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SUSANNA CENTLIVRE
_THE BUSIE BODY_
(1709)
With an Introduction by
Jess Byrd
Publication Number 19
(Series V, No. 3)
Los Angeles
William Andrews Clark Memorial Library
University of California
1949
* * * * *
_GENERAL EDITORS_
H. RICHARD ARCHER, _Clark Memorial Library_
RICHARD C. BOYS, _University of Michigan_
EDWARD NILES HOOKER, _University of California, Los Angeles_
H.T. SWEDENBERG, JR., _University of California, Los Angeles_
_ASSISTANT EDITOR_
W. EARL BRITTON, _University of Michigan_
_ADVISORY EDITORS_
EMMETT L. AVERY, _State College of Washington_
BENJAMIN BOYCE, _University of Nebraska_
LOUIS I. BREDVOLD, _University of Michigan_
CLEANTH BROOKS, _Yale University_
JAMES L. CLIFFORD, _Columbia University_
ARTHUR FRIEDMAN, _University of Chicago_
SAMUEL H. MONK, _University of Minnesota_
ERNEST MOSSNER, _University of Texas_
JAMES SUTHERLAND, _Queen Mary College, London_
* * * * *
INTRODUCTION
Susanna Centlivre (1667?-1723) in _The Busie Body_ (1709) contributed
to the stage one of the most successful comedies of intrigue of the
eighteenth and nineteenth centuries. This play, written when there was a
decided trend in England toward sentimental drama, shows Mrs. Centlivre
a strong supporter of laughing comedy. She had turned for a time to
sentimental comedy and with one of her three sentimental plays, _The
Gamester_ (1704), had achieved a great success. But her true bent seems
to have been toward realistic comedies, chiefly of intrigue: of her
nineteen plays written from 1700 to 1723, ten are realistic comedies.
Three of these proved very popular in her time and enjoyed a long stage
history: _The Busie Body_ (1709); _The Wonder: A Woman Keeps a Secret_
(1714); and _A Bold Stroke for a Wife_ (1717). _The Busie Body_ best
illustrates Mrs. Centlivre's preference for laughing comedy with an
improved moral tone. The characters and the plot are amusing but
inoffensive, and, compared to those of Restoration drama, satisfy the
desire of the growing eighteenth-century middle-class audience for
respectability on the stage.
The theory of comedy on which _The Busie Body_ rests is a traditional
one, but Mrs. Centlivre's simple pronouncements on the virtues of
realistic over sentimental comedy are interesting because of the
controversy on this subject among critics and writers at this time. In
the preface to her first play, _The Perjur'd Husband_ (1700), she takes
issue with Jeremy Collier on the charge of immorality in realistic
plays. The stage, she believes, should present characters as they are;
it is unreasonable to expect a "Person, whose inclinations are always
forming Projects to the Dishonor of her Husband, should deliver her
Commands to her Confident in the Words of a Psalm." In a letter written
in 1700 she says: "I think the main design of Comedy is to make us
laugh." (Abel Boyer, _Letters of Wit, Politicks, and Morality_, London,
1701, p. 362). But, she adds, since Collier has taught religion to the
"Rhiming Trade, the Comick Muse in Tragick Posture sat" until she
discovered Farquhar, whose language is amusing but decorous and whose
plots are virtuous. This insistence on decorum and virtue indicates a
concession to Collier and to the public. Thus in the preface to _Love's
Contrivance_ (1703), she reiterates her belief that comedy should amuse
but adds that she strove for a "modest stile" which might not "disoblige
the nicest ear." This modest style, not practiced in early plays, is
achieved admirably in _The Busie Body_. Yet, as she says in the
epilogue, she has not followed the critics who balk the pleasure of
the audience to refine their taste; her play will with "good humour,
pleasure crown the Night." In dialogue, in plot, and particularly in
the character of the amusing but inoffensive Marplot, she fulfills her
simple theory of comedy designed not for reform but for laughter.
