No. 3. [STEELE. From Thursday, April 14, to Saturday, April 16, 1709. Thi Will's Coffee-house, April 14. his evening, the comedy called "The Country Wife " was acted in Drury Lane, for the benefit of Mrs. Bignell. The part which gives name to the play was performed by herself. Through the whole action, she made a very pretty figure, and exactly entered into the nature of the part. Her husband in the drama, is represented to be one of those debauchees who run through the vices of the town, and believe when they think fit they can marry, and settle at their ease. His own knowledge of the iniquity of the age, makes him choose a wife wholly ignorant of it, and place his security in her want of skill how to abuse him. The poet, on many occasions, where the propriety of the character will admit of it, insinuates, that there is no defence against vice, but the contempt of it and has, in the natural ideas of an untainted innocent, shown the gradual steps to ruin and destruction, which 1 By Wycherley, first acted in 1683. 2 Mrs. Bicknell (or Bignell) was born about 1695. It is not clear whether she was married, or whether the name Bicknell was taken to distinguish her from her sister, Mrs. Young, who was also an actress. We first hear of her acting in 1706; she took parts in which sauciness and coquetry were the chief features. Her last recorded appearance was on the 2nd of April, 1723; and she died in May. She signed a petition "M. Bicknell"; probably her name was Margaret, her mother's name. Steele alludes to her as "pretty Mrs. Bignell" in No. 11, and as his friend in the Guardian, No. 50. She was Miss Prue in Congreve's "Love for Love," and Miss Hoyden in Vanbrugh's "Relapse." In the Spectator (No. 370) Steele praises her dancing. persons of condition run into, without the help of a good education how to form their conduct. The torment of a jealous coxcomb, which arises from his own false maxims, and the aggravation of his pain, by the very words in which he sees her innocence, makes a very pleasant and instructive satire. The character of Horner, and the design of it, is a good representation of the age in which that comedy was written; at which time love and wenching were the business of life, and the gallant manner of pursuing women was the best recommendation at Court. To which only it is to be imputed, that a gentleman of Mr. Wycherley's character and sense, condescends to represent the insults done to the honour of the bed, without just reproof; but to have drawn a man of probity with regard to such considerations, had been a monster, and a poet had at that time discovered his want of knowing the manners of the Court he lived in, by a virtuous character in his fine gentleman, as he would show his ignorance, by drawing a vicious one to please the present audience. Mrs. Bignell did her part very happily, and had a certain grace in her rusticity, which gave us hopes of seeing her a very skilful player, and in some parts, supply our loss of Mrs. Verbruggen.' I cannot be 1 Cibber writes thus of this actress : "Mrs. Mountford, whose second marriage gave her the name of Verbruggen, was mistress of more variety of humour than I ever knew in any one woman actress. This variety, too, was attended with an equal vivacity, which made her excellent in characters extremely different. . . . She was so fond of humour, in what low part soever to be found, that she would make no scruple of defacing her fair form to come heartily into it." She could act admirably as a Devonshire lass, a pretty fellow, or a fine lady. Mrs. Verbruggen's first husband, the actor Mountford, was killed by Captain Hill, with the assistance of Lord Mohun, in 1692, because Hill, who was making unsuccessful suit to Mrs. Bracegirdle was jealous of her fellow-actor. Mountford was then in his thirtythird year. Mrs. Mountford's second husband, John Verbruggen, is of the same opinion with my friends and fellow-labourers, the Reformers of Manners,' in their severity towards plays, but must allow that a good play acted before a well-bred audience, must raise very proper incitements to good behaviour, and be the most quick and most prevailing method of giving young people a turn of sense and breeding. But as I have set up for a weekly historian, I resolve to be a faithful one; and therefore take this public occasion to admonish a young nobleman, who came flustered into the box last night, and let him know, how much all his friends were out of countenance for him. The women sat in terror of hearing something that should shock their modesty, and all the gentlemen in as much pain, out of compassion to the ladies, and perhaps resentment for the indignity which was offered in coming into their presence in so disrespectful a manner. Wine made him say nothing that