Chapter 2

The next season finds her back at Drury Lane, where she reigns uncontested queen of comedy for more than twenty years. In addition to the return of Clive, the 1745-1746 season (one poor in attendance and new plays) at Drury Lane is noteworthy because of a reinstated Macklin, a de-throned Fleetwood, a new manager (Lacy), a well-balanced company soon to be augmented by player-manager Garrick, prospects for a bright future--and a theatrical monopoly stronger than ever.[23] In the latter regard Mrs. Clive's case is revealing in that it gives a new emphasis to the epithet His Majesties' Servants.[24]

Indiana State University Terre Haute

NOTES TO THE INTRODUCTION

[1] _The Dramatic Congress_ (London, 1743). Throughout I use short titles.

[2] Three major documents concerning this quarrel are published under the title _Mr. Macklin's Reply to Mr. Garrick's Answer_ (London, 1743).

[3] Mrs. Clive's four afterpieces, with their allusions to her personality and career, are equally revealing. I treat this subject in "An Edition of the Afterpieces of Kitty Clive," Diss. Duquesne Univ. 1968, and "The Textual Relationship and Biographical Significance of Two Petite Pieces by Mrs. Catherine (Kitty) Clive," RECTR, 9 (May 1970), 51-58, and "Kitty Clive as Dramatist," _DUJ_, N.S., 32 No. 2 (March 1971), 125-132.

[4] James Boswell, _Boswell's Life of Johnson_, ed. George Birkbeck Hill, rev. L.F. Powell (Oxford: Clarendon Press, 1934-1950), IV, 243.

[5] _Dramatic Miscellanies_ (London, 1785), III, 131, 376.

[6] Quoted by [John Genest], _Some Account of the English Stage_ (Bath: H.E. Carrington, 1832), V, 230.

[7] _Memoirs of His Own Life_ (York, 1790), II, 257. See _Theatrical Correspondence in Death. An Epistle from Mrs. Oldfield_ (London, 1743), p. 7.

[8] _The Complete Works of Henry Fielding, Esq._, ed. William Ernest Henley (New York: Croscup & Sterling Co., [1902]; reprinted Barnes & Noble, 1967), X, 277-278.

[9] For a useful exposition of the 1733 and 1743 disputes in terms of the licensing act see Watson Nicholson, _The Struggle for a Free Stage in London_ (Cambridge, Mass.: Archibald Constable & Co., 1906.).

[10] Percy Fitzgerald, _The Life of Mrs. Catherine Clive_ (London: A. Reader, 1888), p. 24. P.J. Crean, "The Life and Times of Kitty Clive," Diss. Univ. of London, 1933, is, however, the authority on Clive's life. I am indebted to Professor Crean.

[11] Quoted in Mary E. Knapp, _Prologues and Epilogues of the Eighteenth Century_ (New Haven: Yale University Press, 1961), p. 69.

[12] Yet, with Fitzgerald (_Life_, p. 34), I believe that Fielding could have helped Mrs. Clive ready her Case for the press. Certainly the "correctness" of that printed text could not have been achieved by her alone. Cf. Clive's MS letters, Appendix, "An Edition of the Afterpieces."

[13] See Crean, "Life and Times," p. 215. A pertinent example of actors' seeking redress is, of course, the revolt of 1694-1695, described by John Downes, _Roscius Anglicanus_ (London. 1708), pp. 43-44; Augustan Reprint Society publication number 134 (Los Angeles, 1969), with an Introduction by John Loftis, is a facsimile of the first edition.

[14] See Arthur H. Scouten, "Introduction," _The London Stage_ (Carbondale, III.: Southern Illinois University Press, 1961), Pt. 3, xcv, cxlvii, and Dramatic Congress, p. 20.

[15] Cf. James Ralph, _The Case of our Present Theatrical Disputes_ (London, 1743), pp. 3, 48.

