William Wycherley (1640-1716)

William Wycherley

• EducationEducated at home in his early childhood. [1]

• Spent three years in France during his adolescence. [2, 3]

• Converted to Roman Catholicism during this time. [4]

• Attended The Queen’s College, Oxford. [3]

• Returned to the Church of England under the influence of the provost, Thomas Barlow. [5]

• Resided at the Inner Temple, but did not devote much time to studying law. [2]

• JobPlaywright: Best known for writing the plays The Country Wife and The Plain Dealer. [6]

• Soldier: Served in Ireland in 1662 with the Earl of Ancram’s Regiment of Guards. [4]

• Attached to a diplomatic mission in Madrid in 1664-65. [5]

• Claimed to have fought in the Second Anglo-Dutch War in 1665. [5]

• Commissioned as a captain lieutenant in the English Army in 1672 during the Third Anglo-Dutch War. [7]

• Promoted to captain in 1674 but resigned his commission shortly after. [7]

• Tutor: Appointed as tutor to the Duke of Richmond, King Charles II’s illegitimate son. [2, 8]

• Father’s Job: Daniel Wycherley, his father, worked in the business service of the Marquess of Winchester. [5]

• The family had a moderate estate worth approximately £600 a year. [1]

• His WorksLove in a Wood (1671): A comedy first produced at the Theatre Royal, Drury Lane. [9]

• The Gentleman Dancing Master (1672): Adapted into a one-act opera called The Dancing Master by composer Malcolm Arnold and librettist Joe Mandoza in 1952. [10]

• The Country Wife (1672 or 1673): A controversial play for its sexual explicitness, reflecting aristocratic and anti-Puritan ideologies. [11]

• The Plain Dealer (1674): A play based on Molière’s Le Misanthrope, praised for its satire but also condemned for obscenity. [12]

• Performance History of his WorksThe Country Wife was particularly controversial due to its sexual content, featuring a rake who pretends to be impotent and a naive country wife who discovers the pleasures of city life. [11]

• The Plain Dealer, with its cynical protagonist Captain Manly, was admired by some critics but also drew criticism for its obscenity. [12]

• The explicit content of Wycherley's plays led to their restriction for nearly two centuries, often replaced by bowdlerized versions. [13]

• Fall Out with the King: Secretly married the Countess of Drogheda in 1679, which angered King Charles II, leading to the termination of Wycherley’s tutorship of the Duke of Richmond. [8, 14]

• First Marriage: Married the Countess of Drogheda in 1679. [14]

• She died in 1685, leaving him her fortune, but legal disputes over the inheritance led to Wycherley’s imprisonment for debt. [14]

• He was released by King James II, who also granted him a pension. [14]

• Later Life:Imprisoned for debt after inheriting his wife’s estate, but later released by King James II. [14]

• Fled to Shropshire after King William III took the throne. [14]

• Inherited the family property at Clive after his father’s death in 1697. [15]

• Married Elizabeth Jackson, his cousin’s mistress, shortly before his death. [16]

• Legacy:Known for his witty and often provocative comedies that reflected the social and moral landscape of Restoration England. [17]

• Considered a significant figure in English Restoration comedy, though his plays were later criticized for their explicit content. [18, 19]

• Credited as the first user of the phrase “happy-go-lucky”. [10]

• Admired by Voltaire for his comedic style. [10]

The Country Wife

Introduction: The Country Wife is a Restoration comedy written by William Wycherley, first performed in January 1675 by the King's Company at the Theatre Royal, Drury Lane. [1, 2] The play is known for its sexual explicitness and satirical exploration of societal hypocrisy, particularly within marriage and social classes. [1, 3]

David Garrick’s version: The Country Girl premiered in 1766 at Drury Lane. [4, 5]

• Source Material and Plots: The play draws inspiration from several plays by Molière, but Wycherley adapted them to cater to the preferences of 17th-century London audiences. [1, 6] It features three intertwined plots:

