, bailoutherPortuguese noblemanlover from adebtor’s prison,and offer clever actress’s fundssufficienttograntcharityneigh- abilitytoearnandaccrue received (Copeland29). ofpoverty thana The memoirthusbecomeslessastory bourer’s pay(thoughlessthanacurate’s), notcountingthebenefitsorgiftsthatshe been modest,butitwouldhavetheequivalenttomore thanacommon la- shillingsperweekwithwhich shebegan.Such thirty afeewouldstillhave paltry Farquhar’s in George asCherry muted admirationforthehighqualityofherperformance asaplausibleinterpretation.in spiteofhersexualbehaviourisforwarded rent classmobility;butthepossibilitythatFenton kindofvirtue possessedacertain which theyrosetowealth andwhethertheirtalentasaplayer justifiedtheirappa- for otheractresses intheselifeaccounts,concernsthelegitimacyof means by hundred Guineas foraNights Debauch upon thehighfeessheallegedlycharged,notforacting,butprostitution: “ trons andmentors,asitisinotherpopularpamphletsorbroadsides thatremark from admirers issneeringlynoted(34). Her successisthusattributedtomale pa- Diamond Ring,agreen Purse, a Watch... Snuff-Box orsomevaluable Trincklet” was ostensiblyabsolved frombeingacommon whore, herwillingnesstoaccept“a sexual attractivenessalone,ratherthanhertalentandskill.At thesametimethatshe wealth, andherpassingonoccasionasa woman ofrankoccurred becauseofher as aLady” (33).In otherwords, herachievementasanactress, heraccumulationof in EaseandPlenty, keepsherServants, andappearsabroad inasmuchMagnificence Quality madeLove toher;insomuch,thatby thePresents shehasreceived, shelives Admirers every Time sheappear’d ontheStage, andPersons ofthehighestRankand tion: “Polly becomingnow themostcelebrated Toast inthe Town, shegain’d new ofastagecareerworthy inthememoirist’s eyes butalsoalignedherwithprostitu- fendoff,having toscrutinise, oraccept.Fenton’s lively abilitiesdeemedhertobe missives from admirers thatFenton, likeotherprominent actresses, foundherself plight,thebiographerofferedthise withherunfortunate samplesofthenumerous for afecklessPortuguese noblemanisinterwoven throughout.Appearing tosympa- tive charmsandthesparks whopursuedher, thoughthethread ofherenduringlove Haywood duringthesameperiod,memoirfocussedonLaviniaFenton’s seduc- fictionswrittenbyAphra Behn,DelariviereManley,the popularamatory andEliza tant ofOld Bailey, marriedherstepfather, Fenton. Having muchincommonwith she wasafatherlesslove-child, untilhermother, abarmaidandoccasionalinhabi- rers Robinson andMoll Crusoe Flanders, thememoiristnoted,withsympathy, that worthy Lady,worthy her marginalstatusasaworkingwoman:“Ithinkshemay passforanaccomplish’d remarkable easeinseemingtobealadyofqualityspiteherlowly originsand tainly arguethatasignificantthemeofthebiography was admirationorFenton’s the Publick willallow anActress the Title”— isnosmallcaveat,butthegistof Humanity Fenton’s memoirliberallycriticisesher, butitgives way, to inthelaterpart, The Beaux’ Stratagem tothe if thePublick willallow anActress the Title Distressed 93 ,” as the title-page advertises. In,” asthetitle-pageadvertises. fact,onecouldcer- Priapus , inwhichshemeritedanincrease inpay fromthe ” (34). The questionraisedaboutFenton, as ” (14).Comparinghertofictionaladventu- ” (47). This lastphrase—“if 06/05/2009, 9:45 A

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FELICITY NUSSBAUM 94 Ann Oldfield afterherdeath: shortly satisfy conventionalnorms.Oldfield wasthesubjectoftwobiographies published fied herbeingtreated asawomanoftheupperechelonsinspiteherfailure to oirs ofAnneOldfield. The variousbiographicaltractswrittenaboutOldfield justi- conventional sexualbehaviourbecomesmuchmore prominentintheseveralmem- ated separatelyfromit. will, andFenton’s memoirimpliesthatacelebratedactress’s mightbeevalu- worth made toseemaninevitableconsequenceofherprofessionandthusnotamatter her inherentgoodtasteandaccomplishedconversation. Her sexualbehaviourwas into thebestcircles withwomenofrank,inspitehersexualprofligacy, becauseof his wife.In Fenton’s short, memoirsexplainedandexcused herbeingwelcomed Duke ofBolton,whomshefinallymarriedseveraldecadeslaterafterthedeath Fenton afteritspublicationtobecomethemistress leftthestageshortly ofthe andtosoothe. versation toentertain prophetic,for The memoirwassomewhat Fenton andotheractresses,there isgreatemphasisonthehighqualityofhercon- praises hergeniusaswitnessedinsocialsituations.Here, asinlater