Mrs. Centlivre followed the practices of her contemporaries in borrowing
the plot for _The Busie Body_. The three sources for the play are: _The
Devil Is an Ass_ (1616) by Jonson; _L'Etourdi_ (1658) by Molière; and
_Sir Martin Mar-all or The Feigned Innocence_ (1667) by Dryden. From
_The Devil Is an Ass_, Mrs. Centlivre borrowed minor details and two
episodes, one of them the amusing dumb scene. This scene, though a close
imitation, seems more amusing in _The Busie Body_ than in Jonson's play,
perhaps because the characters, especially Sir Francis Gripe and
Miranda, are more credible and more fully portrayed. From the second
source for _The Busie Body_, Molière's _L'Etourdi_, I believe Mrs.
Centlivre borrowed the framework for her parallel plots, the theme of
Marplot's blundering, and the name and general character of Marplot. But
she has improved what she borrowed. She places in Molière's framework
more credible women characters than his, especially in the charming
Miranda and the crafty Patch; she constructs a more skillful intrigue
plot for the stage than his subplot and emphasizes Spanish customs in
the lively Charles-Isabinda-Traffick plot. Mrs. Centlivre concentrates
on Marplot's blundering, whereas Molière concentrates on the servant
Mascarille's schemes. Marplot's funniest blunder, in the "monkey" scene,
is entirely original as far as I know (IV, iv). But her greatest change
is in the character of Marplot, who in her hands becomes not so much
stupid as human and irresistibly ludicrous. Mrs. Centlivre's style is
of course inferior to that of Molière. In the preface to _Love's
Contrivance_ (1703), in speaking of borrowings from Molière, she said
that borrowers "must take care to touch the Colors with an English
Pencil, and form the Piece according to our Manners." Of course her
touching the "Colors with an English Pencil" meant changing the style
of Molière to suit the less delicate taste of the middle-class English
audience.
A third source for _The Busie Body_ is Dryden's _Sir Martin Mar-all_
(1667). Since Dryden followed Molière with considerable exactness, it
would be difficult to prove beyond doubt that Mrs. Centlivre borrowed
from Molière rather than from Dryden. Yet I believe, after a careful
analysis of the plays, that she borrowed from Molière. She made of _The
Busie Body_ a comedy of intrigue based on the theme and plot used by
both Molière and Dryden, but she omitted the scandalous Restoration
third plot which Dryden had added to Molière. Her characters are English
in speech and action, but they lack the coarseness apparent in Dryden's
_Sir Martin Mar-all_. Though it is impossible to prove the exact sources
of Mrs. Centlivre's borrowings, there is no doubt that she has improved
what she borrowed.
Whatever the truth may be about Mrs. Centlivre's use of her sources, her
play remained in the repertory of acting plays long after _L'Etourdi_
and _Sir Martin Mar-all_ had disappeared. _The Busie Body_ opened at the
Drury Lane Theater on May 12, 1709. Steele, who listed the play in _The
Tatler_ for May 14, 1709, does not mention the length of the run. Thomas
Whincop says that the play ran thirteen nights (_Scanderbeg_, London,
1747, p. 190), but Genest says the play had an opening run of seven
nights (_Some Account of the English Stage from the Restoration in 1660
to 1830_, II, 419). The play remained popular throughout the eighteenth
and nineteenth centuries. Genest lists it as being presented in
twenty-three seasons from 1709 to 1800. It was certainly presented much
more frequently than this record shows, for Dougald MacMillan in _The
Drury Lane Calendar_ lists fifty-three performances from 1747-1776,
whereas Genest records two performances in this period. The greatest
number of performances in any season was fourteen in 1758-59, the year
David Garrick appeared in the play. From the records available _The
Busie Body_ seems to have reached its greatest popularity in England
in the middle and late eighteenth century and the early part of the
nineteenth century. William Hazlitt, in the "Prefatory Remarks" to the
Oxberry acting edition of 1819, says _The Busie Body_ has been acted a
"thousand times in town and country, giving delight to the old, the
young, and the middle-aged."
_The Busie Body_ enjoyed a similar place of importance in the stage
history of America but achieved its greatest popularity, in New York
at least, in the nineteenth century. First performed in Williamsburg
on September 10, 1736, the play was presented fifteen times in New
York in the eighteenth century. In the nineteenth century forty-five
performances were given in New York in sixteen seasons from 1803 to 1885
(George Odell, _Annals of the New York Stage_). _The Busie Body_ is
frequently cited with _The Rivals_ and _The School for Scandal_ for
opening seasons and for long runs by great actors.
The text here reproduced is from a copy of the first edition now in the
library of the University of Michigan.
