The Letter Writers

Last updated

The Letter Writers Or, a New Way to Keep a Wife at Home is a play by Henry Fielding and was first performed on 24 March 1731 at Haymarket with its companion piece The Tragedy of Tragedies . It is about two merchants who strive to keep their wives faithful. Their efforts are unsuccessful, however, until they catch the man who their wives are cheating with.

Contents

The play, a farce dealing with sex and adultery, was a failure. While Fielding avoided the traditional cliches of the genre, he lost the moral purpose. Critics disagree over the quality of the play, but most agree that the missing moral purpose is the key failure of the play.

Background

The Letter Writers Or, a New Way to Keep a Wife at Home, a three-act farcical play, was first mentioned in the 12 February 1731 Daily Post, which announced that the play would start in March. It first ran on 24 March 1731, [1] and it ran for four nights as a companion piece with The Tragedy of Tragedies. [2] It failed as a play, [3] and The Welsh Opera replaced The Letter Writers as the companion piece to The Tragedy of Tragedies on 22 April 1731. [4]

It was advertised for print in the 23 March Daily Post and first printed 24 March for opening night. [5] It was printed by James Roberts with John Watts, even though only Roberts's name appeared on any of the notices, on the same day as The Tragedy of Tragedies. There is a difference in quality between the printed version of The Letter-Writers and other plays, including The Tragedy of Tragedies. The play was printed with less care and includes many mistakes in the text along with other errors. [6]

Cast

Cast list according to the original printed billing: [7]

Plot

The play revolves around two old merchants named Mr Wisdom and Mr Softly. Each has a young wife and the two men are afraid that their wives will run off with other men. They determine to send a threatening letter to the other's wife to scare them into staying. The letters do not work, and Mrs Softly spends her time pursuing men about town while Mrs Wisdom stays at home with Rakel, an officer. While with Rakel, Mrs Wisdom is almost caught by Mr Wisdom but she is able to sneak him into a closet. Mrs Softly does not have a closet, and she is caught with Rakel by her husband. After great lengths, she is able to convince him that she was not intimate with Rakel; Rakel pretends to be a criminal and Risque helps reinforce the lie. However, she is later discovered with Rakel by Mrs Wisdom after Commons, a friend of Rakel's, comes in drunk and reveals where Rakel was hiding. [8]

Themes

The theme of the play is dealing with sex and adultery. However, Fielding ignores many traditional cliches that are part of the sex-comedy farce, which causes him to lose out on emphasising any moral purpose. Instead, Fielding avoids morality and the play instead forgives characters, such as Risque, who don't seem to deserve forgiveness through the play. [9] In this play, along with The Temple Beau, Rape Upon Rape, and The Grub-Street Opera, Fielding relies on letters to further the plot. [10]

Other connections between The Letter Writers and other works by Fielding include Fielding's reliance on the events of his day, public or personal, and his ability to take plain events and find humour within them. In the play, the use of writing letters to intimidate people occurred frequently during the early 1730s. However, the play is different from his other works because it is truly "Farce" whereas many of his other works are more ballad opera than farce. [1] In terms of characters, Mrs Softly is, according to Ronald Paulson, "the first of the vocal and central young women who emerge from Fielding's Moliere plays" and serves as the focus for the play. [11]

Sources

The idea of using letters to extort money became well known after George Packer, a shipbuilder, was threatened during September 1730. When he did not comply, his house was destroyed by arson on 4 October 1730. His story became well known after reported in various newspapers and others started to copy the extortion attempt. Newspapers began to report on various attempts at extortion and London was filled with general concern over the letters. [12]

It is possible that Fielding drew inspiration from a threatening letter sent to Lady Diana Fielding, his second cousin. The letter was dated 29 October 1730, and was just one of many sent to rich people during the early 1730s to intimidate the rich and extort money. [1] There is also a connection between the way The Letter Writers depicts cuckolding with Edward Ravenscroft's The London Cuckolds (1681), although Ravenscroft relied on three couples instead of Fielding's two. [13]

Critical response

There are no contemporary accounts of the play besides it being a failure. According to Thomas Lockwood, removing The Letter-Writers from the billing "was a forced decision, made necessary because the afterpiece was dragging down the programme—not an easy accomplishment, where the programme was headed by The Tragedy of Tragedies" [14] Allardy Nicolls believes that, in regards to The Letter-Writers, "Of all eighteenth century farces, Fielding's is perhaps the best". [15] Robert Hume disagrees with Nicoll's assessment and instead believes that the play's "gimmick is a good one" but it "is ineptly handled". [8]

F. Homes Dudden notes how The Letter Writers is truly a farce unlike Fielding's other works, but he points out that the play "was too conventional to excite much interest." [16] The Battesins believe that "Slight as it is and unsuccessful, The Letter-Writers is worth noting for the clarity with which it exemplifies certain characteristics of Fielding's work as a comic author." [1] Harold Pagliaro believes that "Despite the happy idea of the husbands' letters and the possibilities they generate, the play misses as farce or burlesque, because the outrageous behaviour we have been promised, at least implicitly, never comes to pass. A certain audacity is wanting." [17]