• Horner’s Impotence Trick: The main plot revolves around Horner, a rake who pretends to be impotent to gain access to married women without arousing suspicion from their husbands. [1, 7] This deception enables him to engage in numerous affairs, exposing the hypocrisy of women who publicly uphold their virtue while secretly desiring extramarital relationships. [7, 8]

• The Marriage of Pinchwife and Margery: This plot centers on Pinchwife, a middle-aged man who marries a naive country girl, Margery, hoping her lack of sophistication will prevent her from being unfaithful. [9] However, Horner teaches Margery about the ways of the town, leading to comic situations as she navigates the complexities of London society and her husband's jealousy. [9]

• The Courtship of Harcourt and Alithea: This subplot presents a more conventional love story where Harcourt, Horner's friend, pursues Alithea, Pinchwife's sister, who is initially engaged to the foolish fop Sparkish. [10] Through his wit and genuine affection, Harcourt eventually wins Alithea's heart. [10]

• Key Scenes:

• The China Scene: This infamous scene features Horner engaging in a double entendre-laden conversation with two of his mistresses about his "china" collection. [11] The dialogue's sexual innuendo is clear to the audience but goes over the heads of the listening husbands, highlighting their obliviousness and the women's deceit. [11]

• Horner’s Lodging: Another notable scene depicts Lady Fidget and her group of "virtuous" women carousing at Horner's lodgings, shedding their public facades and indulging in behavior typically associated with male rakes. [12] This scene further underscores the play's critique of societal expectations and the hypocrisy of the upper classes. [12]

• Pinchwife’s Letter Scene: A scene combining farce and unsettling imagery involves Pinchwife trying to force Margery to write a dismissive letter to Horner, threatening to carve "whore" on her face with a penknife. [13] This scene demonstrates Pinchwife's controlling nature and the fear that fuels his actions. [13]

• Themes and Analysis:

• Marriage and Gender Roles: The play satirizes the institution of marriage, exposing how it is often driven by social pressure and economic interests rather than genuine love or respect. [13, 14] It also explores the power dynamics between men and women, highlighting the limited agency and autonomy afforded to women in Restoration society. [14]

• Hypocrisy and Deception: The Country Wife is rife with characters engaging in deception and maintaining facades to protect their reputations and achieve their desires. [1, 7, 8, 11, 12] The play critiques the pervasive hypocrisy of the upper classes, particularly regarding their attitudes towards sex and infidelity. [8]

• Town vs. Country: The play contrasts the sophistication and corruption of London society with the naivete and innocence associated with the countryside. [9] Margery's journey from country wife to a more experienced woman embodies this contrast, serving as a vehicle for Wycherley's commentary on the transformative and often corrupting influences of city life. [9]

• Stage History: The play enjoyed initial success but quickly generated controversy due to its explicit content. [15] Over time, public sensitivities shifted, leading to a decline in performances and the emergence of bowdlerized adaptations that toned down its bawdy elements. [15] In the 20th century, the play experienced a revival, regaining recognition for its wit, social commentary, and enduring relevance to discussions about gender, relationships, and societal hypocrisy. [15]

The Country Wife's Plots

• The Country Wife by William Wycherley (1675) has three interconnected plots:

1. Horner's "Impotence" Trick: This is the main plot and the play's driving force. Horner, a notorious rake, pretends to be impotent to gain access to married women whose husbands believe he poses no threat. His deception is successful, allowing him to engage in numerous affairs. The play features a scene, known as the "China scene," where Horner and his mistresses carry on a double entendre conversation about his china collection, implicitly suggesting their sexual encounters. [1]

2. The Marriage of Pinchwife and Margery: This plot, inspired by Molière's School for Wives, centers on the relationship between the middle-aged Pinchwife and his naive young wife, Margery, whom he brought from the countryside. Pinchwife aims to keep Margery ignorant of London society's ways to prevent her from being unfaithful. However, Horner introduces Margery to the city's pleasures, and she becomes captivated by its gallants and the theater. Margery's frankness and her interest in the city's men constantly horrify Pinchwife. [2]