[16] _The Case Between the Managers of the Two Theatres, and their Principal Actors_ (London, 1743, misdated 1713), p. 20. Cf. _An Impartial Examen_ (London, 1744), pp. 10-11, 21-22. See also the three _Queries_ pamphlets: _Queries to be Answered by the Manager of Drury-Lane_ (London, 1743); _Queries upon Queries_ (London, 1743); _A Full Answer to Queries upon Queries_ (London, 1743).

[17] (London, 1744), pp. 15-16.

[18] _Dramatic Congress_, p. 22. Thomas Davies, _Memoirs of the Life of David Garrick_, 3rd Ed. (London, 1781), I, 90, says of Rich: he "seems to have imbibed, from his very early years, a dislike of the people with whom he was obliged to live and converse."

[19] See Clive's afterpiece _The Faithful Irish Woman_ in "An Edition of the Afterpieces."

[20] See _Mr. Macklin's Reply to Mr. Garrick's Answer_, pp. 18, 29-30, and _An Impartial Examen_, pp. 10-11.

[21] Nicholson, _Struggle for a Free Stage_, p. 124; see, too, pp. 83-86.

[22] Crean, "Life and Times," p. 254 n. 1, points out that on the very day of this benefit (2 Nov.) a second notice of Mrs. Clive's Case appeared.

[23] See Nicholson's concluding chapter. For other effects of the licensing act see Scouten, _London Stage_, cxlvii, and Ralph, _Case of the Present Theatrical Disputes_, pp. 22, 43.

[24] Since the pamphlets cited here are scarce, some rare, perhaps the following list of locations will prove helpful. Full titles and partial bibliographical information are available in Robert W. Lowe, _A Bibliographical Account of English Theatrical Literature_ (London: J.C. Nimmo, 1888), p. 95.

_Dramatic Congress_, Univ. Chicago, Austrian Coll., PR 3346. C3D7 1743.

_Mr. Macklin's Reply_, Newberry Library, V1845. 54.

_Theatrical Correspondence in Death_, Harvard, Thr 417. 43. 12.

_Case of Present Theatrical Disputes_, Newberry Library, Rare Book Room.

_Case Between the Managers_, Univ. Chicago, Austrian Coll., PN 2596. L6C22.

_An Impartial Examen_, Harvard, Thr 465. 20. 23.

_Queries to be Answered_, Harvard, Thr 465. 20. 22.

_Queries upon Queries_, Harvard, Thur 465. 20. 12.

_A Full Answer to Queries_, Harvard, Thr 465. 20. 12.

_Disputes between the Director_, Univ. Chicago, Austrian Coll., PN 2596. L7D832.

BIBLIOGRAPHICAL NOTE

The facsimile of _The Case of Mrs. Clive_ (1744) is reproduced from a copy of the first edition (Shelf Mark: PN 2598. C45A2) in The Lilly Library, Indiana University. The total type-page (p. 9) measures 145 X 78 mm.

* * * * *

THE CASE OF MRS. _CLIVE_

[Price Six Pence.]

* * * * *

THE CASE OF MRS. _CLIVE_

Submitted to the PUBLICK.

_LONDON:_

Printed for B. DOD at the _Bible_ and _Key_ in _Ave-Mary-Lane_ near _Stationers-Hall_. MDCCXLIV.

[Price Six Pence.]

* * * * *

THE CASE OF MRS. _CLIVE_

Submitted to the PUBLICK.

In order to put an End to ſome falſe Reports, which have been raiſed in Relation to my not acting this Seaſon, as well as to beſpeak the Favour of the Publick, I have, by the Advice of my Friends, ventured to addreſs my ſelf to them, from whom I have received many and great Marks of Favour, and whoſe further Protection I now ſtand in need of.