Notes

  1. 1 2 3 4 Battestin and Battestin 1993 p. 106
  2. ↑ Hume 1988 p. 91
  3. ↑ Pagliaro 1998 p. 79
  4. ↑ Rivero 1989 p. 88
  5. ↑ Cross 1918 p. 292
  6. ↑ Fielding II 2004 p. 618
  7. ↑ Fielding II 2004 p. 625
  8. 1 2 Hume 1988 pp. 91–93
  9. ↑ Hume 1988 pp. 92–93
  10. ↑ Pagliaro 1998 p. 80
  11. ↑ Paulson 2000 p. 60
  12. ↑ Fielding II 2004 pp. 610–611
  13. ↑ Paulson 2000 p. 59
  14. ↑ Fielding II 2004 p. 616
  15. ↑ Nicoll 1952 p. 215
  16. ↑ Dudden 1963 pp. 75–76
  17. ↑ Pagliaro 1998 pp. 78–79

Related Research Articles

<span class="mw-page-title-main">Henry Fielding</span> English novelist and dramatist (1707–1754)

Henry Fielding was an English writer and magistrate known for the use of humour and satire in his works. His 1749 comic novel The History of Tom Jones, a Foundling was a seminal work in the genre. Along with Samuel Richardson, Fielding is seen as the founder of the traditional English novel. He also played an important role in the history of law enforcement in the United Kingdom, using his authority as a magistrate to found the Bow Street Runners, London's first professional police force.

Aaron Hill was an English dramatist and miscellany writer.

<i>Amelia</i> (novel) Novel by Henry Fielding

Amelia is a sentimental novel written by Henry Fielding and published in December 1751. It was the fourth and final novel written by Fielding, and it was printed in only one edition while the author was alive, although 5,000 copies were published of the first edition. Amelia follows the life of Amelia and Captain William Booth after they are married. It contains many allusions to classical literature and focuses on the theme of marriage and feminine intelligence, but Fielding's stance on gender issues cannot be determined because of the lack of authorial commentary discussing the matter. Although the novel received praise from many writers and critics, it received more criticism from Fielding's competition, possibly resulting from the "paper war" in which the author was involved.

The early plays of Henry Fielding mark the beginning of Fielding's literary career. His early plays span the time period from his first production in 1728 to the beginning of the Actor's Rebellion of 1733, a strife within the Theatre Royal, Drury Lane that divided the theatrical community and threatened to disrupt London stage performances. These plays introduce Fielding's take on politics, gender, and morality and serve as an early basis for how Fielding develops his ideas on these matters throughout his career.

<i>Love in Several Masques</i> Play written by Henry Fielding

Love in Several Masques is a play by Henry Fielding that was first performed on 16 February 1728 at the Theatre Royal, Drury Lane. The moderately received play comically depicts three lovers trying to pursue their individual beloveds. The beloveds require their lovers to meet their various demands, which serves as a means for Fielding to introduce his personal feelings on morality and virtue. In addition, Fielding introduces criticism of women and society in general.

<i>The Temple Beau</i>

The Temple Beau is a play by Henry Fielding. It was first performed on 26 January 1730, at Goodman's Fields after it was rejected by the Theatre Royal. The play, well received at Goodman's Fields, depicts a young law student forsaking his studies for pleasure. By portraying hypocrisy in a comedic manner, Fielding shifts his focus from a discussion of love and lovers.

<i>The Authors Farce</i> 1730 play by Henry Fielding

The Author's Farce and the Pleasures of the Town is a play by the English playwright and novelist Henry Fielding, first performed on 30 March 1730 at the Little Theatre, Haymarket. Written in response to the Theatre Royal's rejection of his earlier plays, The Author's Farce was Fielding's first theatrical success. The Little Theatre allowed Fielding the freedom to experiment, and to alter the traditional comedy genre. The play ran during the early 1730s and was altered for its run starting 21 April 1730 and again in response to the Actor Rebellion of 1733. Throughout its life, the play was coupled with several different plays, including The Cheats of Scapin and Fielding's Tom Thumb.

<i>Tom Thumb</i> (play)

Tom Thumb is a play written by Henry Fielding as an addition to The Author's Farce. It was added on 24 April 1730 at Haymarket. It is a low tragedy about a character who is small in both size and status who is granted the hand of a princess in marriage. This infuriates the queen and a member of the court and the play chronicles their attempts to ruin the marriage.

<i>Rape upon Rape</i>

Rape upon Rape; or, The Justice Caught in his own Trap, also known as The Coffee-House Politician, is a play by Henry Fielding. It was first performed at the Haymarket Theatre on 23 June 1730. The play is a love comedy that depicts the corruption rampant in politics and in the justice system. When two characters are accused of rape, they deal with the corrupt judge in separate manners. Though the play was influenced by the rape case of Colonel Francis Charteris, it used "rape" as an allegory to describe all abuses of freedom, as well as the corruption of power, though it was meant in a comedic, farcical manner.