memoirsof Curll’s biographyofRobert Wilks (1733)andBenjamin Victor’s ofBarton Booth advance of“pack[ing] togetheragross CollectionofAbsurdities” (12). Edmund later onethathadbeenannouncedatthetimeofpublication,anditisaccusedin the Present Time after promising toprovide “Proofs ofher to Thomas Betterton’sto Thomas (London, 1731).Alaterversionofthe“Egerton” memoirwasabridgedandadded That Justly Celebrated, andMost Eminent Actress ofHer Time, Mrs.Anne Oldfield [EdmundCurll],Egerton also herknackforattractingadmirersandgainingsexualattention. considerable admiration—iftongue-in-cheek—notonlyforherstagecareer, but fied withherexplosively popularroleasPolly Peachum. The memoiristexpresses narrator issubstantialpraiseforFenton, whosenamebecamepermanentlyidenti- than becomewifetoafop. But countertotherathersardonic running toneofthe her penningapoeminwhichshedefendsfreedom toremain amistress, rather improved herstatusthroughown merit. through gritandingenuity, earnedtherighttobecomeacceptedasawomanwho thatFenton,biography istoassert thoughcontaminatedbythecompanyshekept, Eighteenth-Century Britain and condemnsherpathofupward mobility.” of Fenton presents theactress asa“gold digger” andthatthememoir“denies herpublicachievement The recurring themeofvaluing thesepublicwomeninspiteoftheirun- Several ofFenton’s talents are mentionedwithsomecynicism,including 4 3 Iamcitingthe3rd noted. ed.(1730)unless otherwise MyWanko from that ofCheryl argumentdifferssomewhat whoemphasisesthatthe (London,1730),whichrantosixeditionsinthefirstyear; (London,1741). The firstmemoircompetesforveracitywiththe 94 (Lubbock: Texas Tech UP, 2003)58,60. The History oftheEnglishThe History Stage, fromtheRestauration Authentick Memoirs oftheLife of That Celebrated Actress Mrs. Faithful Memoirs oftheLife, Roles ofAuthority: Thespian Biography andCelebrityin Ingenuity, Wit

Amours, andPerformances of 06/05/2009, 9:45 , and Smart Repartees 3 Significantly, 4 and William [sic] ,” he Life to 06 NUSSBAUM.pmd her!... so irresistable [sic] was she in every Charactershepersonated”her!... soirresistable (23). [sic]wassheinevery and Benjamin Victor, Love forLove Officer, asArcherandMrs.Sullen inFarquhar’s lar andtalentedpairstarredtogetherasPlume andSilvia inFarquhar’s Recruiting and tragedy, astheequalto Wilks, whofrequently played oppositeher. The popu- memoirs toappear, wasanencomiumthattookpainstorankher, inbothcomedy imagined, ofherpredecessors. Oldfield’s biographerswastoextricateherpersonfromthesexualsins,real and ographies todescribeanactress asacredible professional.In thetaskfor part, an actor’s (6-7). deathwithapublishedlifestory complains inhis (1733) were alsowrittennearthesametimeasthesememoirs, opposite the convincing actress on the stage: “Who thathasseenher opposite theconvincingactress onthestage:“Who spectator, enchantedbyOldfield’s performance,whowouldhimselflongtoplay player, thenarrative assumesthatthereader shares theattitudeofacaptivatedmale Levelling outthedistancebetween gentlemanly playgoersandthelowly female caused “Effusion amongthe wigs orcostumeaccessories,whenOldfield (inacontestwithElizabeth Barry) andresemblingproperties theplayers onstage,were metonymicallysignifiedas (44). ofthetheatrical The gentlemenandladiesintheaudience,seemingtobepart Pert Templer, andtheCityPrig, / Who cometoPlaysshow their Wit —or Wig” class divisions,Oldfield’s actingcharmedtheboxes and delighted thepit:“Ev’n the stage isascribedtohermagnetismandactingtalent.Exhibiting anappealacross sexual adventures. Inclined tothetheatre froman earlyage,Oldfield’s ascentonthe Oldfield’s tobetheuniversaldelightof“beaumonde” deserving inspiteofher and ofescapefromclassstrictures. model ofbehaviourforyounggirls,itdidofferagrippingfantasyindependence power andherabilitytoearnmoney. didnotprovide If asterling herlifestory from benefitnights.Oldfield’s asawomanwasthuscomplicatedbyherstar worth having earned£150eachyear, risingtoasmuch£500,plussubstantialprofits flatterers. This isswiftlyfollowed byareference totheproofofherexcellence, in sional hazard, thatoughttobeexcused by recognising thatshewassurroundedby [1730] 41).AsinthecaseofFenton, thememoiristexplainshermisstepasaprofes- him toreturn tohisfamilyasshesincerely repentedofher“misspent Life” (6thed. action,” forhavingstolenMrF—efromhiswifeandchildren butlaterpersuading memoirist’s