3. The Courtship of Harcourt and Alithea: This storyline offers a more conventional romantic subplot, focusing on the witty Harcourt's pursuit of Alithea, Pinchwife's sister. The plot provides a contrast to the more cynical and bawdy elements of the other two storylines. [3]

• The story of Pinchwife and Margery is based on Molière's School for Wives. [2]

Plot of The Country Wife in Bullet Points

• Horner's Deception: Harry Horner, a notorious rake, fabricates a rumor of his own impotence to gain the trust of husbands and access to their wives. He believes that this ruse will allow him to have affairs without arousing suspicion. [1-3]

• The Country Wife's Arrival: Mr. Pinchwife brings his young and naive wife, Margery, to London from the countryside. He is obsessively jealous and attempts to shield her from the temptations of city life, fearing she will cuckold him. [2, 4, 5]

• Horner's Success: Horner's plan works, and he successfully seduces several married women, including Lady Fidget and her friends. He uses his knowledge of "china" as a cover for his illicit encounters. [1, 6, 7]

• Margery's Education: Despite her husband's attempts to keep her isolated, Margery encounters Horner and other men who introduce her to the ways of the town. She quickly becomes fascinated by the attention she receives and develops a strong attraction to Horner. [4, 5]

• The Love Plot: A parallel plot unfolds between Harcourt, Horner's friend, and Alithea, Pinchwife's sister. Alithea is initially engaged to the foolish fop Sparkish but eventually falls in love with Harcourt. [8, 9]

• Pinchwife's Jealousy: Pinchwife's paranoia and attempts to control his wife backfire. His actions inadvertently lead Margery to become more knowledgeable about the social dynamics and sexual intrigue of London society. [4, 5]

• The Climax: The play culminates in a series of near-discoveries and farcical situations. Margery's innocence and outspokenness threaten to expose Horner's true nature and the infidelity of the women he has seduced. [6]

• The Resolution: In a final display of wit and manipulation, Horner manages to avert disaster. He convinces Pinchwife to accept a fabricated version of events, preserving his reputation and maintaining the illusion of the women's virtue. [6]

• Unresolved Tensions: The play ends with Horner continuing his deceptive ways and Margery, although seemingly returning to her husband, having experienced a taste of freedom and the pleasures of the town. This suggests the potential for future complications and the persistence of societal hypocrisy surrounding marriage and sexuality. [6]

Background of The Country Wife in Bullet Points

• Restoration Era: The Country Wife, a Restoration comedy, premiered in January 1675 at the Theatre Royal, Drury Lane during the reign of King Charles II [1, 2]. This era, following the restoration of the monarchy in 1660, saw a resurgence of theater after an 18-year ban under Puritan rule [3, 4].

• Social and Political Context: The reign of Charles II ushered in an era of relaxed censorship and increased freedom of expression [5]. Playwrights could explore themes of romance, courtship, marriage, and sexuality with a frankness that had been inconceivable previously [4, 5]. The Country Wife reflects the aristocratic and anti-Puritan ideology prevalent at the court of Charles II [4, 6].

• William Wycherley: The playwright, William Wycherley, was a courtier who frequented the inner circle of Charles II [4, 7]. He drew inspiration from French playwrights, particularly Molière, adapting their works to suit the tastes of English audiences who demanded fast-paced plots, complex situations, and abundant humor [6, 8].

• Theatrical Innovations: Restoration theaters, like the newly built Theatre Royal, Drury Lane, embraced innovations in scenic design while retaining the intimate connection between actors and audience characteristic of English theater [2, 9]. The introduction of actresses to the English stage was a novelty that Wycherley utilized in The Country Wife [10, 11].