I know Appeals of this Nature, which relate to Diſputes that happen at a Theatre, are by ſome thought preſuming and impertinent, ſuppoſing they are too trifling to demand Attention: But, as I perſuade my ſelf that Injuſtice and Oppreſſion are by no means thought Matters of Indifference by any who have Humanity, I hope I ſhall not be thought to take too great a Liberty. I am the more encouraged to hope this from Experience; it having been obſerved, that thoſe Performers, who have had the Happineſs to pleaſe on the Stage, and who never did any thing to offend the Publick, whenever they have been injured by thoſe who preſided over Theatres, have ſeldom, if ever, failed of Redreſs upon repreſenting the Hardſhips they met with: And, as I at this time, apprehend my ſelf to be greatly oppreſſed by the Managers of both Theatres, I hope I ſhall be juſtified in taking this Method of acquainting the Publick with my Caſe, ſubmitting it to their Determination.

Before the Diſputes happened betwixt the Manager of _Drury-Lane_ Theatre and his Actors, I had articled for Five Years to receive Three Hundred Pounds a Year, tho' another Performer on that Stage received for Seven Years Five Hundred Guineas, _per_ Year; and at the Expiration of my Agreements the Manager offered me an additional Salary to continue at that Theatre.

And ſince I have mentioned thoſe Diſputes, which ended ſo greatly to the Diſadvantage of the Actors, I muſt beg Leave to endeavour to ſet that Matter in a clear Light, which hitherto has been miſrepreſented to the Publick: I think my ſelf obliged to this, as the Hardſhips I at preſent labour under are owing to that Diſagreement; if any think I treat this Matter too ſeriouſly, I hope they will remember, that however trifling ſuch Things may appear to them, to me, who am ſo much concerned in 'em, they are of great Importance, ſuch as my Liberty and Livelihood depend on.

As only two Theatres were authoriſed, the Managers thought it was in their Power to reduce the Incomes of thoſe Performers, who could not live independant of their Profeſſion; but in order to make this appear with a better Face to the Town, it was agreed to complain of the Actors Salaries being too great, and accordingly a falſe Account was publiſhed of them in the daily Papers, by whom I will not ſay: Whether, or no, ſome particular Salaries were ſo, I will not pretend to determine; yet, in the whole, they did not amount to more than had been allowed for many Years, when the Theatre was under a frugal and exact Regulation; when the Managers punctually fulfilled, not only all Engagements to their Actors, but to every other Perſon concerned in the Theatre, and raiſed very conſiderable Fortunes for themſelves.

But ſuppoſing the Expence of the Theatre too high, I am very certain it was not the Actors refuſing to ſubmit to a proper Reduction of them, which made ſo many of them quit the Stage, but from great Hardſhips they underwent, and greater which they feared would happen from an Agreement ſuppoſed to be concluded betwixt the two Managers, which made 'em apprehend, that if they ſubmitted to act under ſuch Agreements, they muſt be abſolutely in the Managers Power; and the Event has proved that their Fears were not ill-grounded, as I doubt not but I ſhall make appear.

When the Actors Affairs obliged 'em to return to the Theatres laſt Winter, under ſuch Abatements of their Salaries as hardly afforded the greater Part of them a Subſiſtence, I was offered, by the Manager of _Drury-Lane_ Theatre, ſuch Terms as bore no Proportion to what he gave other Performers, or to thoſe he had offered me at the beginning of the Seaſon. They were ſuch as I was adviſ'd not to accept, becauſe it was known they were propoſed for no reaſon but to inſult me, and make me ſeek for better at the other Theatre; for I knew it had been ſettled, by ſome dark Agreement, that Part of the Actors were to go to _Covent-Garden_ Theatre, and others to _Drury-Lane_; I did, indeed, apprehend I ſhould meet with better Terms at _Covent-Garden_, becauſe that Manager had made many Overtures to get me into his Company the preceding Seaſon, and many times before: But when I apply'd to him, he offered me exactly the ſame which I had refuſed at the other Theatre, and which I likewiſe rejected, but was perſuaded to accept ſome very little better, rather than ſeem obſtinate in not complying as well as others, and yielded ſo far to the Neceſſity of the Time, as to Act under a much leſs Salary than ſeveral other Performers on that Stage, and ſubmitted to pay a Sum of Money for my Benefit, notwithſtanding I had had one clear of all Expence for Nine Years before; an Advantage the firſt Performers had been thought to merit for near Thirty Years, and had grown into a Cuſtom.