praiseforheristheaccusationthatOldfield engagedinone“ungenerous Cibber’s Angelica in William Congreve’s Oldfield’s memoirsare remarkablebecausetheyarethefirstfull-lengthbi- 5 Even more thaninFenton’s life,theemphasisin1730memoirison EdmundCurll, The Double Gallant; or, The Sick Lady’s Cure , butwould,like Apology Memoirs of theLife ofBarton Booth,Esq. 95 The Life of That Eminent ComedianRobert Wilks, Esq. about the new tendencytofollow, aboutthenew inanunseemlyhurry, Toupees Valentine Authentick Memoirs Love forLove , andflutteringof , have madeaway withalltohaveobtained , andasCarelessLadyDainty in Beaux’ Stratagem (London,1733). (1730), thefirstofOldfield’s Fans . The soleexception tothe amongthe 06/05/2009, 9:45 5 andColleyCibber , Valentineand (London,1733); Ladies Angelica ” (20). in

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FELICITY NUSSBAUM 96 ous inherpersonthroughthetheatricalmagicofdramaticcharacterisations. Irregular sexualbehaviourwastransformedintosomethingvaluableandevenvirtu- Follies whichwe shoulddespise,/ When seeninher, seem inourEyes”Virtues (44). thespian achievement:“She spoilt,againstherwill,thePoet’s Aim;/Making those the spectatororreader toignoreherunorthodoxactionsbecauseofthequality “A Poem totheMemory ofMrs.Oldfield,” thatOldfield whichasserts compelled considerable beauty. Yet there isadoubleedgetotheconclusionofbiographical tobesuperiorher meantthatherwitmightevenhavebeenconstrued repartee deceive her, asitistoexpress herStrength ofFancy” (6thed.[1730]43).Her skillin Town; forsheissoNice intheDiscovery ofanError, thatit’s asimpossibleto knowing, thatifitescapesherCensure, itwillgaintheApprobation ofthewhole Profession are gladtohaveherOpinionofaPiece before tothe itisshewn World, “She issuchaJudge ofPainting, thatthegreatest ofourModern intheir Artists ment, includingherelevated tasteinpainting,poetry, drama,andevenpolitics: her eccentricifexcusable sexualbehaviourwithhighpraiseforheraestheticjudge- Woman solostinaCrowd ofCards, andgoodCompanywhichtheRepentance of challengedbytors were hercomicroles alsopurportedly tobehavemorally:“What benefitted fromwatchingOldfield’s tragicroles,thesusceptible specta- instructive inculcated virtueandpunishedvice.Just asthe1731memoirarguesthat spectators Oldfield’s asexamplesofreform flowing principalrolesserved fromastagethat inMaternalshe notinstruct Love when harden’dneral oration:“What Heart wept notwith the audienceby moving theiremotions,aswasnotedwithadmirationinherfu- But, atthesametime,itwashersuccessfulimpersonationofroles thatinstructed als, Oldfield wasjudged,atleastinreference tothispassage,aspersonallyderelict. Want ofReflection upon Themselves.” Ifthestagewassupposedtoinculcatemor- the greatest Part ofthosecomplaintsagainsttheirNeighbours, are owing tothe issometimesashrewdVirtue, Sign littletopracticeit.And, thattheytakebutvery greatRochefoucault: Pains, “The whichtheLadiesofthisAgetaketocommend iour. Attheoutset,title-pageoffersanapparent critiqueofOldfield’s life,citing becauseshelackedsufficientreflectiononherbehav- virtue was notofexemplary related to Oldfield’s life,butthe Wycherley’s marriagefilloutthenarrative withbitsthatwere onlytangentially tions onactress AnneCampion,theDuke Mary ofDevonshire, and William herpolitics,andepilogues.Sec- terms ofherfriendshipsandaffairs,parts, also offerthebeginningsofdramaticcriticism. defence oftheEnglish stagetocountertheantitheatricalsentimentsinlettersthat narrative. It anda sheperformed, includesdetailsofherlife,theprincipalparts sists ofamiscellanydocumentsrelatedtoOldfield’s life,ratherthanalinear of whichhadonlythevaguest connectionstothetheatre. effects. It alsoincorporatespoems,someofwhichcommemoratedher, butothers original roleasSophonisba, aswellher illness,death,funeraloration,will,and The secondnarrative ofOldfield’s life, The firstoftheseseveral memoirsconcerningAnneOldfield alsocountered In In Faithful Memoirs 96 , theargumentswitchescoursetosuggestthatOldfield Memoir Astynax returns toitssubjectdiscussherlast Faithful Memoirs The Faithful Memoirs ’s Danger wringsherSoul?” (153). Andromache 06/05/2009, 9:45 definesOldfield in ? What Motherdid ? What (1731),con- 06 NUSSBAUM.pmd both theactress andthecharacter, butwhowasnotsolelyherself orherpart. totheaudienceasepilogue’sShe actedasintermediary speaker, whoresembled a woman’s