• Satirical Themes: The Country Wife satirizes the hypocrisy of London society, particularly within the upper class [12, 13]. It explores themes of marriage, infidelity, and the double standards surrounding male and female sexuality. Wycherley uses Horner's feigned impotence to highlight the hypocrisy of supposedly virtuous women who are secretly eager for extramarital affairs [6, 14]. The play also contrasts the naivete of the countryside with the sophistication and corruption of city life, exemplified by Margery Pinchwife's transformation [15].

• Controversial Content: From its premiere, The Country Wife sparked controversy due to its explicit language and suggestive scenes, such as the infamous "china scene" [16, 17]. The title itself contains a lewd pun [6]. Wycherley acknowledged this controversy in his subsequent play, The Plain Dealer [17].

• Reception and Legacy: The Country Wife remained a popular repertory play until the mid-18th century when public tastes shifted towards more sentimental and morally acceptable entertainment [17]. The play was largely absent from the stage for almost two centuries [17, 18]. During this time, it was often replaced by bowdlerized adaptations like David Garrick's The Country Girl, which premiered in 1766 [19, 20]. In the 20th century, The Country Wife was revived and has since been critically acclaimed for its wit, social commentary, and enduring relevance to discussions about gender, relationships, and societal hypocrisy [12, 17, 19].

Here is information from your sources regarding bowdlerized versions of Wycherley's works and what Voltaire said about him:

• Bowdlerized Versions: The language and content of Wycherley's plays were considered obscene by many, leading to the restriction of their publication and performance for nearly two centuries. [1] Over this period, original versions were often replaced with bowdlerized adaptations. [1] For example:

• Isaac Bickerstaffe created an adaptation of The Plain Dealer. [1]

• David Garrick wrote a version of The Country Girl. [1]

• Voltaire's Opinion: The sources note that Voltaire greatly admired Wycherley's plays. [2] He is quoted as saying: "Il semble que les Anglais prennent trop de liberté et que les Françaises n'en prennent pas assez," which translates to "It seems that the Englishmen take too much liberty and the Frenchwomen don't take enough." [2]

Adaptations, Criticisms, and Interpretations

• Expurgated Versions:

• John Lee's Adaptation (1765): Lee removed the character of Horner entirely and reduced the play from five acts to two, aiming for "inoffensively humorous" entertainment. [1]

• David Garrick's The Country Girl (1766): Garrick retained the five-act structure but changed character names and significantly altered the plot. Margery, renamed Peggy, became a virginal country girl defying her guardian, a reimagined Pinchwife named Jack Moody. This adaptation proved popular, enjoying numerous editions and reaching the New York stage in 1794. However, modern critics often find Garrick's version "sentimental and boring" in contrast to the original's "astringent and provocative" nature. [1-3]

• Other Adaptations:

• She Shall Have Music (1959): This Off-Broadway musical comedy blended elements of The Country Wife with other Restoration comedies like The School for Scandal and Love for Love. [3]

• BBC Play of the Month (1977): A television production featuring Anthony Andrews as Horner, Helen Mirren as Margery, and Bernard Cribbins as Pinchwife. This adaptation was later released on DVD. [3]

• Shampoo (1975): While not a direct adaptation, the film Shampoo, starring Warren Beatty, drew inspiration from The Country Wife. [3]

• Lust (1992): A musical adaptation written by the Heather Brothers. The production debuted at the Queens Theatre in Hornchurch before moving to London's West End and later enjoying an Off-Broadway run in New York. [4]

• BBC Radio 3 Adaptation (2008): A radio production directed by David Blount and featuring Ben Miller as Horner, Geoffrey Whitehead as Pinchwife, and Clare Corbett as Margery. [4]

Criticisms and Interpretations

• Thomas Macaulay: Macaulay condemned Wycherley’s work, stating, "Wycherley's indecency is protected against the critics as a skunk is protected against the hunters. It is safe, because it is too filthy to handle and too noisome even to approach." He viewed Margery as a “scarlet woman” engaging in a “licentious intrigue.” [5]