When I was fixed at that Theatre I determined to ſtay there; I did, in all things which related to my Profeſſon, ſubmit intirely to that Manager's Direction, and, with the help of other principal Performers, did greatly promote his Intereſt, as was evident from the Audiences after we went to Act there; but I found, by his Behaviour to me, it was deſigned I ſhould not continue with him, but return the next Seaſon to _Drury-Lane._

The Agreements betwixt that Manager and me were verbal, but made before two Gentlemen of Character and Fortune, on whom I muſt depend for the fulfilling of them; they were for one Year. At the end of the Acting-ſeaſon the Manager ſent an Office-keeper to me with ſome Salary that was due, who required a Receipt in full; I told him a very great Part of my Agreements were yet due, and requeſted to ſee the Manager, who came and acknowledged them, and promiſed to bring one of the Gentlemen who was preſsent at our Ingagements in a Day or two and pay me, and then he ſaid he had done with me; but he has not paid me, nor have I ever ſeen him ſince, or as much as heard from him.

It has always been a Cuſtom in Theatres, that if ever any Actor or Actreſs was to be diſcharged, or their Allowance leſſen'd, they were acquainted with it at the End of the Seaſon; the Reaſon of this will appear to be the giving them a proper Notice to provide for themſelves: This the Manager of _Covent-Garden_ did to all his Company whom he deſigned to diſcharge, or whoſe Allowance was to be leſſen'd, except to me, which made me actually then conclude he determined I ſhould continue with him, 'till I was undeceived by his Play-Bills with the Names of other Actreſſes in Parts I uſed to perform; ſo that he has not only broke thro' the Cuſtoms of the Theatre, but thoſe in practice almoſt every where, in diſmiſſing me, and has done me a real Injury in ſuch an unprecedented Act of Injuſtice; for had I been informed of his Deſign at the End of the Seaſon, I could have made Terms to have acted in _Ireland_, where I had met with moſt uncommon Civilities, and received very great Advantages, which I ſhall ever remember with the utmoſt Gratitude, and take this and every other Opportunity to acknowledge.

As I have ſaid, it has been a Cuſtom to give Actors Notice of a Diſcharge: I muſt at the ſame time obſerve, That it never was a Cuſtom to diſcharge any, but upon Neglect of their Buſineſs, or ſuch as were obnoxious to the Publick; this Maxim extended even to thoſe of the loweſt Claſs; but to thoſe, on whoſe Performances the Town had been pleaſed to ſtamp a Value, by their Indulgence and Applauſe, the Stage was always a Support, even after Age or any Accident had made 'em incapable of their Profeſſion; for the then Patentees thought it as great a Piece of Inſolence to deprive the Publick of their Pleaſures, as of Cruelty and Injuſtice to deny thoſe a Subſiſtence who had contributed towards 'em; for they knew and acknowledged, that the Publick was the only Support of all, conſequently had an indiſputable Right to be pleaſed in the beſt manner poſſible.

It is pretended by the Managers, that they have the ſame Right to diſcharge an Actor that a Maſter has to turn away a Servant, than which nothing can be more falſe and abſurd; for, when a Maſter diſmiſſes a Servant, there are many thouſands beſides to apply to; but when the Managers diſmiſs an Actor, where are they to apply? It is unlawful to act any where but with them; Neceſſity or Inclination brings every one to the Stage; if the former happens to be the Caſe, they will not readily find an Employment; and if the latter, they will not be fit for one; ſo that it will appear an Act of great Injuſtice and Oppreſſion. If it ſhould be objected, That the Actors Demands are ſo exorbitant, that the Managers cannot comply with 'em? I have already endeavoured to ſhow, that tho' two or three Salaries might be thought ſo in general, they did not amount to more than had been allowed, and very conſiderable Profits ariſing to the Patentees. But there is a very melancholy Inſtance, that the Actors Demands is not the Reaſon of diſmiſſing 'em, but the Will of the Manager alone; since laſt Seaſon an Actor and Actreſs returned to _Drury-Lane_ under ſuch Abatements as that Manager thought proper, and ſuch as were in no degree equal to their Merit; and yet, at the beginning of this Seaſon, were diſmiſſed, after having been from their Infancy on the Stage, and having no other Profeſſions to live by, and very numerous Families to ſupport.