whenfacedwithanunfaithfulhusband. righttodivorceandremarry on theparliamentofwomen,herrantagainstvilehusbands,andargumentfor actress’s courageinblazingthetrailfor otherwomenin,forexample,herepilogue toOldfieldporary asitwasherexclusive biography, thememoirdemonstrated she migratedtothestage’s periphery. ofotheractressescontem- Asmuchahistory the endingofplayswhenactress seemedmostmodernandherself, as —full-length andabridged—emphasisedOldfield’s epilogues,thosemomentsat ofherestate andhereffects.Bothversions which sheappeared, andtheinventory summation ofherlife,fourpoemsondeath,thelistepiloguesandplaysin memoirs focussedontheprincipalnarrationofearlierversion butomittedthe William Oldys andEdmundCurll from hispapers. This abridgementofthe1731 Restauration tothePresent Time was publishedasaseparateaddendumto ofsuchwomen’shistory lifestories. The final depicted actingascentraltoheridentity. This approachmakesthemuniqueinthe vate life. sum, herpublicfameultimatelytookprecedenceover anyquibblesaboutherpri- Nature exceeds sofardidsheexcell Art, allthe Women ofher Time” (153-54).In to exceed theexpectationsof“woman.” She iscompared toaphoenix,“for asfar beadoredInstruct, likeher” andsoinstructing (152).She, likeFenwick, wasjudged have beenwithImmitation fired, andwishedtheysocouldAct thatsotheymay ladies oftheage,for“she taught insuchpersuasiveAccents,Virtue thattheHearers 1731 biographyseemedtoclaimfinallythatOldfield wastheexception tothe so politea Taste, /Her Fancy alwaysfortheFashion past” (42). standard ratherthanthereverse: foractualgentlewomen, “Such finish’d Breeding, In fact,as“A Poem totheMemory ofMrs.Oldfield” hadclaimed, with herperson,shecouldbeforgivenaffairsMaynwaring andChurchill. indictment ofLadyBetty’s coquettishfollyasshemeldedheractingskilltogether the sentimentsofcharacterappeared, totheaudience,reflectOldfield’s own genteel Neglect, herCloathsdid;unaffectedgay, butpolitleyNeat” (153).Because she did,carry’d thatagreeable Air, thingsatuponherwiththesame thatevery her, itmightwellbetakenforherown Sentiments; andinprivateallshespoke, could notmakeAmiable?OntheStage soeasydidthePoets Languageflow from her Vanity? What Characterdidsheappearinprivate orpublickLifewhichshe Folly whomtheridiculousBehaviourofLady my Lady logues, Prologues andEpilogues oftheEighteenth Century Much more thanthebiographiesofGwynorFenton, Oldfield’s memoirs By endingwith apanegyrical“Funeral OrationforMrs.Oldfield,” the 6 Mary E.Knappprovides Mary anexcellent ofprologues studyoftheperformance andepi- Townley couldnotteachtoreform? What Coquetsoabandonedtoher 97 , attributedto butcompiledby Thomas Betterton The History oftheEnglishThe History Stage, fromthe Memoirs ofMrs.Anne Oldfield (New Haven: Yale UP, 1961). Betty Modish couldnotmakedetest 06/05/2009, 9:45 she setthe (1741) 6 In

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FELICITY NUSSBAUM 98 of Character,my favourite(andtheonlyperfect) debas’d anddespoil’d, andthe Widow tion. Instead, Pamela complainstoLadyDavers, “Iwasextremely mortify’d tosee moral decisions,“very humourous,”anopinionquitedistinctfrom Pamela’s reac- The memoircallstheepilogue,inwhichOldfield mockshercharacter’s scrupulous Oldfield, agossipyafterpiecetowhichRichardson’s Pamela hadtaken exception. cludes Eustace Budgell’s ribaldepilogueto lover Maynwaring andtheirrelationship afterhisdeath. The 1741memoirin- the widowed forhertoseemdefend Andromache,becameanopportunity Spectator Performances by themselves,Pieces entirelydetached from theplay, andnowayessentialtoit.” Epilogue” aftertheendofplay:“every oneknows thatontheBritish Stage theyare distinct Budgell, by thatMrs.Oldfield asserting wasnolongerAndromachewhenshespokethe“facetious popular epilogue. over anypotentialmoralharmthatmightresult totheaudiencefromvery ter. Though spectatorslikePamela mayhavebeenoffended,thememoirglosses Emphasis.” Pamela, ofcourse,missestheironyOldfield’s stanceonhercharac- all thewickedGraces ofAction, andaffectedArchnessofLooks,Attitude, and particular, thecomicepiloguetotragic fied asnotresulting fromvenereal disease,“to clearuptheunjustAspersioncaston reputations tosuchanextentthathisdeathwastesti- were, ofcourse,intertwined, turns outtobeadefenceofhim,ratherthanher. The twoactors’ fatesandpublic is acknowledged tobethealcoholicspendthriftthathewas,andmuchofmemoir signed tojustifyanation’s adulation.Maynwaring, thoughexcused