• Leigh Hunt: In contrast to Macaulay, Hunt admired the literary qualities of Wycherley's work, praising his wit and language. His 1840 publication of Restoration plays, including Wycherley’s, was a bold act considering the prevailing view of them as obscene. [6]

• Rose Zimbardo: Zimbardo positioned The Country Wife as a sharp social satire, emphasizing its historical context and the play's commentary on the societal norms of the Restoration era. [7]

• Norman Holland: Holland proposed a "right way/wrong way" reading, arguing that the play presents contrasting models of masculinity. Horner represents unbridled libertinism, while Pinchwife embodies unhealthy possessiveness. Holland saw Harcourt, the faithful lover, as the ideal, advocating for mutual trust in marriage. [7]

• Eve Kosofsky Sedgwick: Sedgwick, drawing on her work on homosocial desire, argued that the play’s central game of sexual conquest is played out between men, using women as mere conduits for their competition. [8]

• Douglas Canfield: Canfield highlighted the unique aspect of Horner’s transgressions targeting both the middle class and his own upper class, suggesting a critique of class solidarity. The lack of punishment for Horner at the play’s conclusion leaves the audience, particularly the upper class, to confront the unsettling implications. [8]

Character List, Cast, Stage History, and The Plain Dealer

Major Characters and Original Cast

• Mr. Horner: Played by Charles Hart [1]

• Mr. Harcourt: Played by Edward Kynaston [1]

• Mr. Pinchwife: Played by Michael Mohun [2]

• Mrs. Margery Pinchwife: Played by Elizabeth Boutell [2]

• Mrs. Alithea: Played by Elizabeth James [3]

• Sparkish: Played by Joseph Haines [4]

• Sir Jaspar Fidget: Played by William Cartwright [2]

• Lady Fidget: Played by Elizabeth Knepp [3]

Full Performance History and Samuel Pepys Quote

The sources provide the date of the first performance, January 1675, and the theatre company and venue, the King's Company at the Theatre Royal, Drury Lane [5]. They note a successful initial run and the play’s presence as a repertory staple until the mid-1740s [6]. The last performance in the 18th century was on November 7, 1753 [6]. After a 171-year hiatus, The Country Wife returned to the stage in 1924, produced by the Phoenix Society at the Regent Theatre in London [6]. The first American performance occurred in 1931 [6]. The sources do not offer a complete list of every performance of the play.

While the sources mention Samuel Pepys several times, they do not include a quote about the actress Elizabeth Knepp, who played Lady Fidget in the first production [3]. The only Pepys quote provided is about Edward Kynaston's performance as a female character in an earlier production: "the prettiest woman in the whole house" [7].

Stage History

• The Country Wife premiered in January 1675 at the Theatre Royal, Drury Lane, performed by the King's Company [5].

• The play was initially successful, but the controversial content, such as Horner's trick and the “china scene,” generated pushback [6].

• The Country Wife remained a popular repertory play for almost 70 years [6].

• By the mid-18th century, public taste had shifted, and the play was considered too bawdy for the stage [6].

• David Garrick’s adaptation The Country Girl, which premiered in 1766, sanitized the original play and achieved significant success [8].

• It wasn’t until 1924 that The Country Wife returned to the London stage, with the first American performance occurring in 1931 [6].

• Today, The Country Wife is regarded as a classic and a favorite among actors due to its abundance of substantial roles [6].

The Plain Dealer and the “China Scene”

In Wycherley's subsequent play, The Plain Dealer, two characters discuss The Country Wife and its infamous "china scene." Olivia, a hypocritical character, states: "[The china scene] has quite taken away the reputation of poor china itself, and sullied the most innocent and pretty furniture of a lady's chamber" [6].