<i>The Tragedy of Tragedies</i>

The Tragedy of Tragedies, also known as The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great, is a play by Henry Fielding. It is an expanded and reworked version of one of his earlier plays, Tom Thumb, and tells the story of a character who is small in stature and status, yet is granted the hand of a princess in marriage; the infuriated queen and another member of the court subsequently attempt to destroy the marriage.

<i>The Welsh Opera</i>

The Welsh Opera is a play by Henry Fielding. First performed on 22 April 1731 in Haymarket, the play replaced The Letter Writers and became the companion piece to The Tragedy of Tragedies. It was also later expanded into The Grub-Street Opera. The play's purported author is Scriblerus Secundus who is also a character in the play. This play is about Secundus' role in writing two (Fielding) plays: The Tragedy of Tragedies and The Welsh Opera.

The Grub Street Opera is a play by Henry Fielding that originated as an expanded version of his play The Welsh Opera. It was never put on for an audience and is Fielding's single print-only play. As in The Welsh Opera, the author of the play is identified as Scriblerus Secundus. Secundus also appears in the play and speaks of his role in composing the plays. In The Grub Street Opera the main storyline involves two men and their rival pursuit of women.

<i>The Lottery</i> (play)

The Lottery is a play by Henry Fielding and was a companion piece to Joseph Addison's Cato. As a ballad opera, it contained 19 songs and was a collaboration with Mr Seedo, a musician. It first ran on 1 January 1732 at the Theatre Royal, Drury Lane. The play tells the story of a man in love with a girl. She claims she has won a lottery, however, making another man pursue her for the fortune and forcing her original suitor to pay off the other for her hand in marriage, though she does not win.

<i>The Modern Husband</i>

The Modern Husband is a play by Henry Fielding. It first ran on 14 February 1732 at the Royal Theatre, Drury Lane. The plot focuses on a man who sells his wife for money, but then sues for damages by adultery when the money is insufficient. The play also covers the stories of other couples and affairs and romantic pursuits.

<i>The Old Debauchees</i>

The Old Debauchees, originally titled The Despairing Debauchee, was a play written by Henry Fielding. It originally appeared with The Covent-Garden Tragedy on 1 June 1732 at the Royal Theatre, Drury Lane and was later revived as The Debauchees; or, The Jesuit Caught. The play tells the story of Catholic priest's attempt to manipulate a man to seduce the man's daughter, ultimately unsuccessfully.

<i>The Covent-Garden Tragedy</i>

The Covent-Garden Tragedy is a play by Henry Fielding that first appeared on 1 June 1732 at the Theatre Royal, Drury Lane alongside The Old Debauchees. It is about a love triangle in a brothel involving two prostitutes. While they are portrayed satirically, they are imbued with sympathy as their relationship develops.

The Mock Doctor: or The Dumb Lady Cur'd is a play by Henry Fielding and first ran on 23 June 1732 at the Theatre Royal, Drury Lane. It served as a replacement for The Covent-Garden Tragedy and became the companion play to The Old Debauchees. It tells the exploits of a man who pretends to be a doctor at his wife's requests.

<span class="mw-page-title-main">Actor Rebellion of 1733</span> Event that took place at the Theatre Royal, Drury Lane in London in 1733

The Actor Rebellion of 1733 was an event that took place at the Theatre Royal, Drury Lane in London, England, when the actors who worked there, disapproving of the changes in the management, attempted to seize control. Before the rebellion, the theatre was controlled by the managers Theophilus Cibber, John Ellys, and John Highmore. When Theophilus lost his share and was denied a bid to run the theatre, he, along with other actors, attempted to take over the theatre by controlling the lease. When the shareholders found out, they refused to admit the actors to the building and the theatre was closed for several months. The fight spilled over to the contemporary newspapers, which generally sided with the managers.

<i>The Covent-Garden Journal</i> 1752 English literary periodical

The Covent-Garden Journal was an English literary periodical published twice a week for most of 1752. It was edited and almost entirely funded by novelist, playwright, and essayist Henry Fielding, under the pseudonym, "Sir Alexander Drawcansir, Knt. Censor of Great Britain". It was Fielding's fourth and final periodical, and one of his last written works.

The Golden Rump is a farcical play of unknown authorship said to have been written in 1737. It acted as the chief trigger for the Theatrical Licensing Act of 1737. The play has never been performed on stage or published in print. No manuscript of the play survives, casting some doubt over whether it ever existed in full at all. The authorship of the play has often been ascribed to Henry Fielding, at that time a popular and prolific playwright who often turned his incisive satire against the monarch, George II, and particularly the "prime minister", Sir Robert Walpole. Modern literary historians, however, increasingly embrace the opinion that The Golden Rump may have been secretly commissioned by Walpole himself in a successful bid to get his Bill for theatrical licensing passed before the legislature.

References

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.