by hisnobility, ofOldfield andMaynwaringstory (andlaterCharlesChurchill)inamannerde- lencies toallsuchCavillers” (26). The memoiralsorelates theunconventional love about theirOrb, thatistosay, tothosewhosepettyFailings havesuperiourExcel- ously tograntherthe“Grains ofAllowance tothosewhoseexcentric Geniusmove dane taskofearningaliving.In thefirstmemoir, thereaderwasencouragedgener- talent, asifshehadnotlaboured tolearnademandingcraftorpursuethemun- conventional sexualbehaviourparadoxicallybecameasignofherbrilliantnatural tation. temporal gapbetween ahistoricalorclassicalplayanditsactualmomentofpresen- personalandcurrent,made theplaysseemstartlingly andtheyhelpedtobridgethe pleasedprimarilymalespectators. her performances These prologuesandepilogues the Ladies” ([1731and1741]10),an ideathatrancountertotheassumption ing toelevatetheflaggingmoralityoftheatre forpeopleofquality, “especially to remain chaste,unliketheunfaithfulPhaedra. Oldfield isrepresented asattempt- eenth century, tobecomeawittyinjunctionmodernwomen,whowere cajoled Hippolitus Hector , ed.Donald F. Bond,5vols.(Oxford: Clarendon, 1965]III:266-67.See Knapp 296-97. Oldfield justlyearnedareputation asaconsummateactress, andherun- 7

, Prince of The Spectator bridged the gap between classical history andcurrent eventsintheeight- bridgedthegapbetweenclassicalhistory 98 7 Similarly, Oldfield’s recitingthecomicepilogueto Troy No. 341(April1,1712)entered thecontroversy, inapaperascribedto , talkingNastiness toanAudience, andsettingitoutwith Distrest Mother The Distrest Mother 06/05/2009, 9:45 , spokenbyOldfield as spokenbyAnne Phaedra and The 06 NUSSBAUM.pmd life. When Oldfield actedasCalistainNicholas Rowe’s tragedies relevant topeople’s lives, thuserasingthedistinctionbetweentheatre and books, paintings,linens,japannedscreens andchestsamongherpossessions. Maynwaring left;andthe1731biographylistsdetailsofrichtapestries,jewels, equaltotwicetheestatethat nificence andtoherabilityamassafortune Judgment” ([1730]24).In thememoirswere short, testamentstoOldfield’s mu- Britain ofMaynwaring, “awas worthy GentlemanofonethebestFamilies in eted placeintheHorseguards, isturnedintoanindicationthatherhighcharacter bequeath moneytohersons,includingsufficientfundsforonesonbuyacov- from themenofmeanswhofatheredherchildren. For example,herwillingnessto as akindofidealmother, whosegenerosityappropriatelymeriteddeepaffection demned. In additionto beingalegitimateobjectofdesire, theactress isportrayed toillegitimateprogeny,birth onesoneachwithMaynwaring andChurchill,con- association withNell Gwyn,whosedeathwassuspect.Neither isOldfield’s giving Mrs. Oldfield our modernLadiesofQualitycouldlearnintheir Turn topersonateMrs. appear’d withsuchanobleGrandeur inherPerson, thatitwere tobewish’d someof forgiven, as in the epilogue to the play: “Then judgethe forgiven, asintheepiloguetoplay:“Then Lane, 7December1704. The playalsofeatured herpopularco-starRobert Wilks sentimental comedy, played wasthatofthecharminglyduplicitousLadyBettyModish, inColleyCibber’s own morallapses. made thispleaasJane Shore, theaudiencewascajoledintoforgivingactress’s Lover wasaKing,sheFlesh andBlood” ([1731]75).In pityingOldfield, who Excuse too,beitunderstood,/ That ifthe Woman wasnotquitesogood,/Her have somelittleFailing /Must weneedsfalltodamningandrailing;/For her Nature, /AndletyourFellow-feeling curbyourSatire. / What ifourNeighbours ited with In yetanothertheatricalexampleofvirginitylost,Oldfieldperforming. wascred- twice eachyear, until shechoseitforherbenefitnightin1730,lastyearof audiences todrawparallelswithOldfield’s real atleast life,andsheplayedthepart betrothed by herfather. Calistaafforded asplendid rolethatwouldhaveenticed cumbed tothecunningLotharioinsteadofturningAltamont,whomshewas lose her Virtue” (Chetwood201-02;Lafler146-48). The heroine ultimatelysuc- ing over suchafinish’d Piece ofPerfection, that seemedtobetoomuchdignified Mr. with Manner andAction suiting,us’d tomakemeshrinkwithAwe... andthough Chetwood wrote, “Her excellent clear Voice ofPassion, herpiercingflamingEye, tragedy” withlostchastity. speakstothecomplexityofcombiningvirtue William (6th ed.[1730]38). astheseducedmaidenof“she-This sympatheticportrayal they appearwhenrepresented by Mrs. So infinitelydidtheCopytranscendOriginal, andsomuchmoreamiabledid Booth , aswell asaMan ofthemostexquisite andrefin’d Taste, andmostunquestion’d Actresses were inparticular credited withmakingsocialcomediesandshe- But, perhaps, the most noteworthy andmemorablecharacterthatOldfieldBut, perhaps,themostnoteworthy played becoming ” ([1731]40;[1741]29),and,perhaps,todissociateherfromany Lothario Jane Shore, atonceaqueenandwomanwhoneededtobe 99 The Careless Husband I couldhardly leghimuptotheImportance oftriumph- Oldfield , producedforthefirsttimeatDrury , whenathomewiththeirLords” Fair Penitent fair Offender 06/05/2009, 9:45 (1725), “she withgood Oldfield Great- ;