_Jess Byrd_
_Salem College_
* * * * *
* * * *
* * * * *
THE
BUSIE BODY:
A
COMEDY.
As it is Acted at the
THEATRE-ROYAL
in
_DRURY-LANE_,
By Her Majesty's Servants.
Written by Mrs. SUSANNA CENTLIVRE.
Quem tulit ad scenam ventoso Gloria curru,
Exanimat lentus Spectator, sedulus inflat.
Sic Leve, sic parvum est, animum quod laudis avarum
Subruit aut reficit--
Horat. Epist. Lib. II. Ep. 1.
_LONDON_,
Printed for BERNARD LINTOTT, at the _Cross-Keys_
between the Two _Temple-Gates_ in _Fleet-street_.
* * * * *
To The
RIGHT HONOURABLE
_JOHN_ Lord _SOMMERS_,
Lord-President of Her HAJESTY's most
Honourable Privy-Council.
_May it please Your Lordship,_
As it's an Establish'd Custom in these latter Ages, for all Writers,
particularly the Poetical, to shelter their Productions under the
Protection of the most Distinguish'd, whose Approbation produces a kind
of Inspiration, much superior to that which the _Heathenish_ Poets
pretended to derive from their Fictitious _Apollo_: So it was my
Ambition to Address one of my weak Performances to Your Lordship, who,
by Universal Consent, are justly allow'd to be the best Judge of all
kinds of Writing.
I was indeed at first deterr'd from my Design, by a Thought that it
might be accounted unpardonable Rudeness to obtrude a Trifle of this
Nature to a Person, whose sublime Wisdom moderates that Council, which
at this Critical Juncture, over-rules the Fate of all _Europe_. But then
I was encourag'd by Reflecting, that _Lelius_ and _Scipio_, the two
greatest Men in their Time, among the _Romans_, both for Political and
Military Virtues, in the height of their important Affairs, thought
the Perusal and Improving of _Terence_'s Comedies the noblest way of
Unbinding their Minds. I own I were guilty of the highest Vanity, should
I presume to put my Composures in Parallel with those of that Celebrated
_Dramatist_. But then again, I hope that Your Lordship's native Goodness
and Generosity, in Condescension to the Taste of the Best and Fairest
part of the Town, who have been pleas'd to be diverted by the following
SCENES, will excuse and overlook such Faults as your nicer Judgment
might discern.
And here, my Lord, the Occasion seems fair for me to engage in a
Panegyrick upon those Natural and Acquired Abilities, which so brightly
Adorn your Person: But I shall resist that Temptation, being conscious
of the Inequality of a Female Pen to so Masculine an Attempt; and having
no other Ambition, than to Subscribe my self,
My Lord,
Your Lordship's
Most Humble and
Most Obedient Servant,
SUSANNA CENTLIVRE.
PROLOGUE.
By the Author of TUNBRIDGE-WALKS.
Tho' modern Prophets were expos'd of late,
The Author cou'd not Prophesie his Fate;
If with such Scenes an Audience had been Fir'd,
The Poet must have really been Inspir'd.
But these, alas! are Melancholy Days
For Modern Prophets, and for Modern Plays.
Yet since Prophetick Lyes please Fools o'Fashion,
And Women are so fond of Agitation;
To Men of Sense, I'll Prophesie anew,
And tell you wond'rous things, that will prove true:
_Undaunted Collonels will to Camps repair,_
_Assur'd, there'll be no Skirmishes this Year;_
On our own Terms will flow the wish'd-for Peace,
All Wars, except 'twixt Man and Wife, will cease.
The Grand Monarch may wish his Son a Throne,
But hardly will advance to lose his own.
This Season most things bear a smiling Face;
But Play'rs in Summer have a dismal Case,
Since your Appearance only is our Act of Grace.
Court Ladies will to Country Seats be gone,
My Lord can't all the Year live Great in Town,
Where wanting _Opera's_, _Basset_, and a _Play_,
They'll Sigh and stitch a Gown, to pass the time away.
Gay City-Wives at _Tunbridge_ will appear,
Whose Husbands long have laboured for an Heir;
Where many a Courtier may their Wants relieve,
But by the Waters only they Conceive.