The Manager of _Drury-Lane_ tho' he can't but know I am diſengag'd from the other Theatre, has not made any Application to me to act with him, which he has done to ſeveral others who quitted that Stage at the Time I did: The Reaſons which obliged me to leave him ſtill ſubſiſt: He owes me a Hundred and Sixty Pounds, twelve Shillings, which he has acknowledged to be juſtly due, and promiſed Payment of it by laſt _Chriſtmas_ to a Perſon of too great Conſequence for me to mention here, the greater Part of it Money I expended for Cloaths for his Uſe. He offer'd me, laſt Seaſon, not near half as much as he afterwards agreed to give another Performer, and leſs than he then gave to ſome others in his Company; ſo that I muſt conclude, as every one knows there are Agreements betwixt the Managers, that there is a Deſign to diſtreſs me, and reduce me to ſuch Terms as I cannot comply with.

I am ſorry I am reduced to ſay any thing in favour of myſelf; but, as I think I merit as much as another Performer, and the Managers are ſo deſirous to convince me of the contrary, I hope I ſhall be excuſed; eſpecially when I declare, that at this time, I am not in the leaſt vain of my Profeſſion.

As to my Performances, the Audience are the only, proper Judges: But I may venture to affirm, That my Labour, and Application, have been greater than any other Performers on the Stage. I have not only acted in almoſt all the Plays, but in Farces and Muſical Entertainments; and very frequently two Parts in a Night, even to the Prejudice of my Health. I have been at a very great Expence in Maſters for Singing; for which Article alone, the Managers now give five and ſix Pounds a Week. My additional Expences, in belonging to the Theatre, amount to upwards of one Hundred Pounds a Year, in Clothes, and other Neceſſaries; and the pretended great Salaries, of ten and twelve Pounds a Week, which have been ſo artfully, and falſly repreſented to the Town, to the Prejudice of the Actors, will, upon Enquiry, appear to be no more than half as much, ſince they performed half Seaſon, at the Theatres, very ſeldom above three or four Days a Week; ſo taking in the long Vacation, when there are no Plays at all, to thoſe Days the preſent Managers omit acting, a Salary which appears to be great, will be found, in effect, to be very moderate; and thoſe which are leſs, not a Sufficiency.

I have now finiſhed all I propoſed; I have ſhown in how aggravating a manner, without any Reaſon aſſigned, and at a Time a very conſiderable Sum of Money was owing to me, I have been turn'd out of _Covent-Garden_ Theatre. The Manager of _Drury-Lane,_ tho' he can't but know what juſt Reaſons I had for quitting him, has never apply'd to me to return, nor made the leaſt Excuſe for not paying my Arrears, tho' due ſo long, and after promiſing Payment near a Year, notwithſtanding I have, for many Years, not only endeavour'd, but ſucceeded, in greatly promoting that Manager's Intereſt, as is known to himſelf and his whole Company.

The Reaſon of my taking the Liberty to communicate theſe Things to the Publick, is moſt earneſtly to interceed for their Favour and Protection, from whom I have always met with great Generoſity and Indulgence: For, as I have already declared, in a Letter publiſhed by me laſt Year in the Daily Papers, that I had not a Fortune to ſupport me, independent of my Profeſſion, I doubt not but it will appear, I have not made any conſiderable Acquiſition to it ſince, having not received two Hundred Pounds Salary for acting in Plays, Farces, and Singing; tho' other Performers have received more than twice that Sum. I have, in Conſideration of theſe Hardſhips, been promiſed the Protection of many Ladies, to whom I have the Honour to be perſonally known, and will not doubt the Concurrence of the Publick, in receiving my Performance in the beſt manner I am, at preſent, capable of, which I ſhall always moſt gratefully Acknowledge.