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FELICITY NUSSBAUM 100 value than you are aware of” (Cibber, value thanyouare awareof” that“Aboldly asserts newfashionuponafinewomanisoftengreater proofofher power. Because LadyModish’s authorityresides inherbeautyandcostume,she Cibber), withwhomsheshares delightinbeingàlamodeasameans ofaccruing tine tendenciesandthestudiedextravaganceofLord Foppington (played byColley Lord Morelove, whosesolidmoralitycontrastsatoncewithSir CharlesEasy’s liber- similar conversations.LadyModish relishes thepower ofherbeautytotorment Castle, where heimaginedthattheactress hadengagedwithladiesofqualityin daughter sheplayed, Cibbersettheplay’s scenesofspirited exchange in Windsor Modish’s ranktocompensatefortheactress Oldfield’s sexualbehaviour. over anactress’s versusherchastity, virtue seemingtoallow thecharacterLady (Davies, vol. III433-34). common conversation, thattheyappeared tobeherown genuineconception” and Lady Townly inamannersoeasy, natural,andflowing, andsoliketoher senting womenofhighrank.She expressed thesentimentsofLadyBetty Modish of distinction,Mrs.Oldfield inrepre- acquired anelegantandgracefuldeportment spoken theminherown life:“By beingawelcomeandconstantvisitortofamilies nies created withherinmind, thepart Thomas Davies notesinhis plifies Oldfield’s straddlingherpublicandprivate roles. Though Cibberapparently regard Raillery, toherdress, charm,“Wit, andConversation” (11). exem-The part play, like elled theroleafterAnneOldfield, whoowned duringherlifetime;andthe thepart as Sir CharlesEasy, mod- thecareless husbandofthetitle. Cibberalmostcertainly “ scene, itdatesOldfield’s Her ofthispart. asanactressfrom birth her performance Lady EasyandBetty Modish (II.i);and,thoughthe1741version omitsthe life andmyth. The not afig—resembled exoticdeformity:“Oneshallnotseeanhomelycreature in feminine sway, whilepublicreputation—forwhichLadyModish claimedto care ion, atraitforwhichOldfield wasalsoknown. Wearing beautifulclothingbrought scene atitsconclusion. ines inwhathasbeencalledthefirstsentimentalcomedybecauseofreformation ines, suchasCongreve’s comicsentimentalhero- Millamant, andeighteenth-century context,LadyModishdown eighteenth-century standsbetweenRestoration hero- end toexemplify virtue.IftheplaydrawsuponracyRestoration themesinatoned- Lady Modish publiclydisplays contemptforreputation, theplayreinsherinat play, asafemininecounterpointtoSir CharlesEasy’s casualinfidelity. Though she displaysapparent indifference toMorelove (whoadores her)forthebulk ofthe real Character thatOldfield seemedtohaveinvented thewords ofhercharacterasifshehad Demonstrating thatOldfield’s naturalcharacterwasequaltothepeer’s 8 Lady Modish’s power fromstudiedattentiontohighfash- derives, inpart, See William W. Appleton’s introduction toCibber, Fair Penitent ” isrevealed through the“ 100 Faithful Memoirs and 8 The Careless Husband Jane Shore , teasestheaudiencewithitscloseblendingof includes Careless imaginary one imaginary vol II.i).Manipulating thispower, alsoanimatestheongoingdebate verbatim The Careless Husband 06/05/2009, 9:45 ofLady anentire scenebetween Dramatic Miscella- Betty Modish ix-xvi. ” in 06 NUSSBAUM.pmd according to afree-born People,”time, thetheatre was“aptly calculatedfortheforming[of] land Betterton. monument, Westminster Abbey, anhonourpreviouslylimited to Thomas and Mary thehonourofbeingburiedinnational lish nation,andonewhorichlydeserved national treasure. Oldfield oftheEng- wasthusrepresented asawomanexemplary Lady Mrs. on theStage. In itwasnotthePart short, ofLadyBetty Modish, represented by Justice besaidtohavebeenheard fromherown Mouth before shepronounced it Cibber wasquotedassaying“that Sentence, inthePart, almostevery maywith with herown personalreputation. Her tightlywhen memoirsdrewtheparallel very