Eliza, Olivia’s cousin, responds: "All this will not put me out of conceit with china, nor the play, which is acted today, or another of the same beastly author’s, as you call him, which I’ll go see" [6].

Through Eliza, Wycherley asserts that he is unfazed by those who found the scene objectionable.

Voltaire's La Prude

The French philosopher, historian, and dramatist Voltaire adapted William Wycherley's The Plain Dealer to create his play titled La Prude (The Prude). [1] The Plain Dealer was first performed in 1676 and is considered one of Wycherley's best works, along with The Country Wife. [2] The main character in The Plain Dealer is Manly, a sailor who is suspicious of everyone's intentions. [3]

Here is a list of plays featuring adultery:

• The Country Wife [1-3] The main plot of The Country Wife revolves around Horner, a rake, who pretends to be impotent so that husbands will trust him around their wives. [2, 4] Horner successfully uses this trick to sleep with many married women. [5]

• The Plain Dealer [1, 6] The Plain Dealer is a Restoration comedy that was first performed in 1676. [6] The play's main character, Manly, seeks revenge on his former lover, Olivia, when she jilts him to marry his friend, Vernish. [7]

• Betrayal [1]

• Broken Glass [1]

• The Crucible [1]

• The Homecoming [1]

• House & Garden [1]

• Marriage Play [1]

• The Moon Birds [1]

• Play [1]

• Private Eyes [1]

• The Relapse [1]

• Same Time, Next Year [1]

• Shirley Valentine [1]

• Silent Night, Lonely Night [1]

• A Stormy Night [1]

• Strange Interlude [1]

• Three Hours After Marriage [1]

• Titus Andronicus [1]

• The Winter's Tale [1]

An Overview of The Provoked Wife

• John Vanbrugh's The Provoked Wife (1697) premiered during the comedy renaissance of the 1690s and exemplifies the shift towards "softer" comedies that explore the complexities of marriage and social dynamics. [1-3]

• The play focuses on Lady Brute, who is trapped in an unhappy marriage with the brutish and constantly intoxicated Sir John Brute. [4]

• While divorce is not an option during this period, legal separation and "separate maintenance" for the wife are emerging possibilities. [4]

• Lady Brute contemplates an affair with the persistent Constant, finding herself caught between the constraints of societal expectations and her desire for happiness and personal freedom. [4]

Key Aspects of the Play:

• Marital Discord: The play centers on the dysfunctional marriage of the Brutes, highlighting Sir John's abusive behavior and Lady Brute's frustration and longing for autonomy. [4]

• Social Commentary: The Provoked Wife engages with the legal and social limitations faced by women in marriage, particularly the difficulties of separation and the financial dependence on their husbands. [4]

• Shift in Tone: Compared to the "hard" comedies of the earlier Restoration period, The Provoked Wife exhibits a more thoughtful and introspective tone, exploring the emotional consequences of marital strife and societal expectations. [1-3]

• Emphasis on Dialogue: The play is characterized by witty and engaging dialogue, particularly between female characters like Lady Brute and her niece Bellinda, and male friends Constant and Heartfree. [5] These conversations reveal the characters' inner thoughts and motivations, adding depth and complexity to the storyline.

Other Characters and Subplots:

• Bellinda: Lady Brute's niece navigates her own romantic entanglement, initially resisting the advances of Heartfree, a man disillusioned by the prospect of marriage due to the Brutes' troubled relationship. [5]

• Heartfree's Transformation: Observing Bellinda's spirit and wit, Heartfree undergoes a change of heart and falls in love with her, offering a more optimistic counterpoint to the main plot's marital discord. [5]

The Play's Resolution:

• The play concludes with a marriage between Heartfree and Bellinda, symbolizing hope and the possibility of a successful union. [6]

• However, the Brutes remain locked in their stalemate, with Constant continuing to court Lady Brute, while she grapples with her options and the consequences of defying societal norms. [6] This unresolved ending reflects the complexities of marriage and individual choice in the context of Restoration England.