The _Fleet-street_ Sempstress--Toast of _Temple_ Sparks,
That runs Spruce Neckcloths for Attorney's Clerks;
At _Cupid_'s _Gardens_ will her Hours regale,
Sing fair _Dorinda_, and drink Bottl'd Ale.
At all Assemblies, Rakes are up and down,
And Gamesters, where they think they are not known.
Shou'd I denounce our Author's fate to Day,
To cry down Prophecies, you'd damn the Play:
Yet Whims like these have sometimes made you Laugh;
'Tis Tattling all, like _Isaac Bickerstaff_.
Since War, and Places claim the Bards that write,
Be kind, and bear a Woman's Treat to-Night;
Let your Indulgence all her Fears allay,
And none but Woman-Haters damn this Play.
EPILOGUE.
In me you see one _Busie-Body_ more;
Tho' you may have enough of one before.
With Epilogues, the _Busie-Body_'s Way,
We strive to help; but sometimes mar a Play.
At this mad Sessions, half condemn'd e'er try'd,
Some, in three Days, have been turn'd off, and dy'd,
In spight of Parties, their Attempts are vain,
For like false Prophets, they ne'er rise again.
Too late, when cast, your Favour one beseeches,
And Epilogues prove Execution Speeches.
Yet sure I spy no _Busie-Bodies_ here;
And one may pass, since they do ev'ry where.
Sowr Criticks, Time and Breath, and Censures waste,
And baulk your Pleasure to refine your Taste.
One busie Don ill-tim'd high Tenets Preaches,
Another yearly shows himself in Speeches.
Some snivling Cits, wou'd have a Peace for spight,
To starve those Warriours who so bravely fight.
Still of a Foe upon his Knees affraid;
Whose well-hang'd Troops want Money, Heart, and Bread.
Old Beaux, who none not ev'n themselves can please,
Are busie still; for nothing--but to teize
The Young, so busie to engage a Heart,
The Mischief done, are busie most to part.
Ungrateful Wretches, who still cross ones Will,
When they more kindly might be busie still!
One to a Husband, who ne'er dreamt of Horns,
Shows how dear Spouse, with Friend his Brows adorns.
Th' Officious Tell-tale Fool, (he shou'd repent it.)
Parts three kind Souls that liv'd at Peace contented,
Some with Law Quirks set _Houses_ by the Ears;
With Physick one what he wou'd heal impairs.
Like that dark Mob'd up Fry, that neighb'ring Curse,
Who to remove Love's Pain, bestow a worse.
Since then this meddling Tribe infest the Age,
Bear one a while, expos'd upon the Stage.
Let none but _Busie-Bodies_ vent their Spight!
And with good Humour, Pleasure crown the Night!_
Dramatis Personæ.
Men.
Sir _George Airy_. A Gentleman of Four Thousand a Year
in Love with _Miranda_.
Acted by Mr. _Wilks_.
Sir _Francis Gripe_. Guardian to _Miranda_ and _Marplot_,
Father to _Charles_, in Love with _Miranda_.
Mr. _Estcourt_.
_Charles_. Friend to _Sir George_, in Love with _Isabinda_.
Mr. _Mills_.
Sir _Jealous Traffick_. A Merchant that had liv'd sometime
in _Spain_, a great Admirer of the _Spanish_ Customs,
Father to _Isabinda_.
Mr. _Bullock_.
_Marplot_. A sort of a silly Fellow, Cowardly, but very
Inquisitive to know every Body's Business, generally spoils
all he undertakes, yet without Design.
Mr. _Pack_.
_Whisper_. Servant to _Charles_.
Mr. _Bullock_ jun.
Women.
_Miranda_. An Heiress, worth Thirty Thousand Pound, really
in Love with Sir _George_, but pretends to be so with her
Guardian Sir _Francis_.
Mrs. _Cross_.
_Isabinda_. Daughter to Sir _Jealous_, in Love with _Charles_,
but design'd for a _Spanish_ Merchant by her Father, and kept
up from the sight of all Men.
Mrs. _Rogers_.
_Patch_. Her Woman.
Mrs. _Saunders_.
_Scentwell_. Woman to _Miranda_.
Mrs. _Mills_.
[Transcriber's Note:
The scenes within each Act are not numbered. Their descriptions are
listed here for convenience:
ACT I [scene i] The Park