Oldfield embodiedthecontradictionsofanactresswhoplayedonandcompeted she hadshown Morelove, LadyBettywinsherlover andregains herreputation. ciled withreputation” (V.vii). Particularly regretting the the infamousaddressesofamarriedman,myLord Foppington; letthatberecon- life’s publictable,vain even wholeprideoflatetobethecommontoastevery in Ay,immortal. madam,yourreputation... Isay, yourreputation; ‘t hasbeenyour you havegainedatlast,over defeatedsenseofreputation, too,hasmadeyour fame Lady BettyModish, asifspeakingdirectly toOldfield: “But thenobleconquest be thereformers ofmen,thoughnotbefore thechastenedSir CharlesEasylectures change thecircumstances ofSir Charles’s exposure, thewomenshow themselves to ous ofit,makinghercharacteraparadigmtheactress whoplaysher. male characterschallengeLadyModish’s recklesscourage,andthewomenare jeal- couldbecomefemalepossessionsinthetheatre (III). even maleproperties The gave herasatalismanofhislove istransformedinto“a lady’s utensil” tosuggestthat and shedemandsitsreturn.For LadyBettyModish, thesnuffboxthatMorelove masculine pieceofstagebusinessthatthreatens Modish’s relationship withMorelove, drama. Yet theplay’s otherfashion-plate,Lord Foppington, comestopossessa —not thefop’s periwig,cravat, hat,orevenhissnuffbox—unfoldsthemoralof her philanderinghusband’s neckasmaterialproofofhisadultery. The lady’s scarf fashionable stageproperty, thatLadyEasydangledfrom thefamoussteinkirkscarf and itreally becomes‘em justalike” (II.i). The resolution oftheplotreliesona town butwearsitinhermouthasmonstrously astheIndians dobobsattheirlips, Lord Hervey, were amongOldfield’s aristocraticfriends(123). edging her less-than-perfect sexualreputation.edging herless-than-perfect class thatwasattestedtobealreadyinherent withinhercharacterwhileacknowl- raphy, Oldfield wascredited withanearlyseamlessassumptionofrole andasocial ” (38),and“the Brightest Actress Oldfield Betty Modish Empowered by herquicktongueandsheerattractiveness, theillustrious will ofthescarf When itbecomesclearthatnoamountofnew-fashioning 9 For example,Joanne thattheEarlandCountessof Bristol, Laflerreports aswell asJohn, The History oftheEnglish StageThe History ; butitwasthereal Mrs. ” ([1731]3).In otherwords, asthesubjectofearlytheatre biog- 101 Oldfield Britain (124),andOldfield asits wasportrayed 9 e’er didyield” (146).Atthesame She was“the whoappeared intheCharacterof public 06/05/2009, 9:45 Greatest Lady natureoftheslights in Eng-

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FELICITY NUSSBAUM 102 trusive, unostentatious,andavoidtrusive, thepenofhistory. They conferthe which couldbeinteresting tothepublic? The dutiesofsuchacharacterareunob- then, intheprivate lifeofthe INGS 41). The separationbetween publicandpriv would have donebetter, andmanywouldhave donemuchworse” (6thed.[1730] living? most Women, Ibelieve, inherconditionwouldhave doneasmuch,few Youth immersedin Vanity, surrounded withFlattery, andinur’d toaprofuse Way of fromaPersonindeed how coulditbeexpectedotherwise, whohadbeenfromher Repentance tomakealltheAtonementthatlayinherPower foramisspentLife;and memoirist arguesthismostforcefully: thecelebratedactress “endeavour’d byasincere inadequate andskewed understandingofhow theywere perceived. Oldfield’s 1730 women— is,ifwe attendcarefully tothesubtletiesoftheirbiographies,oftenan their sexualactivitiesorlackofthem—asprostitutes, mistresses, orevenaschaste sentiment isbothderisive andadmiring,butidentifyingthesewomenprimarilyby As Fenton’s biographerputsit,“For sure shewasmore than Woman” (42). This notcontainedby“woman.” fashion,thatactresses were inacategory uncomplimentary missteps, ratherthancondemnation,andtheyseemedtosuggest,inanotentirely acted, andtheepiloguesthattheyrecited— oftenoffered excuses fortheactress’s travelled incircles ofquality. The memoirs—andsomeoftheplaysinwhichthey say that,inthesememoirs,theywere absolved oftheirsinssimplybecausethey Oldfield intotheirminglingwiththoseofhigherrank,butitwouldbetoosimpleto lent attitudestoward outtheirright womeninthepublicsphere, whowere carving Bellamy (1785),andElizabeth Gooch(1792),theseearlymemoirs displayambiva- more scandalous memoirs,suchasthoseofPeg Woffington (1760),GeorgeAnne logues, asaffording authenticglimpsesintoactresses’ privatelives.Unlike thelater minded women,interpretedtheirroles,aswell astheirspokenprologues