C. CLIVE

FINIS.

* * * * *

WILLIAM ANDREWS CLARK MEMORIAL LIBRARY

UNIVERSITY OF CALIFORNIA, LOS ANGELES

THE AUGUSTAN REPRINT SOCIETY

PUBLICATIONS IN PRINT

* * * * *

The Augustan Reprint Society

PUBLICATIONS IN PRINT

1948-1949

16. Henry Nevil Payne, _The Fatal Jealousie_ (1673).

17. Nicholas Rowe. _Some Account of the Life of Mr. William Shakespear_ (1709).

18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719), and Aaron Hill, Preface to _The Creation_ (1720).

1949-1950

19. Susanna Centlivre, _The Busie Body_ (1709).

20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734).

22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two _Rambler_ papers (1750).

23. John Dryden, _His Majesties Declaration Defended_ (1681).

1951-1952

26. Charles Macklin, _The Man of the World_ (1792).

31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and _The Eton College Manuscript_.

1952-1953

41. Bernard Mandeville, _A Letter to Dion_ (1732).

1962-1963

98. Selected Hymns Taken Out of Mr. Herbert's _Temple_ ... (1697).

1964-1965

109. Sir William Temple, _An Essay Upon the Original and Nature of Government_ (1680).

110. John Tutchin, _Selected Poems_ (1685-1700).

111. Anonymous, _Political Justice_ (1736).

112. Robert Dodsley, _An Essay on Fable_ (1764).

113. T.R., _An Essay Concerning Critical and Curious Learning_ (1698).

114. Two Poems Against Pope: Leonard Welsted. _One Epistle to Mr. A. Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).

1965-1966

115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_.

116. Charles Macklin, _The Covent Garden Theatre_ (1752).

117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680).

118. Henry More, _Enthusiasmus Triumphatus_ (1662).

119. Thomas Traherne, _Meditations on the Six Days of the Creation_ (1717).

120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ (1740).

1966-1967

123. Edmond Malone, _Cursory Observations on the Poems Attributed to Mr. Thomas Rowley_ (1782).

124. Anonymous, _The Female Wits_ (1704).

125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference Between Verbal and Practical Virtue_ (1742).

1967-1968

129. Lawrence Echard, Prefaces to _Terence's Comedies_ (1694) and _Plautus's Comedies_ (1694).

1968-1969

133. John Courtenay, _A Poetical Review of the Literary and Moral Character of the Late Samuel Johnson_ (1786).

134. John Downes, _Roscius Anglicanus_ (1708).

135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766).

136. Thomas Sheridan, _Discourse ... Being Introductory to His Course of Lectures on Elocution and the English Language_ (1759).

137. Arthur Murphy, _The Englishman From Paris_ (1736).

1969-1970

138. [Catherine Trotter], _Olinda's Adventures_ (1718).

139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_ (1762).

140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding Burnt to Pot or a Compleat Key to the Dissertation on Dumpling_ (1727).

141. Selections from Sir Roger L'Estrange's _Observator_ (1681-1687).

142. Anthony Collins, _A Discourse Concerning Ridicule and Irony in Writing_ (1729).

143. _A Letter From A Clergyman to His Friend, With An Account of the Travels of Captain Lemuel Gulliver_ (1726).

144. _The Art of Architecture, A Poem. In Imitation of Horace's Art of Poetry_ (1742).

1970-1971

145-146. Thomas Shelton, _A Tutor to Tachygraphy, or Short-writing_ (1642) and _Tachygraphy_ (1647).

147-148. _Deformities of Dr. Samuel Johnson_ (1782).

149. _Poeta de Tristibus: or the Poet's Complaint_ (1682).

150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the English Stage_ (1687).

1971-1972

151-152. Evan Lloyd, _The Methodist._ A Poem (1766).

153. _Are these Things So?_ (1740), and _The Great Man's Answer to Are these Things So?_ (1740).

154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A Catalogue of Dr. Arbuthnot's Library_ (1779).