was rude, therefore he is forgiven, upon condition he will never hazard his offending more in this kind. As I just now hinted, I own myself of the Society for Reformation of Manners. We have lower instruments than those of the family of Bickerstaff, for punishing great crimes, and exposing the abandoned. Therefore, as I design to have notices from all public assemblies, I shall take upon me only indecorums, described by Tony Aston as nature without extravagance." "That rough diamond shone more bright than all the artful polished brilliants that ever sparkled on our stage." The same writer says of Mrs. Verbruggen: "She was all art, but dressed so nice, it looked like nature. She was the most easy actress in the world. Her maiden name was Percival." 1 Various Societies for the Reformation of Manners were founded in the reign of William III. An "Account" of these societies was published in 1699, and Defoe often wrote on the subject. In 1708 the Society for London and Westminster secured the conviction of 3299 "lewd and scandalous" persons, guilty of Sunday trading swearing, drunkenness, &c. improprieties, and negligences, in such as should give us better examples. After this declaration, if a fine lady thinks fit to giggle at church, or a great beau come in drunk to a play, either shall be sure to hear of it in my ensuing paper for merely as a well-bred man, I cannot bear these enormities. After the play, we naturally stroll to this coffee-house, in hopes of meeting some new poem, or other entertainment, among the men of wit and pleasure, where there is a dearth at present. But it is wonderful there should be so few writers, when the art is become merely mechanic, and men may make themselves great that way, by as certain and infallible rules, as you may be a joiner or a mason. There happens a good instance of this, in what the hawker just now has offered to sale; to wit, "Instructions to Vanderbank; a Sequel to the Advice to the Poets: A Poem, occasioned by the Glorious Success of her Majesty's Arms, under the Command of the Duke of Marlborough, the last Year in Flanders."1 Here you are to understand, that the author finding the poets would not take his advice, he troubles himself no more about them; but has met with one Vanderbank, who works in arras, and makes very 1 See Steele's apology to Blackmore, author of this poem, in No. 14. Sir Richard Blackmore (died 1729) was a Whig physician who wrote epics on religious and other subjects, and was often at loggerheads with the actors and wits. Though he was not a poet, Addison and Steele praised him on account of the religious tone of his work (see Spectator, Nos. 6, 339). 2 Vanderbank, or as his father sometimes wrote his name, Vandrebanc, was a son of Peter Vanderbank, a Parisian, who came into England with Gascar the painter, about 1674, and died at Bradfield, in Hertfordshire, in 1697. His father was admired for the softness of his prints, and still more for the size of them, some of his heads being the largest that had then appeared in England; but the prices he received by no means compensated for the time employed on his works, and he was reduced to want, and died at the house of Mr. good tapestry hangings. Therefore, in order to celebrate the hero of the age, he claps me together all that can be said of a man that makes hangings, as : Then, artist, who dost Nature's face express In silk and gold, and scenes of action dress; Spin a bright story, or a passion weave By mingling threads; canst mingle shade and light, Well, what shall this workman do? Why, to show how great an hero the poet intends, he provides him a very good horse : Champing his foam, and bounding on the plain, Arch his high neck, and graceful spread his mane. Now as to the intrepidity, the calm courage, the constant application of the hero, it is not necessary to take that upon yourself; you may, in the lump, bid him you employ raise him as high as he can, and if he does it not, let him answer for disobeying orders: A whole poem of this kind may be ready against an ensuing campaign, as well as a space left in the canvas of a piece of tapestry for the principal figure, while the under Forester, his brother-in-law. After his death, his widow sold his plates to one Brown, a print-seller, who made a great profit by them. His eldest son had some share in the theatre at Dublin; the youngest, William, was a poor labourer, who gave an account of his father and the family to Vertue. The person mentioned in this paper was probably his father's name-son, and might be, as Walpole conjectures, an engraver. Whatever concern the father might have had in any manufacture of tapestry, he could not be the person meant here, for at this time he had been dead above ten years. The suite of tapestry, 33 VOL. I. C |