andepi- forjuicytitbitsandprivateinformationaboutthesestrong-theatre audience,hungry courageous defencesoftheirrightsasworkingwomen. No wonder, then,thatthe (1712) andKittyClive’s protests(1744),mere fragmentsofself-representation but most resemble autobiographicalwritingare,perhaps,Jane Rogers’ memorial short Charlotte Charke, Written byHerself, own life,didnotappearuntilCharlotteCharke’s A actress’s life,butthefirstautobiographicalaccount,inwhichanactressnarratesher celebrated, impersonatednobilitythatcouldbeachieved,ratherthaninherited. kindof they actedassurrogatesforthenewbourgeoisieaspiringtoassumea mobility inspiteoftheirprivate behaviour. Aspopularandvisiblepublicwomen, Oldfield, eachwaspossessedofimmensenaturaltalentthatmeritedthemasocial in herprivate life,wascharitableandgenerous; and,inthecasesofFenwick and memoirsattestthateachactress, thoughsexuallyunorthodox eighteenth-century other,renders every inthislife,oflittlemoment” (BoadenI:15).In contrast,these of Sarah “Her Siddons intheearly nineteenthcentury: memoirs inawaythatwouldberesolved quitedifferently inJames Boaden’s memoir ; buttheyshunallrecord andreward, savetheinternalconsciousness, which In sum,thetaintofwhore follows Nell Gwyn,LaviniaFenton, andAnne The memoirsofAnneOldfield were thefirstsubstantialaccountsofan 102 most excellent in1755.Until thattime,thenarratives that wife,mother, sister, friend,the ate virtuewas Narrative oftheLife ofMrs. 06/05/2009, 9:45 PRIVATE being negotiatedinthese life! What isthere, BEST

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BLESS of - 06 NUSSBAUM.pmd D W C R C consistent moralstandard thatreigning definitionsof“woman” couldnotcontain. eenth century, mightprosperwhilelivingtheirostensibly“private” lives byanin- the possibilitythatcelebratedwomenoftheatre,infirsthalfeight- the impulsetoexplainandforgive;condemnyetentertain gether withpublicdisplayinunstableproportion. These earlymemoirsconvey both to- forcombiningthelabourof actingwithsexwork,heldvirtue that instrument to earnasubstantiallivingwhileredefining“virtue.” The actress’s bodyonstage, C B G F R H D C —— B L C R IELDING AFLER OADEN ELLAMY OSENTHAL OGERS ICHARDSON OPELAND LIVE IBBER HETWOOD HARKE OOCH RYDEN AVIES ARRIS OFFINGTON , Catherine. The Careless Husband , Joanne. , Thomas. , Colley. Jocelyn. “Introduction.” , Elizabeth. , Jane , Charlotte. , James. , John. , GeorgeAnne. , Henry. bridge: CambridgeUP, 1995. Time Century: Century: andInterpretationTheory Southern IllinoisUP, 1989. London: Colburn,1827. 1755. York: Oxford UP, 2001. at the Theatre Royal HimselfOwn Time Writtenby Vol. 1.Ed. Thomas Keymer. London:Pickering, 1998.lxxii-lxxvi. speare Drawn fromReal Life Anecdotes; The Amours ofMany Persons oftheFirst andSomeInteresting Rank; Characters , Edward. , Laura. “‘Counterfeit Scrubbado’:, Laura.“‘Counterfeit Women Actors intheRestoration.” , William. , Samuel. , Peg. The Memorial ofJane RogersHumbly Submitted tothe Town . London:1749. Tyrannick Love, ortheRoyal Martyr: A Tragedy . 3vols. London:1784. An Apology fortheLife ofColleyCibber withanHistoricalAn Apology View oftheStage DuringHis The Celebrated Mrs.Oldfield: The Life andArt ofanAugustan Actress Memoirs ofMrs.Siddons: Interspersed withAnecdotes ofAuthors andActors Dramatic Miscellanies: ConsistingofCritical onSeveral Observations Plays ofShake- Joseph Andrews andShamela The Case ofMrs.Clive Submitted tothePublick The Life ofMrs.Gooch, Written by Herself Memoirs oftheCelebrated Mrs. Woffington, Interspersed withSeveral Theatrical A Narrative oftheLife ofMrs.Charlotte Charke, Written by Herself Women Writing aboutMoney: Women’s Fiction inEngland A General oftheStage, History from Its OriginsinGreece Down tothePresent Pamela; or, Virtue Rewarded An Apology fortheLife ofGeorge AnneAn Apology Bellamy 103 . . Vol. 2.Ed. William W. Appleton. Lincoln:UofNebraska P, 1966. .1669. London:1670. . London:1760. Samuel Richardson’s Published on Commentary WORKS CITED . Ed. B.R.S.Fone. AnnArbor:UofMichigan P, 1968. 34(1993):3-22. . Ed. Martin C.Battestin.Boston:Houghton, 1961. . Ed. Thomas Keymer andAlice Wakeley. New . . London:1792. As It Is Acted by HisMajesties Servants, . London:1744. . 5vols. London:1785. 06/05/2009, 9:45 . London:1712. ,

1790-1820 Clarissa, 1747-65 The Eighteenth . Carbondale: . London: . 2vols. . Cam- .

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